‘Top Gun: Maverick’ Has Become 7th Highest Grossing Movie Of All Time at the Domestic BO!!
Top Gun: Maverick has just officially become the seventh highest-grossing film of all time domestically, surpassing James Cameron‘s Titanic. The Tom Cruise-starring sequel just experienced its eleventh weekend of theatrical release, and earned $1.9 million on Friday. The film is expected to pull in a total of $6.7 million for the weekend. Top Gun: Maverick has now earned $662 million domestically overall, after being released on May 27. Titanic, which at one point was the highest-grossing film of all time, has accumulated a total of $659.5 million domestically. Star Wars Episode VII: The Force Awakens currently holds the top spot for the highest domestically grossing movie of all time.
Even though Top Gun: Maverick did perform well this weekend, it fell out of the top five at the domestic box office for the first time since its release. This causes the popular movie to have the fifth most consecutive top five weekends of all time. E.T currently holds that number one spot with 27 weekends in the top five in a row. Top Gun: Maverick is expected to return to the domestic box office’s top five as the weeks continue since August’s releases don’t hold many big titles, but it doesn’t seem likely that E.T‘s top spot will be threatened. Top Gun: Maverick is already ahead of several notable additions to the list such as including Black Panther, The Sixth Sense, and The Force Awakens, which all were in the top 10 for nine consecutive weeks.
Brad Pitt-vehicle Bullet Train took the Friday top spot at the domestic box office with $12.6 million, with the studio expecting a $30 million weekend in total, although it may underperform by about $2 million. Other newcomers to the box office include Jo Koy‘s Easter Sunday, which took Friday’s number six spot with a little over $2 million. Top Gun: Maverick sat at number seven, but its numbers may increase again with time since it’s such a popular film. Top Gun: Maverick‘s success isn’t surprising anyone, since its predecessor grossed $357.3 million against a $15 million budget and is considered a classic by many. Top Gun: Maverick was released close to 40 years after the original Top Gun, which hit theaters in May 1986.
Top Gun: Maverick is undoubtedly a huge critical success in addition to a box office smash, currently holding a certified fresh rating of 96 percent on Rotten Tomatoes. As such, its box office success doesn’t seem to be slowing down much, and as earlier mentioned, it seems likely that its theatrical run will not end before it rises up into the top five again.
The film is now Paramount‘s highest-grossing domestic release ever, which was formally Titanic. However, even though the action drama sequel currently holds the top seventh spot of highest grossing film of all time domestically, Titanic may be coming back for its spot with a re-release next year.
‘Elvis’ Continues Success Story with $234 Million at the Worldwide BO!!
It has been a healthy season at the summer box office. While big blockbuster films are leading the charge, they’re not the only success story worth singing about. One of the biggest success stories this summer has been Warner Brothers musical biopic Elvis starring Austin Butler and Tom Hanks. Even though the film has been out for over a month, Elvis made another $6.2 million at the international box office this weekend. This brings the biopic’s international total up to $105.3 million and its worldwide total up to $234.3 million.
Elvis has been helped by the fact that it’s about a historic musical legend, but this is another great example of a film in the pandemic-era having legs. Great word of mouth has carried this film to Graceland and then some. Director Baz Luhrmann made a film that not only mesmerized audiences and respected the story of Elvis, he crafted a compellingly complex tragedy that showed us sides of the legendary singer that fans have only ever read about.
Audiences came to hear all their favorite Elvis tracks, but they stayed for the visually stunning direction, deep thematic darkness, and brilliant performances. Butler simply owned the role of Elvis. He nailed the puppy dog naivety of the legend while bringing such a somber human layer to the singer that will just break your heart. That’s only exacerbated by Hank’s disgustingly sinister performance as Elvis’ manager Colonel Tom Parker. It’s one of the best villain performances in recent memory and, by the time you get to the end of the film, both performances will make your jaw hit the floor.
All this greatness is reflected in Elvis’ continued box office success. At over $120 million domestically it’s WBs fourth most successful film since the pandemic began. It recently passed other domestic studio hits like Dune and Godzilla vs. Kong. This film is proof, in the same vein as Top Gun, that audiences are willing to see a movie multiple times in theaters if worthy enough. Also, like Top Gun, it’s a film that is proving a traditional theatrical run of 90 days probably shouldn’t go extinct. Elvis made over $6 million in its sixth weekend of release. That’s only an impressive 25% drop between weekends.
Elvis is showing no signs of slowing down anytime soon. It’s one of the rare event films that needs to be seen in a theater to truly appreciate the film’s tragic magic. Elvis is still rocking in theaters around the world. You can see what all the fuss is about by dancing your way to your local theater now.
‘Jurassic World Dominion’ Nears $950 Million at the Worldwide BO!!
With $1.75 million in its seventh weekend at the domestic box office, Jurassic World Dominion took its tally to $369.5 million. The third installment in the Jurassic World trilogy has made $573 million from overseas territories, taking its worldwide total to $942 million.
Dominion is the third-biggest film of the year, behind Top Gun: Maverick ($1.3 billion) and Doctor Strange in the Multiverse of Madness ($954 million). This weekend, the film debuted in its last major international territory, Japan, and made $10.2 million. The film’s two-day total is actually higher than what the first Jurassic World made in 2015, and in line with Jurassic World: Fallen Kingdom’s debut in 2018. It registered the biggest opening day for Universal in Japan, and the second-biggest of the year, ahead of Maverick.
The film’s biggest international territory remains China, which accounts for $157 million. Dominion is one of the rare American films to have been given a release in the Middle Kingdom, amid a changing political landscape and an increasing disinterest among Chinese audiences in imported titles. The film has made $41.2 million in the United Kingdom and Ireland, $27.9 million in France, and $22.6 million in Germany.
Jurassic World Dominion‘s success has defied expectations as reviews for Dominion have been generally negative, with many suggesting that it is time to fossilize the franchise. Collider’s own Ross Bonaime wrote in his review, “Almost every joke falls flat, every action scene lacks stakes, and again, that mixture of awe and danger that once made this series so enthralling is completely absent here. Instead, Dominion is a shell of a franchise at its best, desperate to coast on the love of the original without managing the tonal requirements.”
Directed by Colin Trevorrow, Dominion has been touted as the conclusion to the Jurassic Park sequel trilogy. Trevorrow also directed the first Jurassic World, which made $653 million domestically and $1.6 billion globally, while Fallen Kingdom was directed by J.A. Bayona. That film grossed $417 million in the U.S. and $1.3 billion worldwide.
Dominion stars Chris Pratt, Bryce Dallas Howard, DeWanda Wise, Mamoudou Athie, Dichen Lachman, Scott Haze, Campbell Scott, B.D. Wong, Justice Smith, Daniella Pineda and Omar Sy, and brings back fan-favorite characters Ellie Sattler (Laura Dern), Ian Malcolm (Jeff Goldblum), and Alan Grant (Sam Neill).
Dominion is available digitally and in theaters.
‘DC League Of Super-Pets’ Tops with $23M Opening at the BO!!
The expected summer slowdown is taking its expected course with Warner Bros. animated film DC League of Super-Pets grossing a $9.3M Friday, for a $23M+ opening at 4,314, which is a solid result for a piece of original animation in the marketplace right now, not that far from Universal/DreamWorks Animation’s The Bad Guys which did $23.95M and is at $96.6M off an A CinemaScore. Abroad, Super-Pets brought in $18.4M for a $41.4M global start in 64 markets.
Warners has really stepped up its game in making a DC animated movie a notable choice in a crowded summer market; July alone cleared $1 billion through Thursday with another near $100M this weekend per ComScore. Consider the fact that 2018’s Teen Titans GO! To the Movies, which opened to $10.4M and finaled at $29.7M didn’t really reach a big audience. Super-Pets received more oomph from the Burbank lot, not only because it’s a Dwayne Johnson and Kevin Hart movie, but also because DC means a significant amount to Warner Discovery Boss David Zaslav.
For those who saw Super-Pets, they gave it an A- CinemaScore and 3 1/2 Stars on Comscore/Screen Engine’s PostTrak for general audiences, but 4 stars from Parents and 4 1/2 stars from kids under 12.
Understand, we were originally suppose to get Warner Bros./DC’s Johnson movie The Black Adam this weekend, which would have rained a significant amount of cash on the box office. But that pic was pushed to late October because of the backlog of VFX tentpoles at post-production houses. The plus for Warners with that movie is that they were able to give it a big blast at Comic-Con last weekend with Johnson, which only helps excitement for that pic in the long run. The most previous release date for Super Pets was May 20 before it landed here. Why another animated movie in the summer space? Kids are still off from school, and why waste that opportunity when you have a wide release?
Again, in this environment of whether movies are prime for streaming or the big screen, an $89M production with the loud speaker promotional wattage of Dwayne Johnson and Kevin Hart and this kind of production cost, is meant for a global theatrical audience. With these types of facets, a theatrical release raises a movie’s patina, which will carry it through its subsequent windows and make it more of a driver on a streaming service like HBO Max vs. merely going day-and-date.
This is the new philosophy over at the Zaslav-run Warner Discovery, and it’s a business axiom which, believe or not, is shared increasingly among the motion picture studios, as theatrical bounces back during the pandemic. Some studios with streaming services, such as Warners, find that the production of $100M+ movies for the streaming service just doesn’t make solid business sense. People can subscribe to the service, and then cancel it after they watch a movie; vs. the appeal of a series like House of the Dragon which can keep current subs content and attract more subs. This despite all the rah-rah for WarnerMedia spiking HBO Max subs off the 2021 theatrical day and date pandemic plan, which cost the conglom crazily in regards to talent relationships and the massive outlay of bucks. An insane plan, which I hear will never be attempted again in the history of the company.
Yes, streamers believe making a $100M+ movie is essential to keep current subscribers happy with new content. But seriously, at that cost? What’s the reasoning if it’s not on the big screen? There’s arguably no lucrative ancillary window with a straight to streaming $100M+ pic. It’s simply a vanity spend.
Super-Pets drew 51% men, with 73% under 35 and 44% under 25; the largest demo being 25-34 at 29%. Diversity demos were 41% Caucasian, a hearty 26% Latino and Hispanic, 14% Asian, and 11% Black. The pic played best in between the coasts,with the South Central the strongest. No Imax auditoriums here, but PLFs are accounting for 14% of weekend ticket sales to date.
Top ten theaters in the nation for Super-Pets were 1. Harkins Estrella Falls Phoenix, 2. AMC Burbank, 3. Santikos 3. Casa Blanca San Antonio, 4. Wellfleet Drive‐In (Cape Cod), 5. AMC Century City Los Angeles, 6. AMC Disney Springs Orlando, 7. Cinemark Tinseltown El Paso, 8. AMC Porter Ranch (posh suburb 30 minutes north of LA) 9. AMC Thoroughbred Nashville, and 10. Cinemark 18 Houston.
More deep dive demos from PostTrak: Women over 25 repped 29% of the audience, guys over 25 drew 27%, men under 25 were 24% while women under 25 were 20%. On CinemaScore, 36% of the under 18 demo gave Super Pets an A, while 47% of of the under 25 gave it an A, and 58% of the under 35 also graded the Warner Bros title an A.
Focus Features’ has BJ Novack’s Blumhouse murder mystery dramedy Vengeance at 998 theaters for a $1.75M opening in 10th place. While not super, again, the way to look at any movie at the box office is: Thank, God, it received a theatrical release, it’s what the filmmaker wanted, and it only makes the title more attractive and stand-out in a streaming and PVOD menu. This title will hit PVOD in 17 days.
Vengeance received a B+ CinemaScore and lower PostTrak exits at 76% in the top boxes and a 57% recommend. Guys decided to buy tickets at 57% with 54% between 18-34 and the largest demo being 34% for those 25-34. Diversity demos were 66% Caucasian, 16% Latino and Hispanic, 10% Asian/other and 8% Black. Best markets for Vengeance were West and South Central, with seven of the top ten theatres coming from California and Texas, the latter where the Novack pic takes place. In the end it will be easy to algorithm this title on the Peacock streaming service to those soaking up The Office.
Universal’s Nopeis having a better than expected second weekend hold of -58% at $18.55M taking its 10-day total through today of $80.6M.
Total weekend box office (weekend 30) looks to clear $98.99M from all titles, which is 42% ahead of the same period a year ago, but 39% below the same weekend in 2019, which was when we had the second frame of Disney’s remake of The Lion King.
The CDC currently counts a 7-day rolling average – 0.9% this week to 126.72k new cases/day. Hospitalizations were +1.7% to 6.340 new admissions/day last week. Daily death rate was down to 364 a day last week. The total number of Americans who have died from Covid is at 1.02M. Those fully vaccinated are at 67.2% of the population with 48.3% eligible to have at least one booster shot and 30.9% eligible for a second shot.
On the indie side, Utopia opened Lena Dunham’s Sundance premiere from this year, Sharp Stick to $18K with $9K a piece from NY and LA. Dunham, Luka Sabbat, Janicza Bravo, DP Ashley Connor and Jerry Saltz drove a sold out at NYC’s Quad Cinema. The pic also played LA’s newly renovated NuArt. An expansion is in the works for next Friday.
Bleecker Street’s A Love Song also opened to $18,7K from four runs in NY and LA at the Angelika, Lincoln Square, the Grove and Century City. Angelika did the best of the four we hear. The Max Walker-Silverman directed film follows a woman at a campground in the rural West who waits alone for an old flame from her past to arrive, uncertain of his intentions while bashful about her own. Pic is 95% certified fresh on Rotten Tomatoes from critics.
There was also Rhythm Boyz Entertainment’s Chhalla Mud Ke Nahi Aaya which was booked in 65 runs in 33 markets (Punjabi) with solid figures in Canada from Toronto, Winnipeg and Vancouver which did $665K.
Well Go USA had Hansan: Rising Dragon in 32 runs and 19 markets. Largely OK runs in Chicago, NYC and San Francisco for an estimated $151K opening or $4,7K per theater.
Detective vs. Sleuths from Ka-Fai Wai was booked at 54 runs in 32 markets with halfway decent figures in Toronto, Winnipeg and Boston and will wind up on $112k.
Sarigama Cinemas‘s VR/Vikant Rona booked at 115 runs in 59 markets (Hindi, Telugu, Kannada) had blasé runs in San Francisco and wound up with a $106K opening.
IFC Films and Shudder had Resurrection, another pic that premiered at Sundance earlier this year, booked in 97 locations and grossing $93K. The psychological thriller starring Rebecca hall and Tim Roth will hit PVOD on Friday and continue to play in theaters.
Weekend studio reported estimates final as of Sunday:
1.) DC League of Super-Pets 4,314 theaters, Fri $9.3M, Sat $7.7M, Sun $5.8M, 3-day $23M/Wk 1
2. ) Nope (Uni) 3,807 (+22) theaters, Fri $5.8M (-70%)/3-day $18.55M (-58%)/Total $80.6M/Wk 2
3.) Thor: Love and Thunder (Disney) 3,650 (-720) theaters, Fri. $3.75M (-41%), Sat $5.1M, Sun $4.1M, 3-day $13.1M (-41%)/Total $301.5M /Wk 4
4.) Minions: Rise of Gru (Uni) 3,579 theaters (-237), Fri $3.3M (-37%), Sat. $4.1M, Sun $3.3M, 3-day $10.88M (-40%), Total: $320.4M/Wk 5
5.) Top Gun: Maverick (Par) 3,008 (-152) theaters, Fri $2.4M (-11%), Sat $3.3M, Sun $2.5M, 3-day $8.2M (-20%), Total $650.1M/Wk 10
6.) Where the Crawdads Sings (Sony) 3,526 theaters (-124), Fri $2.3M (-26%), Sat $2.8M, Sun $2.3M, 3-day $7.5M (-27%)/Total $53.5M/Wk 3
7.) Elvis (WB) 2,901 (-204) theaters, Fri $1.7M (-7%), Sat $2.2M, Sun $1.88M, 3-day $5.8M (-11%) Total $129M/Wk 6
8.) The Black Phone (Uni) 1,638 (-417) theaters, Fri $770K (-30%), Sat $990K, Sun $740K, 3-day $2.5M (-29%)/Total $83.1M/Wk 6
9.) Jurassic World Dominion (Uni) 1,747 (-420) theaters, Fri $610K (-30%), Sat $840K, Sun $630K, 3-day $2.08M (-33%), Total $369.4M/Wk 7
10.) Vengeance (Foc) 998 theatres, Fri $660K, Sat $630K, Sun $460K, 3-day $1.75M/Wk 1
‘Minions: Rise of Gru’ Climbs to $710 Million at the Worldwide BO!!
Illumination‘s Minions: The Rise of Gru continues its monstrous success at the box office. Despite a crowded and competitive market this week with the likes of the continued success of Top Gun: Maverick and the debuting Nope, the popular animated film has come in at 4th place in its fifth week in theaters, with its 3-day North American weekend estimate of $10.880 million. This puts the film behind DC League of Super-Pets, the previously mentioned Nope, and Thor: Love and Thunder for this weekend’s domestic box office. Interestingly, this brings its global box office total to $710.366 million.
The $10.880 million income comes from 3,579 North American theater showings. The Friday domestic earnings for this weekend came out to $3.370 million with Saturday’s domestic earnings coming out to be $4.170 million. The Sunday domestic estimate is expected to come out $3.340 million. The 3-day North American weekend estimate brings the cumulative earnings of the domestic box office since the film’s release to an impressive $320.411 million.
Moving on to the international markets, the film saw its greatest holdover week-to-week in Korea, with the animated film adding an additional $3.2 million in earnings this weekend and placing it at #2 at the market’s box office behind local opener Hansan: Rising Dragon. This earning brings the cumulative earnings for the Korean market to $11.2 million, 9% ahead of Minions at the same point. UK & Ireland saw their cumulative earnings to a total of $40 million over this weekend, in line with the first film and DM3 at the same point. Germany had another excellent hold, dropping just 15% this weekend to reach $23.4 million gross with the movie holding on to its #1 spot in the market. Japan’s third weekend since opening saw a 20% drop weekend-to-weekend adding $1.8 million and bringing its gross earnings to $15.6 million. The film ranked at #3 for the weekend behind the opening of Jurassic World Dominion and local film Kingdom 2.
The fifth weekend for Mexico reached a total gross of $35.2M with Minions: The Rise of Gru holding #2 in the market, overtaking the first film’s cumulative earnings at the same point, having already surpassed the lifetime of DM3 last weekend. France holds strong in Weekend 4, reaching $17.9 million cumulative earnings, placing it at #2 in the market. Minions remain at #2 in the market. In Argentina, the film is the biggest film of 2022 in admissions (used due to hyper-inflation on currency) and added another $1.6 million this weekend reaching $19 million in cumulative earnings. Minions remains #1 in the market. Finally, Brazil had another strong hold in Weekend 5, adding $1.5M to its cumulative earnings $18.1 million, performing in line with the first Minions at the same point. Minions: The Rise of Gru remains No.1 in the market.
This weekend’s income from both the domestic and international markets for Minions: The Rise of Gru brings its worldwide box office earnings to a total of $710.366 million since its release on July 1. This earning puts Minions: The Rise of Gru puts the film on track with the earnings of its predecessors’ Minions and Despicable Me 3 at the same point in their theatrical runs.
Minions: The Rise of Gru is currently in theaters.
‘Top Gun: Maverick’ Crosses $1.3 Billion at the Worldwide BO!!
With the hit film now at its 10th weekend, Top Gun: Maverick still continues to soar to new heights at the box office as it has gained an additional $13.8 million internationally to a cumulative total of $671 million at international markets. Domestically, the film added $8.2 million this weekend as it remains strong at the box office and totals $650.1 million, one of the best showings of all time.
Internationally, Top Gun: Maverick grossed an additional $2.9 million in its 6th weekend in Korea, down 32% from the previous weekend with the film’s total at the Korean box office now stands at $57.8 million. In Japan, the film delivered $1.6 million on its 10th weekend to a total cume of $75.9 million. The film’s performance in Taiwan saw a 28% decrease with $400 thousand, adding to a cumulative total of $22.9 million. The United Kingdom added $1.2 million to the film’s box office this weekend as Top Gun: Maverick only falls 6% from last week to a total of $94.4 million.
The film fell 14% in France with $990 thousand on its 10th weekend, adding to its $50.0 million cume. In Germany, the movie soared to an additional $890 thousand in 479 locations to an overall total of $31.4 million. On par with its performance from last week, the film gained an additional $360 thousand in the Netherlands with a cume of $11.1M. In Saudi Arabia, the film still stands strong as it increased 10% at the local box office compared to last week with an additional $580 thousand from 51 theaters to a total of $20.1 million. Lastly, Australia has added $875 thousand to a total of $60 million at its local box office.
With the film’s dominance at the box office, Top Gun: Maverick’s performance continues to soar to new heights at the box office. Starring Tom Cruise as Maverick, the film’s performance at the box office has gained wide recognition for its strong legs due which can be attributed to its positive word-of-mouth with the receiving a rare A+ on Cinemascore.
The film has also achieved critical acclaim with a 96% critical score on Rotten Tomatoes and an incredible audience rating of 99%. The popularity of the long-awaited sequel has led to it becoming Cruise’s highest grossing film of all time, surpassing $1 billion at the box office. With the film still standing strong at the box office after 10 weeks, Top Gun: Maverick will continue to resonate with audiences as it reaches its final weeks at the summer box office.
Directed by Joseph Kosinski, Top Gun: Maverick is now playing exclusively in theaters.
‘Nope’ Nabs Jordan Peele His Third Top Spot with $44 Million at the BO!!
Nope, despite its B CinemaScore and 79% PostTrak, did not exactly fall apart between Friday and Saturday. If you back out those $6.4M previews out of Friday’s $19.59M, that means the Jordan Peele pic’s first day was $13.19M, and with Saturday at $13.95M, that’s a 6% rise. All of this results in a $44M opening.
While not the 17% rise that Us got over its Friday to Saturday (sans previews), Nope didn’t crater.
While not Us, it’s a respectable result for an original movie, and Universal has shown a talent to make and support those types of movies where some other motion picture studios fall flat. Again, the start for Nope is higher than late summer 2019’s Once Upon a Time in Hollywood ($41M), also a piece of original IP, and higher than Warner Bros.’ Elvis ($31.2M), another adult counter programming title this summer.
All films this weekend grossed an estimated $125.1M, which is 37% ahead of weekend 29 a year ago. However, as we expected, it’s 53% below the same frame in 2019, which saw all titles make $263.9M, led by Disney’s Lion King. Still, there’s also another win for Universal this weekend, as six of their movies controlled 56% of the weekend box office.
Nope is the fifth Universal horror movie during the Covid era after Black Phone, Halloween Kills, Candyman and Forever Purge. The pic is the second top R-rated opening during Covid, after Halloween Kills ($49.4M). Said Universal Domestic Distribution Boss Jim Orr, “Jordan Peele is a master storyteller and with Nope, another example of his unique voice. He and his incredible cast led by Daniel Kaluuya and Keke Palmer thrilled audiences across North America this weekend with a film that is a true ‘see it on the big screen’ theatrical experience.’”
Nope was more guy-leaning than previous Uni horror pics at 57%, vs. Candyman (53%), Us (50%), and Get Out (48%) and older, meaning more over 25 at 63%, vs. Candyman (58%), Us (61%) and Get Out (59%). The 18-34 through yesterday turned out at 68%. The robust turnout of Black audiences at 33% for Nope is in line with these three other horror pics, as well with Caucasians at 35%, Hispanic and Latino at 20%, and Asian at 8%.
Broken out, guys over 25 repped 38% of the audience (78% score), women 25+ were 25% (75% score), guys under 25 were 20% (77% score) and women under 25 were 17%, but gave Nope its highest grade at 89%. Those 25+ at 25% came with a spouse/partner, while 16% came with date in that age range, and 17% came alone according to PostTrak.
Four hundred Imax screens drove 12% of the gross, or $5.2M, with 800 PLF screens repping another 20% of Nope’s ticket sales.
Top markets were L.A., NY, Dallas, San Francisco, Chicago, Atlanta, Washington D.C., Houston, Philadelphia, and Phoenix.
While distribution sources believe that this movie can get over $100M stateside, the question is with this production cost of $68M (before P&A) whether Nope profits like Peele’s other movies. For those movies opening under $50M, Uni typically sends them to PVOD after 17 days, followed by Peacock thereafter. However, on Nope, I understand it’s PVOD post theatrical 31 days, which is good because the Peele pic and Sony’s Bullet Train are the only marquee offerings during the late summer/early fall dry spell at the box office. Uni has a turnkey windows system, with monetizing opportunities in a subsequent Amazon window, to make bank. However, Peele’s movies only make a third of their global take abroad.
Nope become the first R-Rated movie to receive a push via NBCUniversal’s Symphony program, which markets tentpoles throughout the conglom’s subsidiaries.
Of note, there was the Jupiter’s Claim saloon attraction at Universal Studios Hollywood. That set marks the first time that a Studio Tour attraction opened day and date with a Uni movie release. It will be staged within Universal Studios’ backlot, alongside other big movie sets, such as War of the Worlds, the Psycho house, and Courthouse Square from Back to the Future.
There were also spots running across NBCUni programming, such as American Ninja Warrior, America’s Got Talent, Tonight Show with Jimmy Fallon, Late Night with Seth Meyers, NASCAR and WWE Raw.
In April, there was a custom spot that aired during NBA playoffs with Steph Curry, and in June, a new quartet of spots blanketed the NBA Finals. Similar to the Super Bowl, it was an opportunity to go after a wide guy audience with Nope. The four spots communicated a broad range of emotional tones. Each of the spots can be viewed here: Hell No, Rainbow, Once Upon a Time in Haywood, Choices.
The two official trailers of Nope racked up 120 million global digital views to-date, and were attached to such big pics in theaters as The Batman, Doctor Strange and The Multiverse Of Madness, Top Gun: Maverick, Jurassic World Dominion and Thor: Love and Thunder.
High-Impact digital takeovers included a Snapchat Grenade, as well as a Meta Blast across Facebook and Instagram and a YouTube Reach Accelerator, Twitter Spotlight Trend, and TikTok Top View.
RelishMix grades the social media reach of Nope at 180M at a 6.4, which is in the range of such horror movies as Us (6.9), A Quiet Place (6), and Halloween Kills (6.3). Social media champs from the cast include Keke Palmer with 28.3M across Facebook, Instagram, TikTok, and Twitter, along with Steven Yeun, who’s new to social in the last few months for the movie at 4.8M fans, Peele at 3.2M, and Daniel Kaluuya at 548K.
Palmer getting ready for the world premiere drew over 145K views:
Weekend estimates as of Sunday AM:
1.) Nope (Uni) 3,785 theaters, Fri $19.59M/Sat $13.9M/Sun $10.4M/3-day $44M/Wk 1
2.) Thor: Love and Thunder (Disney) 4,370 (-5) theaters, Fri. $6.4M, Sat $8.9M Sun $6.8M , 3-day $22.1M (-53%)/Total $276.2M /Wk 3
3.) Minions: Rise of Gru (Uni) 3,816 theaters (-298), Fri $5.2M, Sat $6.9M, Sun $5.5M, 3-day $17.7M (-34%), Total: $297.8M/Wk 4
4.) Where the Crawdads Sings (Sony) 3,650 theaters, Fri $3.1M, Sat $3.9M, Sun $3.2M, 3-day $10.33M (-40%)/Total $38.3M/Wk 2
Great hold here for a female skewing movie during the pandemic, even better than the -45% decline Note Book had, and that was over a July 4th weekend. Industry outlook sees Crawdads’ final domestic B.O. in the $60M range.
5.) Top Gun: Maverick (Par) 3,160 (-132) theaters, Fri $2.7M Sat $4.1M Sun $3.2M , 3-day $10M (-19%), Total $635.5M/Wk 9
6.) Elvis (WB) 3,105 (-200) theaters, Fri $1.8M, Sat $2.55M, Sun $1.9M, 3-day $6.3M (-21%) Total $118.3M/Wk 5
7.) Paws of Fury (Par) 3,481 +6) theaters, Fri $1.1M, Sat $1.5M Sun $1.2M, 3-day $3.87M (-39%)/Total $13.7M/Wk 2
8.) The Black Phone (Uni) 2,055 (-222) theaters, Fri $1.07M , Sat $1.36M, Sun $1M, 3-day $3.45M (-36%)/Total $78.5M/Wk 5
9.) Jurassic World Dominion (Uni) 2,165 (-495) theaters, Fri $870K, Sat $1.2M, Sun $860K, 3-day $2.96M (-43%), Total $365.5M/Wk 7
10.) Mrs. Harris Goes to Paris (Foc) 1,001 (+21) theatres, Fri $410K, Sat $540K, Sun $400K, 3-day $1.35M (-31%)/Total $4.65M/Wk 2
‘Top Gun: Maverick’ Becomes the Ninth-Highest Domestic Grossing Film in History at the BO!!
At this point, we’re starting to wonder when Top Gun: Maverick will finally cease crossing milestones as it continues to dominate the summer box office ahead of even highly-anticipated Marvel titles. Unlike its titular hero, Maverick has hit Mach 10 and just keeps going, having passed yet another box office milestone and outdoing not just this year’s Thor: Love and Thunder, but the superhero team-up that started it all. The high-flying Tom Cruise film has officially surpassed The Avengers at the domestic box office, stealing the Marvel film’s spot to become the ninth-highest grossing domestic release in cinema history. Take that, Iron Man!
To achieve such a spot in cinematic history, the legacy sequel brought in $623.8 million at the domestic box office, surpassing The Avengers’ haul ($623.3 million) by about half a million dollars. With the end of its theatrical release window still nowhere in sight, many experts believe that the film can come out of the cinematic dogfight even more victorious, with the possibility to surpass the films that sit in seventh and eighth place on the chart — Titanic with $659 million, and Jurassic World with $653 million, respectively.
It’s rare that a film not tied to a long-running franchise, like Marvel’s Love and Thunder or Doctor Strange in the Multiverse of Madness, or even Jurassic World Dominion, do so spectacularly well at the box office that they continue to bust records long after their opening weekend. For context, James Cameron’s Avatar, which earned $760 million at the domestic box office, is the only film in the top six spots that isn’t a Marvel or Star Wars film — the rest of the list includes Star Wars: The Force Awakens, Avengers: Endgame, Spider-Man: No Way Home, Black Panther, and Avengers: Infinity War. If Maverick manages to crack that list, it’ll be the only film in cinematic history not owned by Disney to do so.
The success of Top Gun: Maverick continues to astound as it racks up records. Not only has the film becomes Paramount’s highest-grossing film ever, but it’s also one of less than fifty films in history to crack a billion dollars at the box office, as well as being Cruise’s highest-grossing film in his entire career, and making rare returns to IMAX and XD theaters because audiences just cannot get enough. Paramount has yet to announce when the film will be pulled from theaters for a theatrical or streaming release, and as Maverick continues to soar past its competition, all we can say is: goodness gracious, great balls of fire!
Top Gun: Maverick, also starring Miles Teller, Glen Powell, Monica Barbaro, Lewis Pullman, Danny Ramirez, Jay Ellis, Greg Tarzan Davis, Jennifer Connelly, Jon Hamm, and Val Kilmer, is playing in theaters now.
‘Thor: Love and Thunder’ Holds Top Spot Despite 68% Drops While ‘Crawdads’ Opens with $17M at the BO!!
The wearing down of the MCU luster is unfortunately being seen, as Disney’s Thor: Love and Thunder is having a great fall, with a -68% drop for a second weekend to $46M. And the sequel isn’t even theatrical day-and-date like Black Widow was last year on Disney+. While the Taika Waititi-directed movie improved beyond its high $130M opening estimates last weekend into the $144M range, it’s clear those sour audience exits of a B+ CinemaScore and 3 1/2 stars are taking their toll.
Thor‘s second weekend drop ranks among the MCU’s worst, including Doctor Strange in the Multiverse of Madness (-67%) and Black Widow (-68%). Forget about Spider-Man: No Way Home‘s -68% second drop. That’s largely due to Christmas falling on a Saturday, and everyone knows that Sony/MCU title was making money hand over fist on a daily basis. It’s an outlier.
Worldwide, Disney has a different brag on Thor: Love and Thunder and that’s that that the superhero is about to cross the half billion mark worldwide. Domestic stands at $233.2M, global at $498M. The pic’s Imax screens stateside at 412 posted $3.7M this weekend for a running total of $20.5M.
Marvel is getting beaten this summer by a Tom Cruise movie, granted a long-awaited sequel by his fans, with Top Gun: Maverick hitting $617.9M by EOD today. The erosion here in MCU box office bucks and audience exits is a rich man’s problem for the studio. Again, is the dilution of results because they’re stretched thin between the development of streaming series and movies?
Anecdotally, Thor 4 is quite a fun ride, and if you see it in Screen X, it’s mind-blowing. It’s a fast clip at 1 hour and 58 minutes, and not as Byzantine as Doctor Strange 2 and Eternals. But clearly, something isn’t resonating with fans. I’ve been told by sources that they and critics obviously don’t think it’s as good as Ragnarok. That pic, despite having a lower opening than Thor 4 at $122.7M, possessed a higher-grossing second weekend with $57M. And that was during November, not summer.
Meanwhile, Sony/3000 Pictures/Hello Sunshine’s feature take of the Delia Owens novel, Where the Crawdads Sing, is coming in ahead of its $9M-$10M projections with $17M in 3rd. A good win here for a $24 million production before P&A, and ahead of other female-skewing novels on screen during the pre-pandemic, i.e. Crawdads. The new film is ahead of the openings of 2004’s The Notebook ($13.4M), the 2015 adaptation of Nicholas Sparks’ The Longest Ride ($13M), and John Green’s Paper Towns ($12.6M).
Crawdads is another example this summer of a harshly reviewed movie beating its projections. Critics piled on Crawdads at 37% rotten, and here’s the pic’s opening, 70% ahead of where tracking thought it would be. That’s a wonderful thing for the business when Rotten Tomatoes doesn’t ruin a movie’s ticket sales.
However, being the mega-bestseller that Crawdads was, it’s not a Dear John ($30M) or a Fault in Our Stars ($48M), which truly ignited the female demographic to come out. The question remains how frontloaded Crawdads is and whether it legs out off its great scores. There is nothing like it for female audiences in the coming months. Backing out $2.3M previews, Friday actually made $5M, and Saturday was slightly up at 8% from that with $5.4M
The 74% skewing female movie is winning over its core audience in its big screen treatment, with 4 1/2 stars, 87% positive, 70% recommend on PostTrak, and an A- CinemaScore. Those fans who showed up clearly didn’t read reviews, as critics weren’t won over by the 35% Rotten.
Social media monitor RelishMix noticed that the pre-release social chatter “spun around the book, as savvy fans wonder how the movie would play with the compression of the story into a two-hour film — and the tone of the trailer in relation to how they experienced the ‘lyrical, and haunting, but oddly peaceful story’ of the novel. The added layer of the Taylor Swift soundtrack, which was released two weeks ago, is also as a fresh element for fans, too.”
Of those attending, PostTrak showed that 32% came with someone who wanted to see it, while 30% were there because they were fans of the book.
Hence, those audience exits are quite promising. Had fans of the book been truly upset, Crawdads would be in freefall at the box office. Crawdad‘s social media awareness levels are running in line with drama thriller norms at 156.5M across Facebook, Twitter, YouTube, Instagram, and TikTok. “However, the bonus factor feeding activity on the project is soundtrack artist Taylor Swift, with her social network of 431.3M fans, including her YouTube channel at 46.8M subs — plus producer Reese Witherspoon at 34.8M fans — at a social grand total of 587.8M,” reports RelishMix.
Fifty-five percent of Crawdads‘ ticket buyers are women over 25. The overall audience was 40% between 18-34, but still an amazing 41% over 45. Box office firm EntTelligence shows that 8% of the audience came after 8PM to see Crawdads, indicating how older-leaning the pic is. Diversity demos were 71% Caucasian, 17% Latino and Hispanic, 4% Black, & 8% Asian/other. Crawdads crooned the loudest in the South and Midwest, where nine out of the top ten grossing theaters were. Pic’s best markets included Dallas, Atlanta, Salt Lake City, Denver, Tampa, Nashville, Charlotte, Minneapolis, Austin, cities which largely aren’t among the highest-grossing in a given weekend. There were only four New York and LA runs were in the top 100; none in Crawdad‘s top ten, with NYC Lincoln Square charting at No. 11 through Friday and LA’s The Grove at No. 20.
Key marketing stunts for Crawdads included the launch of Taylor Swift’s lyric video for “Carolina” across her and the pic’s social handles, reaching over a half-billion followers. Sony also launched an Influencer Compilation with TikTok Creators with a combined reach of 40M followers to further engage fans on social.
Additionally, there was the amplified lyric video with a Swift Vevo Custom Artist Takeover, owning all the pre-roll video across all her music catalogue, and tapped into local iHeart DJ influencers to surround the song with chatter about Crawdads.
RelishMix measured that Swift counts over 356M fans with producer Witherspoon at close to 35M, and lead star Daisy Edgar-Jones at 1.3M.
Sony teamed with Witherspoon’s Hello Sunshine & Reese’s Book Club to create a bounty of behind-the-scenes digital ads and social content, including a TikTok Live with talent and filmmakers. Reese’s Book Club promoted the film across their site, social, and their popular book club app, and the studio worked with Hello Sunshine for a word-of-mouth screening program in 26 cities.
Sony also collaborated with the creators of BookTok (62 Billion Views on TikTok) and he Bookstagram community throughout the course of the campaign with trailer reactions, Crawdads-inspired BookNooks, and TikTok trends.
Also, the studio worked with ABC and Bachelor fan favorites Ashley Iaconetti & Jason Haibon to create a custom toss and special look at the film ,which aired in the premiere episode of The Bachelorette, and was touted across top social platforms.
On the downside, Paramount’s animated feature Paws of Fury: The Legend of Hank isn’t punching with a $6.25M opening. If you want to know where families want to spend their money, it’s on the third weekend of Universal/Illumination Entertainment’s Minions: Rise of Gru, which is racking up $26M in second place, -44%, for a running total of $262.5M.
Why is Paws of Fury in a crowded summer market? And not later in the fall, which is starving for product? Paramount, nor others in the industry, were not expecting Rise of Gru to overpower this much. A two-week space in regards to opening felt safe. Paws of Fury was on this release date before Warner Bros. decided to push Black Adam, originally at the end of this month, and replace it with DC League of Super-Pets, which is tracking to do around $30M. Originally, the thinking was that Paws of Fury, before Super-Pets’ dating, would have the rest of the summer.
Withering down the appeal of Paws of Fury is the fact that it feels, in an animal martial arts movie, too similar to Kung-Fu Panda (despite the fact that Paws is set in Japan and the former franchise in China). There’s the notion that we’ve seen this film before.
Nonetheless, the new credo moving forward in the motion picture industry that’s chained at the hip to a streaming afterlife is that it’s better to bomb with a film on the big screen, rather than send it straight to streaming. The mere fact that Paws of Fury gets a big theatrical release raises its patina and distinguishes the title greatly in the home aftermarket and beyond, versus if Paramount just dropped this on Paramount+.
That said, the irony is that Paw Patrol and Clifford, which were theatrical day-and-date on Paramount+, respectively opened to bigger numbers at $13.1M and $16.6M, but keep in mind they are big branded movies; Paws of Fury is original, which makes it a harder sell. The notion is that had Clifford an Paw Patrol went full on theatrical, they would have grossed significantly more.
Those families who spent their money on Paws of Fury and were polled by CinemaScore didn’t feel it was a waste of time giving the animated movie an A-. PostTrak was significantly harsher, with general audiences slamming it with a 66% positive and 49% recommend, while kids under 12 enjoyed it enough at 80% positive. Dad-leaning turnout at 51% guys, with 36% under 17 and a diversity spread of 40% Caucasian, 26% Latino and Hispanic, 18% Black, & 16% Asian/other. Paws of Fury was most prominent in the West and Southwest.
Focus Features booked the eOne financed Mrs. Harris Goes to Paris at 980 theaters, and it’s grossing $1.9M for the weekend, in 9th place with a $1,77K per theater. Well-reviewed movie at 93% on Rotten Tomatoes, with 70% women turning up, and a very notable 39% over 55, with 87% over 25. The movie is doing best on the coasts, I hear, but not so great in other places. Between Top Gun 2 and Crawdads, returning older female moviegoers during the pandemic have many options. Diversity demos were 65% Caucasian, 14% Latino and Hispanic, 13% Asian/other, and 8% Black.
Netflix/AGBO’s Ryan Gosling/Chris Evans/Ana de Armas spy film Gray Man, which is getting a promotional one-week theatrical play near 400 locations, is coming up significantly short in ticket sales next to Red Notice. That Dwayne Johnson-Gal Gadot-Ryan Reynolds action heist film chalked up between $1.25M-$1.5M in its opening weekend at 750 locations.
This was during a fall when the box office was beginning to get back on its feet, and more auditoriums were available because we didn’t have as many blockbusters around then as we do now. Gray Man is estimated to be doing just under $200K, according to distribution sources. Again, the streamer doesn’t care, nor do they report figures. It’s all about maintaining subscribers and possibly adding new ones after this $200M+ investment hits the service on Friday. Even though this movie is at 52% on Rotten Tomatoes, ya gotta think if it was a wide theatrical release, it would be raining an additional $10M-$20M in box office cash on exhibition. They’d gladly take it.
The overall weekend box office, the 28th this year, looks to clock an estimated $130.2M from all titles. Next to weekend 28 in 2019, that’s +3%. Very good.
Chart updated with Sunday numbers:
1.) Thor: Love and Thunder (Disney) 4,375 theaters, Fri. $13.8M (-80%), Sat $18.4M, Sun $13.8M, 3-day $46M (-68%)/Total $233.27M /Wk 2
2.) Minions: Rise of Gru (Uni) 4,111 theaters (-316), Fri $8.1M (-44%), Sat $10.1M, Sun $7.69M, 3-day $26M (-44%), Total: $262.5M/Wk 3
3.) Where the Crawdads Sings (Sony) 3,650 theaters, Fri $7.3M, Sat $5.4M, Sun $4.3M, 3-day $17M/Wk 1
4.) Top Gun: Maverick (Par) 3,292 (-221) theaters, Fri $3.4M (-24%), Sat $4.89M, Sun $3.7M, 3-day $12M (-23%), Total $617.96M/Wk 8
The older 40 crowd keeps on comin’: Anecdotally, the Simi Valley Studio Grill’s 7:45pm show in SoCal was packed on Friday night.
5.) Elvis (WB) 3,305 (-409) theaters, Fri $2.3M (-31%), Sat $3M, Sun $2.27M, 3-day $7.6M (-32%) Total $106.2M/Wk 4
6.) Paw of Fury (Par) 3,475 theaters, Fri $2.4M, Sat $2.1M, Sun $1.75M, 3-day $6.25M/Wk 1
7.) The Black Phone (Uni) 2,271 (-288) theaters, Fri $1.6M (-32%), Sat $2.1M, Sun $1.58M, 3-day $5.3M (-32%)/Total $72M/Wk 4
8.) Jurassic World Dominion (Uni) 2,647 (-604) theaters, Fri $1.4M (-43%), Sat $2M , Sun $1.4M, 3-day $4.95M (-42%), Total $359.7M/Wk 6
9.) Mrs. Harris Goes to Paris (Foc) 980 theatres, Fri $700K, Sat $680K, Sun $520K 3-day $1.9M/Wk 1
10.) Lightyear (Dis) 1,350 (-740) theaters, Fri $395K (-58%), Sat $538K, Sun $367K, 3-day $1.3M (-58%), Total $115.4M/Wk 5
11.) Marcel the Shell With Shoes On (A24) 153 theaters (+105), Fri $176,5K (+73%), Sat $221,4K, Sun $177,1K, 3-day $575,3K (+72%), Total $1.695M/Wk 4
‘Top Gun: Maverick’ Surpasses ‘Titanic’s Record; Become Paramount’s Highest Domestic-Grossing Film!!
Top Gun: Maverick has officially soared past not only the rest of its box office competition, but the rest of its competition at Paramount Pictures across the studio’s entire 110-year history. Paramount has just announced that the high-flying sequel to 1986’s Top Gun is officially their number one top domestic grossing film of all time, bringing in $601.9 million at the domestic box office and surpassing one of the most iconic films of all time: Titanic.
The Tom Cruise-led action film has been breaking box office records since it hit theaters over Memorial Day weekend — including becoming Cruise’s highest grossing film of all time and passing $1 billion at the global box office — but this newest record might just be its most impressive. Titanic grossed a total of $600.7 million at the box office during its initial release, and has held the number one spot in Paramount’s line-up for twenty-five years, a whopping amount of time. (For context, that’s as long as this writer has been alive!) But it looks like, even more than their desire to see a tragic love story, audiences around the world are still feeling the need — the need for speed.
“For 110 years, Paramount Pictures has produced and distributed some of the most iconic films in Hollywood history, including the all-time classic Titanic, which marks its 25th anniversary this year,” said Brian Robbins, President and CEO of Paramount Pictures. “Top Gun: Maverick is a phenomenal motion picture, and we take deep pride in celebrating this tremendous achievement alongside Tom Cruise, our filmmakers and cast, our marketing and distribution teams, and, of course, all the new and original Top Gun fans, without whom this wouldn’t have been possible.”
Globally, Maverick is still bringing in impressive numbers, returning to the top of the international box office last week for an international total of $595.6 million, combining with the $601.9 million domestic total for an overhaul haul of $1.19 billion — and it’s still running in theaters! With a combination of nostalgia, high-flying action in real F-18s, and a talented cast of newcomers, Maverick has set itself up for a place in the history books, defying its multiple COVID-related delays and expectations the world over. And from our perspective? It deserves it.
If you still haven’t entered the danger zone, Top Gun: Maverick, also starring Miles Teller, Glen Powell, Monica Barbaro, Jay Ellis, Greg Tarzan Davis, Danny Ramirez, Lewis Pullman, Jon Hamm, Jennifer Connelly, and Val Kilmer, is playing now in theaters. Check out the trailer for the film down below:
‘Thor: Love And Thunder’ Opens Strong with $143M at the BO!!
Disney/Marvel’s Thor: Love and Thunder held steady on Saturday, despite those lower than normal CinemaScore and PostTrak exits for a Marvel Cinematic Universe title. The Taika Waititi-directed sequel grossed $42.1M yesterday which is 4% above Friday’s true take of $40.5M (That’s $69.5M less $29M Thursday previews). This will get Thor: Love and Thunder to a $143M opening, per Disney. Worldwide is $302M, just like Nancy and I told you.
That number is the 12th-best opening for a Marvel Cinematic Universe title, after Guardians of the Galaxy: Vol 2‘s $146.5M. As we mentioned previously, the wonderful thing for motion picture studios as they put tentpoles out in the rebounding pandemic marketplace is that critical scores and exits aren’t watering down grosses like they did during pre-pandemic days.
Thor, like Jurassic World dinosaurs, is a big enough franchise to keep moviegoers coming, and again, this is the best the Norse Marvel superhero has ever opened in his history. Compared to Thor: Ragnarok, Thor: Love and Thunder pulled in a more diverse crowd, with more Hispanic and Latino (near a third of all ticket buyers, per PostTrak) and Asian at 13%.
Per EntTelligence, Thor: Love and Thunder became the sixth movie during the pandemic to pull in over 10M admissions in its opening weekend, after Spider-Man: No Way Home (20.6M), Doctor Strange in the Multiverse of Madness (14M), Top Gun: Maverick (11.6M), Jurassic World Dominion (10.8M), and The Batman (10.1M)
When it comes to the box office legs for a MCU movie, those “A” CinemaScores do make a difference. Spider-Man: No Way Home with an A+ CinemaScore saw a 3.1x multiple off its $260.1M 3-day opening, landing it at a domestic final of $804.7M. Shang-Chi and the Legend of the Ten Rings, which had an A, generated a near 3x multiple off its $75.3M 3-day, for a $224.5M stateside final gross. However, Eternals, with a B Cinema Score, posted a 2.3x multiple, while Doctor Strange in the Multiverse of Madness with its B+ saw a 2.19x off its $187.4M opening, which is resulting in a current domestic take of $411M. Can Thor: Love and Thunder defeat the odds? It’s the only massive crowd pleaser, arguably until Warner Bros/DC’s Black Adam arrives on Oct. 21 and Black Panther: Wakanda Forever on Nov. 11.
Imax auditoriums took in $23M for Thor: Love and Thunder around the globe, making it the fifth-biggest July debut for the exhibitor, or 7.6% of the fourthquel’s worldwide opening. North America’s 412 Imax screens drove $13.8M of Thor: Love and Thunder‘s weekend opening, or close to 10%, making it the large format’s fifth-biggest July opening weekend stateside. PLF screens overall contributed 36% to Thor 4‘s weekend. That includes Imax, Premium Large Format brands, 3D, and motion auditoriums.
Eighty-six of the audience was general, with 9% parents and 5% kids under 12. The moviegoing 18-34 demo repped 53% of Thor 4‘s weekend audience.
Marvel Boss Kevin Feige announced Thor: Love and Thunder at San Diego Comic Con 2019 (the last time the MCU sent shockwaves there), noting that there would be a new femme Thor played by Natalie Portman (aka Jane Foster). Disney launched the teaser trailer for Thor: Love and Thunder back in April, before Doctor Strange in the Multiverse of Madness opened. In 24 hours, the trailer chalked up 209M views online, placing it in the top tier of MCU trailers, behind only Avengers: Infinity War and Avengers: Endgame, and Spider-Man: No Way Home.
Spots ran across Good Morning America, summer reality competition programs, late night shows (Colbert, Fallon, Kimmel, Corden, Meyers), Hispanic network/cable, general audience cable, major sports events, including the NHL Stanley Cup Finals, MLB, and UFC. During the multigame NBA Eastern Conference Finals, the second trailer dropped, including custom promotional spots with Tyler Herro, Game No. 3 custom creative with Kevin Love and a ticket sales announcement, custom content featuring James Worthy prior to Game No. 4, and during the game, the trailer debut at halftime.
Notable promo partners on Thor: Love & Thunder included Geico, Old Spice, McDonald’s, and a custom console with XBOX. Geico’s creative played off of a current campaign in which new homeowners talk about their experiences – but in this case, there’s a lot of “hammering” going on in the neighborhood.
Old Spice had placement in the movie. In addition, there was a custom TV/digital/social campaign shot mockumentary-style, inspired by the Asgardian play theater troupe, with Luke Hemsworth as the actor version of Thor.
McDonald’s served up a worldwide Happy Meal program, TV spot, and a McDonald’s Power Up element, which gave kids the chance to rock out with their toys and the mobile app. There was also a big Times Square AR interactive billboard splash.
Xbox had its sixth Marvel partnership, with custom co-branded console kits amplified with out-of-home advertising in Times Square/LA Live, and pushes on the platform and online. Xbox and PC Games’ had a Goat Simulator Challenge inspired by the bombastic, screaming Toothgnasher and Toothgrinder, where the top gamers go head-to-head to determine who is the ‘Greatest of All-Time.’
Disney further leveraged the cast with its social media channels, which has a reach near a half-billion. That part of the campaign included custom Twitter emojis and influencers tapping into fun ‘Greatest of all Thor’ facts, crafters, cosplay and art. @TwitterMovies was on the red carpet with the cast answering fan questions, and the film took over the account on opening week, including changing the location to New Asgard. There was also a Twitch Love and Thunder Couples Challenge, where a real-life gamer couple livestreamed together and quizzed each other on MCU trivia while also answering dating game-style questions about each other. It should be noted that in PostTrak exits, close to a third of those women under 25 who watched the movie came with a date; 11% of that demo saw Thor 4 with a spouse/partner.
There were also digital takeovers on the Amazon Fire TV Feature Rotator, Hulu, Fandango, and ESPN, with additional digital support on social, search, YouTube, streaming audio, Twitch, IGN, Fandom, and Playwire, etc.
A Mighty Thor walkaround character and the Mjolnir Experience made its debut at Disneyland.
The near 200K likes on Waititi’s Instagram post on Saturday:
Universal/Illumination’s Minions: The Rise of Gru will see a second weekend of $45.55M, -57% — which is the same second weekend hold as 2015’s Minions. The movie, now at $210M, is pacing behind Minions by just $5.7M by EOD today. This is after a $17.45M Saturday, +20% over Friday.
Paramount’s Top Gun: Maverick‘s Saturday jumped 41% over Friday, $6.3M vs. $4.47M putting the pic’s 7th weekend at $15.5M, -40% for $597.4M.
Warner Bros.’ Elvis notched its third weekend where we were seeing it, coming in at $11M, for a $91.1M running total after a Saturday that was +30% over Friday, $4.36M vs. $3.3M.
An excellent healthy indicator that the theatrical business is in fantastic shape: Comscore is reporting the weekend for all movies at $236.1M, which is 28% ahead of the same post-July 4th weekend in 2019. The annual 2022 box office from Jan. 1-July 10 stands at $4.2 billion, 234% ahead of the same frame a year ago, and 30% behind that period for 2019.
The summer box office for the first Friday in May through July 10 has reaped $2.27 billion to date, +218% over the same period last summer, and pacing only 12% behind 2019 gross of that frame which was $2.58 billion. Spider-Man: Far From Home, off a $185M 6-day opening (of which Fri-Sun made $92.5M) ended its run at $390.5M, and industry sources this morning believe Thor 4 can emulate that final US/Canada gross.
Sunday AM reported figures:
1.) Thor: Love and Thunder (Disney) 4,375 theaters, Fri. $69.5M, Sat $42.1M, Sun $31.4M, 3-day $143M/Wk 1
2.) Minions: Rise of Gru (Uni) 4,427 theaters (+36), Fri $14.56M, Sat $17.45M, Sun $13.5M, 3-day $45.55M (-57%), Total: $210M/Wk 2
3.) Top Gun: Maverick (Par) 3,513 (-330) theaters, Fri $4.47M, Sat $6.3M, Sun $4.7M, 3-day $15.5M (-40%), Total $597.4M/Wk 7
4.) Elvis (WB) 3,714 theaters (-218), Fri $3.3M, Sat $4.36M, Sun $3.29M, 3-day $11M (-40%) Total $91.1M/Wk 3
5.) Jurassic World Dominion (Uni) 3,251 (-550) theaters, Fri $2.44M, Sat $3.4M, Sun $2.56M, 3-day $8.4M (-49%), Total $350.3M/Wk 5
6.) The Black Phone (Uni) 2,559 (-597) theaters, Fri $2.37M, Sat $3M, Sun $2.27M, 3-day $7.66M (-37%)/Total $62.3M: Wk 3
7.) Lightyear (Dis) 2,090 (-1,710) theaters, Fri $939K, Sat $1.22M, Sun $736K, 3-day $2.9M (-55%), Total $112.3M/Wk 4
8.) Marcel the Shell With Shoes On (A24) 48 theaters (+26), Fri $102K, Sat $132K, Sun $105,6K 3-day $340K (+30%), Total $963,4K/Wk 3
9.) Doctor Strange in the Multiverse of Madness (Dis) 140 (-450) theaters, Fri $87k, Sat $107K, Sun $68K, 3-day $262K (-36%), Total $411.06M/Wk 10
10.) Everything, Everywhere All at Once (A24) 286 (-321) theaters, Fri $68,5K, Sat $95,8K, Sun $76,7K, 3-day $241,1K (-56%), Total $67.6M/Wk 16
11.) Mr. Malcolm’s List (BST) 1,057 (-327) theaters, Fri $70K, Sat $109K, Sun $65,5K, 3-day $245K (-76%), Total: $1.64M/Wk 2
‘Minions: Rise Of Gru’ Heading for a Record $128M Independence Day Opening at the BO!!
As Illumination/Universal’s Minions: The Rise of Gru clinches an Independence Day 4-day opening record of $127.9M, the movie’s success this weekend should come as a reminder to many executives, both motion picture and streaming, as well as Wall Street, about the power of the big screen.
While it may go without saying, realize that Rise of Gru‘s success here, in addition to being built on the back of a multimillion dollar global marketing campaign, is also propped by a kid’s brand that has generated over $6 billion in retail sales. And that brand was built off of what was an original motion picture IP 12 years ago, which hasn’t dimmed. Streaming movie franchises — they don’t yield these types of results.
True, there’s the assortment of Viacom Nick properties, i.e. South Park, SpongeBob, and Dora the Explorer. But those are long-running TV series.
When you’re a motion picture global brand, advertisers want to partner with you, and in the case of Minions: The Rise of Gru, Universal pulled in a group of global advertisers, who all together delivered the biggest media value ever for an Illumination Despicable Me/Minions movie at $285M+, according to sources.
These stateside partners included Liberty Mutual, CarMax, Zip Recruiter, IHOP restaurants, HelloFresh, Hippeas, Levi’s, Supergoop!, Olipop, McDonald’s, and more.
Consider the feat with pulling this promo partnership off for a minute. This was a movie that was originally scheduled to come out two years ago. The pandemic screwed up all these promo partnerships for a number of movies, i.e. bags of Wonder Woman 1984 Doritos were hitting grocery shelves during the summer of 2020 as that sequel was originally set to be released that summer (before jettisoning to a HBO Max theatrical day-and-date plan at the end of the year). There were certain promotions connected to tentpole movies that summer which had to go, as the product and supply chain was ready for that product. In the case of Minions: The Rise of Gru, toys connected to the movie were hitting Walmart. Ditto for Top Gun: Maverick, which had a Matchbox airplane set on shelves, too.
Whenever there are massive last-minute release theatrical date shifts (we’re talking last-minute, within months), promo partners are apt to get riled up at studios, as products have been created for a film, and there’s a time line in which they’re expected to hit the market. However, during the earlier part of the pandemic, there were a multitude of release date changes as box office capitals New York and LA remained closed, and studios, for the most part, remained on level terms with promo partners because of force majeure rules.
Some of Minions: Rise of Gru‘s stateside advertisers include:
Liberty Mutual, which had their first animation partnership with Rise of Gru, with their custom spot starring the guys in an iconic New York boardwalk backdrop from Liberty Mutual’s Truth Tellers campaign.
In its first film partnership, automotive retail partner CarMax aired two spots featuring the Minions around its 30-Day Money Back Guarantee (up to 1,500 miles) and Instant Online Offer to sell one’s car. The sequel was promoted on CarMax’s social channels and at their 230+ store locations nationwide. There was a social filter, whereby CarMax customers could take a photo or video with the Minions as they capture the memory of purchasing their new car, along with CarMax’s iconic big yellow bow.
McDonald’s is a returning partner to the franchise, and they’ve pushed the sequel in 70 markets, including Australia, France, Spain, Germany, Italy, Korea, Japan, and Canada. The campaigns included three lines of Happy Meals and a line of plastic toys. There was a custom animated spot featuring the Minions putting their Kung-Fu skills to the test for the last McNugget.
IHOP served up a limited menu centered around the film with Ba-Ba-Banana Pudding Pancakes, Cinna-minions, Gru’s Evil Steakburger, and more at their 1,700 restaurants in the US, Mexico, Peru, Panama, and Puerto Rico. The partnership included a 360 marketing campaign and custom TV spot featuring a Minion dreaming about the pancakes and fantasizing about a whirlwind romance together.
Rise of Gru was featured in Levi’s 275 stores around the world, where consumers could choose from an assortment of pins, patches, and more, then work with a tailor to adorn to their favorite Levi’s piece. The in-store experience included a Minions takeover of the Levi’s Tailor Shop, a custom Levi’s Minions video spot, and an interactive element.
HelloFresh offered up a limited-edition inspired-by meal kit for consumers to create their own Minions Pizza. Consumers were able to submit photos on social media with the hashtag, #HelloFreshMinions, and enter into a contest to win movie tickets and swag.
Suncare brand Supergoop! launched a limited-edition Minions line with its Play sunscreen. The collaboration dropped right around National Sunscreen Day to promote the film, while educating on the importance of SPF. Supergoop! also has a Minions-themed PSA, organic social, and PR/influencer campaign.
Soda brand Olipop created a limited-edition Banana Cream flavor inspired by the Minions’ infatuation with the fruit. Olipop pushed the movie via organic social, digital media, influencer partnerships, email newsletters, SMS, and a webpage takeover in a campaign that racked up 22M impressions.
Chickpea-based snack brand, Hippeas is a returning partner to the series with a campaign in the US, UK, and Ireland. Minions are splashed across all flavors of its chickpea puffs in a program that’s supported by outdoor, in-store displays, digital and PR.
There was never a question about family moviegoers returning during the pandemic. In fact, they already did, and Spider-Man: No Way Home‘s record $804.8M domestic performance was proof, along with Illumination/Universal’s Sing 2 playing in the shadow of it during the year-end holidays, with a final $162.7M U.S./Canada gross.
However, Rise of Gru did attract a massive under-25 demographic at 89%. Even more impressive is how Universal made a brand that was unhip, hip again for the 13-17 crowd, who showed up at 34%. Alas, the power of TikTok. Scroll down for more detail.
Said Universal Domestic Distribution Boss Jim Orr about the success of Minions: The Rise of Gru this weekend, “This is an amazing debut, proving that when you have an incredibly well-crafted, brilliantly acted, hysterically funny film, as we do with Minions: The Rise of Gru, family audiences will pour into theatres. Chris Meledandri and Illumination add to their extraordinary record of success with a film that audiences are embracing around the world.”
Of Minions: Rise of Gru‘s ticket sales, $8.6M ($7.3M for the 3-day) came from 400 Imax auditoriums in the US and Canada, making it the fourth-highest Domestic IMAX opening weekend ever for an animated title.
There’s a handful of tentpoles that Universal promotes through its Symphony program, which means they get a huge push across all sister brands in the Comcast conglomerate.
In partnership with its streamer, Peacock, there was a cobranded Minions: The Rise of Gru x The Office custom animated piece which dropped, yielding over 14M views in its first day online.
Minions had in-show integrations on America’s Got Talent and TODAY, which had a Minion segment daily during its week of release, including anchors drawn as Minions by The Rise of Gru codirector Brad Abelson. There was also a Minion fan celebration event from the TODAY plaza, exclusive clip reveals, and an appearance by star Steve Carell. There was also a full Minions episode takeover of American Ninja Warrior, including a branded obstacle course, animated Minions running the course, and a cobranded logo.
Rise of Gru kicked off with the Tokyo Summer Olympics featuring two custom animated, cobranded spots highlighting the yellow guys’ encounter with Olympians Caeleb Dressel and Simone Biles. There were also placements across the Beijing Olympics, French open, Indy Car, MLB, Premiere League, Belmont Stakes, Sky’s broadcast of The Hundreds, and Telemundo’s broadcast of the FIFA World Cup.
And, of course, there were activations at Universal Parks and Resorts, including Minions tricked-out at entrances, tram tours, etc. at Universal Studios Japan, Singapore, Hollywood, and Orlando resorts.
Weekend estimates as of this morning:
1.) Minions: Rise of Gru (Uni) 4,391 theaters, Fri $48.2M, Sat $32.6M, Sun $27.7M, 3-day $108.5M, 4-day $127.9M/Wk 1
2.) Top Gun: Maverick (Par) 3,843 (-105) theaters, Fri $7.1M, Sat $9.6M Sun $8.7M, 3-day $25.5M (-14%), 4-day $32.5M, Total $570.9M/Wk 6
At $1.1 billion, the sequel is now producer Jerry Bruckheimer’s highest grossing movie of all-time worldwide, outstripping 2006’s Pirates of the Caribbean: Dead Man’s Chest which did $1.066 billion.
3.) Elvis (WB) 3,932 (+26) theaters, Fri $5.3M, Sat $6.9M, Sun $6.9M 3-day $19M (-39%) 4-day $24M, Total $72.3M/Wk 2
Great hold here. But it’s not the young kids who are propelling this movie in weekend 2 PostTrak exits. Rather, it’s the continued flow of older women. Females 25+ repped half the audience (+5%). The over 55 crowed showed up at 33% this weekend (+2%), while the under 25 at 18% (-3%).
4.) Jurassic World Dominion (Uni) 3,801 (-432) theaters, Fri $4.7M, Sat $5.9M, Sun $5M, 3-day $15.6M (-41%), 4-day $19.2M, Total $335.3M/Wk 4
5.) The Black Phone (Uni) 3,156 (+6) theaters, Fri $3.9M, Sat $4.5M Sun $3.8M, 3-day $12.3M (-48%), 4-day $14.6M,/Total $49.7M: Wk 2
Typically horror films drop like a rock in weekend 2, more than -60%. Not this one.
6.) Lightyear (Dis) 3,800 (-455) theaters, Fri $2M, Sat $2.4M , Sun $2.1M/3-day $6.5M (-64%), 4-day $8.1M, Total $106.9M/Wk 3
7.) Mr. Malcolm’s List (BST) 1,384 theaters, Fri $311K, Sat $285K, Sun $256K, 3-day $851,8K, 4-day $1.03M/Wk 1
8.) Everything, Everywhere All at Once (A24) 607 (+83) theaters, Fri $141K, Sat $209K Sun $202K, 3-day $552K (+4%), 4-day $673K, Total $67.1M/Wk 15
9.) Doctor Strange in the Multiverse of Madness (Dis) 590 (-1,265) theaters, Fri $108k, Sat $152K, Sun $130K, 3-day $390K (-78%), 4-day $482K, Total $410.6M/Wk 9
10.) Jug Jugg Jeeyo (Moviegoer) 318 theaters, Fri $98,6K, Sat $112K, Sun $97,4K, 3-day $308K (-58%), 4-day $375,6K, Total: $1.5M/Wk 2
11.) Marcel the Shell With Shoes On (A24) 22 theaters (+16), Fri $92K, Sat $85K Sun $82K , 3-day $258,4K (+62%), 4-day $308K, Total $530,7K/Wk 2
‘Jurassic World Dominion’ Adds Another $19.1 Million to Take Total to $824.5 Million at the Worldwide BO!!
Dinosaurs are still ruling the Earth as audiences are flocking to movie theaters this Fourth of July weekend, Universal‘s Jurassic World Dominion has achieved an estimated $15.650 million three-day and a $19.180 million four-day total at the domestic box office so far. This adds to a $335.345 million domestic performance of the film alongside $824.5 million worldwide.
The film also made $4.660 million total on Friday with an additional $5.940 million added on Saturday. Jurassic World Dominion is also estimated to receive $5.050 million this Sunday. An additional $3.530 million is expected this Monday which will add on to the weekend box office total due to the Fourth of July holiday.
Compared to previous films of the franchise, Jurassic World Dominion falls slightly behind Jurassic World: Fallen Kingdom on its fourth weekend which made $16.2 million at the domestic box office for a three-day weekend and fell to fifth place. On its fourth weekend, the original Jurassic World grossed an impressive $29.242 million at the box office where the film fell to second place.
Still playing in 3,801 North American movie theaters, the film has also now reached fourth place at the box office behind Minions: The Rise of Gru, Top Gun: Maverick, and Elvis. Despite the negative reviews the film has received, and falling behind the previous two Jurassic World films, Dominion is still holding its own at the box office with pretty decent legs as it continues to roar in theaters.
Jurassic World Dominion is directed by Colin Trevorrow and stars Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, Sam Neill, Mamoudou Athie, and Campbell Scott.
The film is now playing exclusively in theaters. Check out the synopsis for the film below:
This summer, experience the epic conclusion to the Jurassic era as two generations unite for the first time. Chris Pratt and Bryce Dallas Howard are joined by Oscar®-winner Laura Dern, Jeff Goldblum and Sam Neill in Jurassic World Dominion, a bold, timely and breathtaking new adventure that spans the globe. From Jurassic World architect and director Colin Trevorrow, Dominion takes place four years after Isla Nublar has been destroyed. Dinosaurs now live—and hunt—alongside humans all over the world. This fragile balance will reshape the future and determine, once and for all, whether human beings are to remain the apex predators on a planet they now share with history’s most fearsome creatures. Jurassic World Dominion, from Universal Pictures and Amblin Entertainment, propels the more than $5 billion franchise into daring, uncharted territory, featuring never-seen dinosaurs, breakneck action and astonishing new visual effects.
‘Elvis’ and ‘Top Gun: Maverick’ Battling for Top Spot with $30.5M at the BO!!
Elvis and Top Gun: Maverick are in a dead heat for No. 1, with both Warner Bros and Paramount respectively calling each film at $30.5M for the weekend.
If you boil this face-off down to admissions, box office analytics firm EntTelligence is calling the weekend in favor of Top Gun Maverick, with 2.5M admissions to Elvis’ 2.4M admissions.
Industry average weekend estimates show Elvis ahead of Top Gun: Maverick, $30.1M to $29.965M.
Top Gun: Maverick had a slightly lower average ticket price over Elvis, $12.47 to $12.52.
Paramount is calling the 5th weekend for Top Gun: Maverick at -32% dip from weekend 4, after a Saturday night that beat Elvis‘, $12M to $10M.
Warners believes Elvis‘ first Sunday will decline by 23% from Saturday to $7.7M. Paramount is saying Top Gun 2‘s Sunday will be at $10.2M, -15% from Saturday.docto
Still with fierce numbers like this, it’s a rich man’s problem. As one industry marketing executive couched the weekend, “Craziness, but a rising tide to lift all boats for sure.” The top four films grossed over $20M apiece. In addition to Elvis’ opening here and Top Gun 2‘s fifth weekend, Universal is claiming third and fourth place with the third weekend of Jurassic World Dominion at $26.4M and the opening of Blumhouse’s R-rated horror movie The Black Phone, which overperformed to $23.3M. That’s off the backs of the 18-34 crowd, which showed up at 64%; 53% under 25 and 51% female.
The last time that box office feat occurred was over Thanksgiving weekend 2018 (Ralph Breaks the Internet $56.2M, Creed II – $35.5M, The Grinch – $30.3M, Fantastic Beasts 2 – $29.3M) and before that during a non-holiday weekend it was July 21-23, 2017 (Dunkirk – $50.5M, Girls Trip – $31.2M, Spider-Man: Homecoming – $22.1M, and War for the Planet of the Apes – $20.6M).
Big cheer here to Warner Bros. for getting much older out, which in updated Comscore/Screen Engine PostTrak exits is 31% over 55, 48% over 45. Not to mention, Elvis reps a breakthrough at the box office for a long-running time pic at 2 hours and 39 minutes. It’s also been over-written how cautious older women were to return to cinemas during the pandemic. However, Elvis pulled in a huge 45% women over 25 (who gave the pic its highest grade at 92%). The success here with Elvis is that it shows these adult skewing movies can still open on the big screen to very good numbers. Everything that’s non-tentpole doesn’t have to be sent to streaming. Amen.
Warner Bros. Domestic Distribution Boss Jeff Goldstein was over the moon: “Our marketing team went all out. This team was in the field for 30 days straight, on the road. They’re absolutely everywhere, doing surprise and delights in theaters. Baz Luhrmann is a spokesperson to the theatrical experience.”
Luhrmann rallied folks to get out to theater, not just for his film, but all films:
Warner Discovery CEO David Zaslav has much to be proud here with Baz Luhrmann’s $85M production. We hear that outgoing Warner Bros Motion Pictures Group Boss Toby Emmerich was a big champion of Elvis, and the results here are a nice send-off as he transitions to a producer role on the Burbank, CA lot.
Excellent buzz for Elvis to keep it going at 4 1/2 stars, 88% positive, 72% definite recommend on PostTrak, and a Rotten Tomatoes audience score of 94% that beats that of Bohemian Rhapsody (85%), Rocketman (88%), and A Star Is Born (79%). Also indicating word-of-mouth is working is the fact that 63% bought their tickets on Saturday on the same day, per PostTrak. Proof that the older crowd showed up is in the EntTelligence admission shares, which showed 50.9% of moviegoers watching the pic before 5PM.
This was a passion project of Luhrmann’s that defied the odds when the Covid pandemic hit, with Tom Hanks catching the virus “six days from starting principal” and production shutting down for months. Luhrmann took the time to refocus the screenplay, particularly from Hanks’ Colonel Tom Parker pov, and Austin Butler stayed in Australia, where the pic was shot, to work on his Elvis from head to toe during the Covid downtime. Warners world premiered the movie at the Cannes Film Festival last month. That’s where Luhrmann launched his filmmaking career with Strictly Ballroom back in 1992. Elvis received the longest standing ovation at Cannes this year, clocked at ten minutes by Deadline.
What did family audiences think of Disney/Pixar’s Lightyear in weekend 2? Well, it took a 65% tumble ($17.66M), which is arguably the second-worst decline for a Pixar movie after Onward‘s -73% second weekend, which was when the pandemic was roaring up in early March 2020.
Back to Black Phone. Not only did the Blumhouse title have great reviews, but great exits, with 86% positive on PostTrak and 90% on Rotten Tomatoes’ audience poll, to pair with its B+ CinemaScore. Evidence that the younger demos turned out for this movie is in its post 9PM business, which repped 30.9% of admissions yesterday, per EntTelligence, the largest share among the top five movies for that time frame.
Exclaimed Uni Domestic Distribution Chief Jim Orr, “Blumhouse and Scott Derrickson brought Joe Hill’s frightening story to theatres this weekend and terrified audiences across North America. This is a tremendous, well-deserved debut for The Black Phone, and our terrific critical reviews and audience reaction scores point to a very healthy run through the summer.”
There’s really no other genre movies on the calendar like Black Phone until Jordan Peele’s Nope on July 22, and New Line’s Salem’s Lot on Sept. 9. Top markets were LA, NYC, Dallas, Chicago, Houston, Atlanta, San Francisco, Phoenix, Philly, and D.C. At $1.7M over the last two days, LA is a strong market for Black Phone. The pic overperformed on the West Coast, South Central and Northeast regions.
1.) Elvis (WB) 3,906 theaters, Fri $12.8M, Sat $10M, Sun $7.7M, 3-day $30.5M/Wk 1
2.) Top Gun: Maverick (Par) 3,948 (-87) theaters, Fri $8.3M, Sat $12M, Sun $10.2M, 3-day $30.5M (-33%), Total $521.7M/Wk 5
3.) Jurassic World Dominion (Uni) 4,233 (-464) theaters, Fri $7.5M, Sat $10.8M, Sun $8.1M, 3-day $26.44M (-55%)/Total $302.77M/Wk 3
4.) The Black Phone (Uni) 3,150 theaters, Fri $10.2M, Sat $7.5M, Sun $5.6M, 3-day $23.3M/Wk 1
5.) Lightyear (Dis) 4,255 theaters, Fri $5.4M, Sat $6.95M, Sun $5.3M /3-day $17.66M (-65%), Total $88.7M/Wk 2
6.) Doctor Strange in the Multiverse of Madness (Dis) 1,855 (-610) theaters, Fri $521k, Sat $704K, Sun $500K, 3-day $1.72M (-61%), Total $409.1M/Wk 8
7.) Jug Jugg Jeeyo (Moviegoer) 318 theaters, Fri $235K, Sat $287K, Sun $203K, 3-day $725K, Wk 1
8.) Everything, Everywhere All at Once (A24) 524 (-155) theaters, Fri $144K, Sat $216K, Sun $173K, 3-day $533K (-44%), Total $66.1M/Wk 14
9.) Bob’s Burgers (20th/Dis) 590 (-760) theaters, Fri $156K, Sat $203K, Sun $154K, 3-day $513K (-56%), Total $31M/Wk 5
10.) The Bad Guys (Uni) 1,033 (-461) theaters, Fri $140K, Sat $170K, Sun $130K 3-day $440K (-56%), Total $95.4M /Wk 10
‘Top Gun: Maverick’ Crosses $1 Billion at the Global BO!!
Yet again Top Gun: Maverick is claiming headlines, racing past its coveted $1 billion benchmark and back to the top, leaving all other blockbusters far in its wake. Exceeding all initial expectations, Maverick steals the show in its fifth weekend, pulling in an astounding $1.006 billion worldwide in just under a month. Paramount‘s top gun snagged the #1 spot, grossing $521.7 million domestically, and $484.7 million from international.
At the one-month mark, the Top Gun sequel has become a sensational success as the first film of the year to clear the $1 billion benchmark. This past weekend, Maverick took the #1 spot in its opening weekend in Korea grossing an impressive $12.9 million at just 478 locations. Already having staked its claim for the highest earning film of the year domestically, trumping Disney‘s Doctor Strange in the Multiverse of Madness, Maverick now sets its sights for highest grossing film worldwide. Dropping only 26% from last weekend, the international earnings now total $484.7 million on top of $499 million domestic. This billion dollar landmark will be the first in actor Tom Cruise‘s four-decades-long career of blockbusters, including his previous most successful film Mission: Impossible – Fallout, at only $791.1 million worldwide.
In its fifth weekend, Top Gun: Maverick has surpassed Sony‘s Spider-Man: No Way Home without openings in two major markets, Russia and China. In Japan, Maverick took another remarkable $4.7 million from only 376 locations, seizing the #1 spot for the fifth weekend running. Internationally, as a whole, Maverick has pulled $484.7 million with Korea on top, Japan ($51.1 million total), then the UK dropping a mere 18% from last weekend at a tremendous $4.3 million ($78.7 million total), Australia at $3.6 million ($45.5 million total), France pulling $3 million ($38.8 million total), and Germany with $1.7 million for its fifth weekend, totaling $23.4 million total. Well past its extended Memorial Day weekend opening, the Paramount sequel continues soaring to new heights.
For Paramount 2022 has been a goldmine after the pandemic’s slow releases. Sonic the Hedgehog 2 has raked in $570 thousand across 44 markets this weekend, totaling $210.2 million internationally, and The Lost City starring Channing Tatum and Sandra Bullock has grossed $84.4 million internationally.
Top Gun: Maverick stars Cruise, Miles Teller, Jennifer Connelly, Jon Hamm, Ed Harris, Glen Powell, Lewis Pullman, Danny Ramirez, Monica Barbaro, Manny Jacinto, and Val Kilmer.
According to Paramount, a recent re-release to IMAX and repeat views – with some movie-goers seeing Maverick three times in theaters – has exponentially fueled the surge. You can watch Top Gun: Maverick in theaters now, and check out the synopsis below:
Test pilot Captain Pete “Maverick” Mitchell (Cruise) has purposely dodged an advancement in rank after thirty years of service. One day Maverick is called to be put in charge of training a group of Top Gun graduates for a specialized mission under the orders of his fellow naval aviator friend and former rival, Tom “Iceman” Kazansky (Kilmer), who is the commander of the U.S. Pacific Fleet. Among them is Lieutenant Bradley “Rooster” Bradshaw (Teller), the son of Maverick’s late best friend Nick “Goose” Bradshaw (Edwards).
‘Sonic the Hedgehog 2’ Crosses $400 Million at the Global BO!!
Sonic the Hedgehog 2 has crossed $400M globally. Released on April 8, the movie grossed over $190 million on the domestic front and over $209 million internationally. Directed by Jeff Fowler, the sequel follows Sonic, who is adamant to prove that he has what it takes to be a real hero. His opportunity comes when Dr. Robotnik returns with a new partner (and a familiar face to the fans of the franchise), Knuckles. Together, they are on a search for a mystical emerald that can destroy civilizations. Sonic gets a sidekick in this sequel, teaming up with the fan-favorite Tails to find the emerald before Dr. Robotnik and Knuckles.
Sonic the Hedgehog 2 had the #1 highest-grossing domestic opening for a video game adaptation ever, supplanting the first film in the series. “With Sonic the Hedgehog 2, our filmmakers and producing partners delivered the high-quality theatrical experience that the whole family had been waiting for, and we are thrilled with the enthusiastic global response to the characters and world we have created out of the beloved Sonic IP,” said Marc Weinstock, President, Worldwide Marketing & Distribution, Paramount Pictures. Daria Cercek, Co-President, Paramount Motion Picture Group, added,
This milestone demonstrates that audiences are hungry for great family entertainment, and that when we deliver on world-class, enduring franchises, crowds deliver in theatres. We can’t wait to expand the Sonic universe further and bring more exciting stories to fans with the next film installment and the upcoming Paramount+ series.
The sequel stars Ben Schwartz as the voice of Sonic, James Marsden as Tom Wachowski, Tika Sumpter as Maddie Wachowski, Natasha Rothwell as Rachel, Adam Pally as Wade, and Jim Carrey returning as Doctor Robotnik, alongside new additions Shemar Moore as Randall, with Idris Elba as the voice of Knuckles, and Colleen O’Shaughnessey as the voice of Tails.
Pat Casey and Josh Miller penned the sequel’s story, alongside John Whittington. The movie is produced by Neal H. Moritz, Toby Ascher, Toru Nakahara, and Hitoshi Okuno.
Sonic The Hedgehog 2 is out in theaters. Here’s the official synopsis for the film:
After settling in Green Hills, Sonic is eager to prove that he has what it takes to be a true hero. His test comes when Dr. Robotnik returns with a new partner, Knuckles, in search of a mystical emerald that has the power to destroy civilizations. Sonic teams up with his own sidekick, Tails, and together they embark on a globe-trotting journey to find the emerald before it falls into the wrong hands.
‘Jurassic World Dominion’ Beats ‘Lightyear’ to Retain Top Spot at the BO!!
Blame the fact that it doesn’t appeal to girls, blame Disney+ for stealing family moviegoers, blame the lack of an ensemble Toy Story cast, heck, blame everything as Disney/Pixar’s Lightyear didn’t do its magic by internal studio or industry standards this weekend with $51M, close to a third below its lowest $70M pre-release projection.
This is an opening more in the vicinity of Pixar’s original fare (i.e. Coco $51M, Ratatouille $47M), so it could still leg out to $200M+. However, given how this IP was built on the back of the Toy Story brand, it’s clear many were expecting significantly more. Lightyear overall was down in its global start, $85.6M versus the top-end $135M estimate we reported. In sum, there wasn’t any urgency for mass moviegoers to see Lightyear.
Universal/Amblin is calling Jurassic World Dominion at $58.66M, -60%, and a $68M 4-day.
While Lightyear had good exits, if you stack them up against Toy Story 4, it’s just not as vibrant. Lightyear had a 61% definite recommend to the latter’s 75%. Toy Story 4‘s positivity score was higher 89% to Lightyear‘s 85%, and that 2019 sequel had an even split between boys and girls. Also, while an A- CinemaScore is, of course, great for any movie, an A is even more platinum, and makes all the difference in regards to legs, especially when it comes to animation. The slight difference is vital.
How else did Jurassic World Dominion whip Lightyear? I hear that Dominion had more large format availability and more evening activity than Lightyear, which helped the box office for the Colin Trevorrow film. Box office stat firm EntTelligence reports that Dominion had 51% of the premium format seats (PFS) to Lightyear‘s 43%. The presales in weekend 2 for the dinosaurs indicated this would happen. Four hundred Imax auditoriums generated 8% of Dominion‘s gross, with other premium large format (PLF) screens driving 11%. All in, all premium formats repped close to a third of Dominion‘s second weekend take, or $17M. Imax and PLF drove 24% of the gross for Lightyear. Next weekend, Disney gets all the Imax screens for the Angus MacLane-directed Pixar title.
Overall, EntTelligence showed that Dominion pulled in 36% of the weekend audience in the last two days, to Lightyear‘s 33%. Dominion overindexed in the South, South Central, and Midwest. The dinosaurs beat Lightyear in Canada over the first two days, $2.875M to $1.76M, and popped in Hispanic and Latino markets like San Antonio and more. This despite the fact that Lightyear beat Dominion in LA and family hub Salt Lake City.
RelishMix reports Lightyear‘s social media universe in the TikTok era was lower than the massive footprint that Toy Story 4 had, 396.1M across all social formats to 757.7M. Among recent comps like Sonic the Hedgehog 2, Lightyear ran 12% under that pic’s social media reach before opening. Disney had a social media champ in MCU star Chris Evans, who promoted to his near 34M fans. Keke Palmer was well-activated at 21.8M fans, along with Uzo Aduba at 3.6M, plus Taika Waititi at 5.4M.
Paramount/Skydance’s Top Gun: Maverick is coming in at $44M, down an amazing 15%, for a $466.1M total by EOD today, which, as we reported last night, is the third-best fourth weekend ever for a movie, after American Sniper ($89.1M) and Avatar ($50.1M).
We’re hearing that Top Gun 2 on Father’s Day is leading presales. Over the weekend, Top Gun 2 became producer Jerry Bruckheimer’s top-grossing title at the domestic box office, clicking past 2006’s Pirates of the Caribbean: Dead Man’s Chest, which did $423M. Worldwide, Dead Man’s Chest is still the producer’s top around the world with $1.07 billion, followed by 2011’s Pirates of the Caribbean: Stranger Tides ($1.05B) and 2007’s Pirates of the Caribbean: At World’s End ($961M). It will take a bit for Top Gun 2, currently at $885M WW, to fly past that trio.
In tenth place is Focus Features’ Brian and Charles. In 279 locations in 100 markets, it did $198K over 3-days, for a $711 per theater, with an expected $221K. The numbers speak for themselves. Only one theater cracked $1K, and that was the Alamo Drafthouse South Lamar in Austin, TX. Focus didn’t overspend here, I understand, digitally targeting the audience and taking global rights at a low cost.
1.) Jurassic World Dominion (Uni) 4,697 (+21) theaters, Fri $15.8M, Sat $21.98M, Sun $20.88M, 3-day $58.66M (-60%)/4-day $68M/Total $259.1M/Wk 2
2.) Lightyear (Dis) 4,255 theaters, Fri $20.7M, Sat $16.3M, Sun $14M, 3-day $51M, 4-day est $55M+/Wk 1
3.) Top Gun: Maverick (Par) 4,262 (-489) theaters, Fri $11M, Sat $15.6M, Sun $17.3M, 3-day $44M (-15%), 4-day est $48M, Total $470.1M/Wk 4
4.) Doctor Strange in the Multiverse of Madness (Dis) 2,465 (-880) theaters, Fri $1.1M, Sat $1.57M, Sun $1.52M, 3-day $4.2M (-19%), 4-day $4.4M, Total $405.2M/Wk 7
5.) Bob’s Burgers (20th/Dis) 1,350 (-1,255) theaters, Fri $349K, Sat $441K, Sun $310K, 3-day $1.1M (-51%), 4-day $1.3M, Total $30M/Wk 4
6.) Everything, Everywhere All at Once (A24) 679 (-755) theaters, Fri $260K, Sat $359K, Sun $341K, 3-day $960K (-26%), 4-day $1.2M, Total $65.1M/Wk 13
7.) The Bad Guys (Uni) 1,477 (-939) theaters, Fri $280K, Sat $370K, Sun $330K, 3-day $980K (-61%), 4-day $1.15M, Total $94.4M /Wk 9
8.) Downton Abbey – A New Era (Foc) 1,179 (-832) theaters, Fri $260K, Sat $300K, Sun $270K, 3-day $830K (-53%), 4-day $970K, Total: $42.3M/Wk 5
9.) Sonic the Hedgehog 2 (Par) 439 (-628) theaters $54K, Sat $94K Sun $80K, 3-day $228K (-70%), 4-day est $280K, Total $190.5M/Wk 11
10.) Brian and Charles (Foc) 279 theaters, Fri $74K,Sat $73K, Sun $51K, 3-day $198K, 4-day $221K, Wk 1
‘Top Gun: Maverick’ Has Become Paramount Pictures’ Second Highest Grossing Film of All-Time!!
Since its release, Top Gun: Maverick has been exceeding expectations, and now continues its box office domination. The movie has constantly broken box office records, and now, the film is Paramount Pictures‘ second-highest-grossing film of all time.
The sequel film starring Tom Cruise had only recently taken up the mantle as the highest-grossing movie of 2022, passing $400 million and replacing Doctor Strange in the Multiverse of Madness at the top of the box office standings. Now, following three weeks of its worldwide theatrical release, Top Gun: Maverick is now the second highest-grossing film from Paramount Pictures, overtaking another blockbuster, Transformers: Revenge of the Fallen,which pulled in $402 million in its heyday. With $415 million to its name, Maverick now sits behind the legendary film, Titanic which grossed over $658 million. The top spot is somewhat within sight if this wind holds, however. Since the film was released worldwide, it has gone on to become Cruise’s highest-grossing movie at $800 million. This surpasses the record held by another hit Cruise film, Mission: Impossible – Fallout, which grossed $791 million.
One thing is for certain: Maverick has been doing amazing numbers and is setting new records. With the global view looking strong, the domestic side of this is also nothing to be sniffed at, with $422 million pulled so far. International markets are not being sloppy either, with $384 million reported from overseas. This film is now Tom’s highest opener of all time and his most lucrative. In 23 international markets including the United Kingdom, Australia, and Brazil, Top Gun: Maverick is the biggest Tom Cruise movie. It also holds the record as Paramount Pictures’ biggest live-action movie in 15 markets. Given that the sale of tickets is still going strong, there is still the prospect of the film hitting new heights, and maybe the global $1 billion mark can be attained.
Released over Memorial Day weekend, Top Gun: Maverick has proven that when a sequel is done right, it can be a massive success. Asides from Cruise, who reprises his role from the original movie as the titular Pete “Maverick” Mitchell, Maverick also features another Top Gun alum in Val Kilmer. Other stars of the film include Lewis Pullman, Danny Ramirez, Monica Barbaro, Jay Ellis, Miles Teller, Glen Powell, Jon Hamm, Jennifer Connelly, and Greg Tarzan Davis. The film is directed by Joseph Kosinski.
It would be interesting to see if Maverick holds out for the rest of the year, but given that there are huge movies yet to release like Thor: Love and Thunder and Black Panther: Wakanda Forever, it will be an exceptional joust. Check the official synopsis for the film below if you are yet to see it:
Test pilot Captain Pete “Maverick” Mitchell (Cruise) has purposely dodged an advancement in rank after thirty years of service. One day Maverick is called to be put in charge of training a group of Top Gun graduates for a specialized mission under the orders of his fellow naval aviator friend and former rival, Tom “Iceman” Kazansky (Kilmer), who is the commander of the U.S. Pacific Fleet. Among them is Lieutenant Bradley “Rooster” Bradshaw (Teller), the son of Maverick’s late best friend Nick “Goose” Bradshaw (Edwards).
‘Jurassic World Dominion’ Stomps with $143M+ Opening at the BO!!
Jurassic World Dominion isn’t going extinct at the box office. The Universal/Amblin sequel saw its Saturday business jump to $46.7M compared to Friday’s actual gross less $18M previews of $41.7M, a 12% climb. This puts the Colin Trevorrow-directed, written and executive produced movie on a course for a $143.37M opening, off 3% from the last film, Fallen Kingdom.
Box office analytics corp EntTelligence says 10.8M moviegoers saw Dominion this weekend, which is the fourth-best admissions for a major studio movie’s opening weekend during the pandemic after Spider-Man: No Way Home (20.6M), Doctor Strange in the Multiverse of Madness (14M) and Top Gun: Maverick (11.6M).
As previously mentioned, Dominion has posted the best stateside debut for a non-superhero movie during the pandemic, ahead of the $126.7M 3-day previously posted by Paramount’s Top Gun: Maverick, which held up tremendously against the dinos in its third weekend with $50M, -44%, and a running total of $393.3M. Even more impressive about that hold: Universal took all of Top Gun 2‘s Imax and premium format screens this weekend.
The worldwide weekend for Dominion is $319M, for a global running total of $389M, which includes offshore holdovers.
Seriously, that’s an amazing result. I thought that the bad reviews and prickly PostTrak exits would collapse Dominion‘s domestic opening far below the $125M that the studio was projecting, but clearly there’s a great enthusiasm here for the brand. Says one rival studio executive this morning, “Never underestimate the power of dinosaurs.” That and Universal’s marketing machine across all Comcast tentacles (named NBCUniversal’s Symphony program which includes movie promotions across all sectors including theme parks, Xfinity cable, networks, etc) .
One industry source argued to me over the weekend that Uni didn’t do enough to promote this movie; that there should’ve been more dinosaurs everywhere outside on billboards and buses. I disagreed. I think Uni was widespread with this Jurassic for a long time, and had the movie faltered this weekend, then that was due to poor word-of-mouth, given how critically this is the worst of the bunch. That didn’t happen. We’ll see what next weekend brings, but the last movie, which was perceived as a low point in the series, reception-wise, from the 2015 film, saw a 60% decline in weekend 2, and a 2.8x leg out factor from its opening to a final domestic of $417.7M.
Exclaimed Universal Domestic Distribution Boss this AM, “This incredible debut for Jurassic World Dominion is driven by not only the loyal fans of the original Jurassic trilogy beginning in 1993, but many new fans experiencing Jurassic for the first time as our casts united for an epic conclusion. After a long journey from being the first Hollywood film to safely return to production during COVID, up through our global release dates, we’re thrilled for our filmmakers and talent who worked tirelessly on this movie, and for our great partners in exhibition benefiting from a tremendous start to their summer.”
In firing up the campaign for Dominion, the studio had access to one of the biggest launchpads in NBC’s broadcast of the Winter Olympics, where they debuted a two-minute spot featuring gold medalist Nathan Chen, 2x gold medalist Mikaela Shiffrin and retiring 3x gold medalist Shaun White running into the dinosaurs in the wild. A very clever cross promotion.
But what else was a draw here? Having the original Jurassic Park trio Laura Dern, Jeff Goldblum, and Sam Neill altogether in another Jurassic movie after 29 years, is also a huge selling point.
Paramount+ Star Trek architect Alex Kurtzman once told us his rule of thumb for building out the Gene Roddenberry franchise: “Render onto Caesar what is Caesar’s, everybody from the older generation should be incorporated into the new generation, there should always be respect for both, and yet it always has to forge new ground.” One could argue that same adage could apply here to making Jurassic a continual success for generations, or for that matter, any legacy franchise. And it’s what Uni did from the early onset in making Dominion: They tipped their hat to the old fans in having Dern, Goldblum, and Neill return. As we pointed out yesterday, PostTrak exits showed that 43% of all moviegoers bought tickets because the sequel is part of a franchise they love, while 25% cited the cast as a whole.
Dominion skewed more male at 56%, consistent with the previous sequels, with the majority being over 25 at 56% and the 18-34 moviegoing demo showing up at 46%. Dominion, while overperforming in the West Coast and in the South Central region, also overindexed in Latino and Hispanic markets such as Houston, San Antonio, Albuquerque and El Paso.
Imax, PLFs and all enhanced formats drove 35% of the weekend’s ticket sales. Imax’s 400 auditoriums claimed 8% of the gross or $12.3M making it the fourth best domestic debut for a Uni title in Imax. Interesting to note here as we barrel toward Avatar 2 in December that 3D screens repped 13% of Dominion‘s domestic gross. On a global basis, 25% of Dominion‘s ticket sales were earned by 3D theaters or $90M.
Uni spared no expense in getting the U.S./Canada opening to where it needs to be. And while studios tout the power of social media in their marketing, nothing drives people to theaters more like good, old-fashioned TV ads. iSpot, which only shows a portion of what the studio shelled out on ads here, estimates that Universal shelled out $41M –an enormous number by the ad metrics corp’s measures– earning 1.46 billion impressions.
The bulk of those impressions were seen across networks as NBC (28.6%), ABC (6.8%), Telemundo (5.1%), TNT (4.9%) and USA (4.4%), with pushes during The Masked Singer, SNL, Grey’s Anatomy, Atlanta and the series finales of This Is Us and Ellen, the NBA Semi and Conference Finals, the Billboard Music Awards, the Liga MX Futbol Final, America’s Got Talent and Law & Order: SVU. There were also cobranded Dominion spots from Progressive ($10.5M ad value), Carl’s Jr ($8.3M), Kinder ($2M) and Jeep ($1.5M).
The first Dominion trailer was released across Facebook, Instagram, YouTube, Google and Hulu, followed by a 90-second Superbowl spot earlier this year, introduced by the pic’s star Chris Pratt, which aired during the pre-game. That was the first time fans caught a glimpse of Dern, Goldblum and Neill. The result of these efforts? 265 million views worldwide. The second trailer dropped out of CinemaCon and clocked 200M views worldwide. The second trailer drop was also bolstered by several media activations including a featurette, an NBA co-branded spot and the launch of ticket sales.
Final weekend ticket sales for all movies per Comscore is $209.98M, +27%.
Studio reported box office as of Sunday AM:
1.) Jurassic World Dominion (Uni) 4,676 theaters, Fri $59.7M, Sat $46.7M, Sun $36.9M, 3-day $143.37M/Wk 1
2.) Top Gun: Maverick (Par) 4,262 (-489) theaters, Fri $14.1M, Sat $20.1M, Sun $15.8M 3-day $50M (-44%), Total $393.3M/Wk 3
3.) Doctor Strange in the Multiverse of Madness (Dis) 3,345 (-420) theaters, Fri $1.38M, Sat $2M, Sun $1.4M, 3-day $4.9M (-46%)/Total $397.8M/Wk 6
4.) Bob’s Burgers Movie (20th/Dis) 2,605 (-820) theaters, Fri $698K, Sat $943K, Sun $697K, 3-Day $2.33M (-49%), Total $27M/Wk 3
5.) The Bad Guys (Uni) 2,416 (-456) theaters, Fri $670K, Sat $930K, Sun $650K, 3-day $2.25M (-33%), Total $91.5M/Wk 8
6.) Downton Abbey- A New Era (Foc) 2,011 (-1,460) theaters, Fri $500K, Sat $640K, Sun $510K, 3-day $1.65M (-48%), Total $40M/Wk 4
7.) Everything Everywhere All at Once (A24) 1,434 (0) theaters, Fri $359K, Sat $507K , Sun $405K, 3-day $1.27M (-37%), Total $63M/Wk 12
8.) Firestarter (Uni) 150 (-193) theaters, Fri $330K, Sat $340K, Sun $150K, 3-day $820K (+720%), Total $9.2M/Wk 5
9.) Sonic the Hedgehog 2 (Par) 1,067 (-1,025) theaters Fri $190K, Sat $290K, Sun $230K, 3-day $710K (-58%), Total $189.8M/Wk 10
10.) Ante Sundharaniki (Ind) 350 theaters, Fri $213K, Sat $240K, Sun $168K, 3-day $620K/Wk 1
11.) The Lost City (Par) 353 (-458) theaters, Fri $190K (-54%), Sat $220K, Sun $140K, 3-day $550K (-60%), Total $104.95M/Wk 12
12.) Crimes of the Future(NEON) 712 (-61) theaters, Fri $115K, Sat $149K, Sun $111,7K, 3-day $375,7K (-66%)/Total: $2M/Wk 2
‘Top Gun: Maverick’ Continues Soaring to $291M, Becoming Tom Cruise’s Top-Grossing Movie at the BO!!
Paramount/Skydance’s Top Gun: Maverick held throughout the week, and it’s holding at a brilliant steady in weekend 2. The sequel’s -32% ease is the best for a wide release that opened to $100M+, ahead of the -40% weekend 2 posted by Star Wars: The Force Awakens in December 2015 as well as 2004’s Shrek 2 (-33%).
Top Gun 2 clocked $86M, which will put it at $291.6M EOD today; easily the best Tom Cruise has ever seen at the domestic box office, and Skydance’s as well (beating Star Trek Into Darkness‘ $228.7M). The Joseph Kosinski-directed movie cashed in a second Friday at $25M, $5M ahead of where we saw it on Friday afternoon. The sequel’s global stands at $548.6M, and it will need to topple Mission: Impossible – Fallout ($791.6M) to become both Cruise and Skydance’s top grossing movie ever around the world.
EntTelligence reports 6.5M moviegoers came out to see Top Gun 2 in its second weekend, taking its running admissions count to north of 22M. The average ticket price for the movie has dipped from $12.68 to $12.53. Premium large format ticket sales continue to drive per EntTelligence with a 32% share, the same as last weekend. Imax reports that their auditoriums eased 21% in weekend 2, repping close to 13% of weekend 2 ticket sales or $11M for a near $40M running cume. Next weekend all Imax screens cede to Universal’s Jurassic World Dominion. On Saturday, EntTelligence reports that 51% came out to see Top Gun 2 before 7PM.
The sequel is playing broadly. In weekend 2 PostTrak exits, Top Gun 2 is seeing 38% over 45, with the 25-34 crowd delivering the best attendance at 24%, followed by 45-54 at 20%. Still a marvelous audience response here at five stars and a 75% definite recommend. Men over 25 were big over the weekend at 43% (95% grade), then women over 25 at 38% (93% grade), with men under 25 at 11% (95%) and women under 25 at 8% (82% grade). Paramount reports that the under 35 demo gained 3% in weekend 2 from weekend 1, now standing at 49%.
Spots RelishMix about the sequel’s social media, “Exit chatter continues to fly positive for the film, for the cast, and the experience — with mentions of how ‘expectations were exceeded’ and those who waited 36-years for a Hollywood sequel that fans are calling an ‘instant classic’ and cinematic ‘big-screen thrill ride’; claiming, ‘I like streaming at home, but nothing beats seeing a great big movie in the theater’ as fans are pushing to spread-the big-screen Imax message. Social shout outs go out to Iceman, Rooster, Phoenix, Payback, Fanboy, Hangman and remembrances of Goose. Coming off of Cannes, new social speculation swirls around big nominations odds — and potential to include this tentpole to extend Oscar fan viewership. Some of the topical chatter touches on how well Top Gun may spike military recruitment — plus discussions whether this is the end of an era of manned battle flights, as AI pilots and drones continue to emerge.”
The new cast members to the franchise haven’t let up in pushing the film to fans:
Glen Powell’s muscle beach:
Top Gun 2 is leading all titles during the 22nd weekend of the year to an overall estimated haul of $119.6M, which is -31% from the same pre-pandemic weekend in 2019. How do we continue to be off in a marketplace where there’s a big movie leading the charge? Same old answers: It boils down to the lack of product, and how studios are continuing to be cautious. During the May 31-June 2, post-Memorial Day weekend, there were three new studio titles appealing to a variety of demos: Godzilla: King of the Monsters (which was No. 1 with $47.8M), Rocketman with $25.7M, and horror movie Ma with $18M.
Then there was weekend 2 of Aladdin in the No. 2 spot, with $42.8M. For the rest of the summer, studios seem to be bobbing and weaving around major blockbusters on the calendar, i.e., no one is going wide against Jurassic World Dominion on June 10, Lightyear on June 17, Minions: The Rise of Gru on July 1, or Thor: Love and Thunder on July 8.
That type of booking by the majors signifies their current belief that it’s a one picture per weekend marketplace. They’re even practicing that distribution method into August with smaller movies, and that’s a time when more can feasibly be booked on the calendar.
What’s optimistic is that just because summer ends, that doesn’t mean people stop going to the movies, as evident in last October. But we need product. People are coming; they just need a reason. Hopefully the turnaround in older demos here by Top Gun: Maverick will provide others with confidence to put more on the schedule, because there’s plenty of opportunity out there.
Other great things occurring at the box office sans any major studio wide entries: A24’s Everything Everywhere All at Once crossed $60M in its 11th weekend with $2M. When will the Daniels’ movie quit? Not yet. “It’s going to be around for a while,” says one insider close to the pic. Some rivals see possibly another $10M in U.S./Canada. With a weekend decline of -17%, that’s the lowest for a movie in the top 10 this weekend. After becoming A24’s highest grossing title stateside, Everything Everywhere All at Once will also become the studio’s overall top global grossing movie this week, surpassing Hereditary‘s $80.2M.
The other prolific opening of the weekend is NEON’s moderate (Comscore had it originally listed on the calendar as wide) release of David Cronenberg’s kinky dystopian surgery movie Crimes of the Future, which grossed $1.1M in tenth place at 773 locations in 146 markets, or a $1,4K theater average.
The pic scored a six minute standing ovation at its Cannes Film Festival world premiere. It’s Cronenberg’s first movie since 2014’s Maps to the Stars. A 78% fresh rating from critics on Rotten Tomatoes, and a divided result from those who bought tickets at 51%. I hear that the movie did OK in big cities on the coasts and Canada, but the further you got away from those markets, the more ticket sales became smaller.
No surprise, as Cronenberg has a cult appeal. His biggest opening at the box office belongs to one of few major studio distributed movies on his resume, that being 20th Century Fox’s The Fly, which opened to $7M and legged out to $40.4M in late summer 1986. After that, the filmmaker’s second-biggest opening at the box office was his 1983 Stephen King feature adaptation of The Dead Zone, with $4.55M; and these were major studio titles back in their heyday.
Here’s what’s interesting, and again, granted, it’s pretty small. But when you get into Cronenberg’s core, die-hard, gritty genre titles at the domestic box office, the opening here for Crimes of the Future ranks behind 1988’s Dead Ringers ($3M opening at 1,042 theaters; which Crimes of the Future arguably plays as a call-and-echo piece to) and 1983’s Videodrome ($1.19M at 600 theaters). So by Cronenberg’s own slide rule, Crimes of the Future is par for the course.
Social media corp RelishMix observed, “Neon took a simple approach for Crimes of the Future on social, with materials predominately built onto channels for the studio, with YouTube views at 4M+ views for owned-and-earned videos for the three trailer/spots — plus there are seven Facebook videos in place as the film platforms out from the Cannes premiere.”
Among the Cronenberg devotees on social, RelishMix reports, “Chatter runs positive, as horror fans are definitely drawn to see the latest psychological mind-and body-bender by the horror maestro, ‘I love that even a 79-year-old Cronenberg can still shake up the squares better than anyone else.’ — and the cast with Viggo Mortensen’s very selective roles and Kristen Stewart fanatics, too.”
As major studios leave gaps at the box office in their bookings, Indian cinema is taking advantage of those auditoriums. Lokesh Kanagaraj’s Vikram centers around Amar, a policeman who is deployed for secret assignments. He’s been sent to get a gang of masked men who might be responsible for a series of serial killings. However, Amar himself might not be all that he’s cracked up to be. Some 131 markets with prints in Hindi, Telugu, and Tamil are seeing good numbers in NYC, LA, Dallas, San Francisco, Boston, DC, Atlanta and Detroit. Estimated outlook is $1.77M.
Trumpets for Disney this weekend: Doctor Strange in the Multiverse of Madness clicks to $909.4M WW, the second highest-grossing MPA movie of the pandemic era after Spider-Man: No Way Home ($1.89 billion) and the highest-grossing title YTD. It’s also the tenth highest-grossing MCU movie of all-time. Who needs China and Russia to get to a billion nowadays?
1.) Top Gun: Maverick (Par) 4,751 (+16) theaters, Fri $25M (-52%), Sat $35.8M, Sun $25.2M, 3-day $86M (-32%), Total $291.6M/Wk 2
2.) Doctor Strange in the Multiverse of Madness (Dis) 3,765 (-40) theaters, Fri $2.6M (-43%), Sat $3.8M, Sun $2.77M, 3-day $9.25M (-42%)/Total $388.7M/Wk 5
3.) Bob’s Burgers Movie (20th/Dis) 3,425 theaters, Fri $1.3M (-76%), Sat $1.9M, Sun $1.22M, 3-Day $4.5M (-63%), Total $22.2M/Wk 2
4.) The Bad Guys (Uni) 2,869 (-75) theaters, Fri $940K (-25%), Sat $1.37M, Sun $1M, 3-day $3.34M (-24%), Total $87.2M/Wk 7
5.) Downton Abbey- A New Era (Foc) 3,451 (-379) theaters, Fri $990K (-46%), Sat $1.18M, Sun $830K, 3-day $3M (-48%), Total $35.7M/Wk 3
6.) Everything Everywhere All at Once (A24) 1,434 (+247) theaters, Fri $567K (-18%), Sat $808K, Sun $646K, 3-day $2M (-17%), Total $60.5M/Wk 11
7.) Vikram (Ind) 465 theaters, Fri $875K, Sat $541K, Sun $354K, 3-day $1.77M/Wk 1
8.) Sonic the Hedgehog 2 (Par) 2,092 (-237) theaters Fri $445K (-33%), Sat $710K, Sun $570K, 3-day $1.725M (-30%), Total $188.3M/Wk 9
9.) The Lost City (Par) 811 (-216) theaters, Fri $400K (-18%), Sat $595K, Sun $385K, 3-day $1.38M (-34%), Total $104M/Wk 11
10.) Crimes of the Future (NEON) 773 theaters, Fri $515K, Sat $340K, Sun $245K, 3-day $1.1M/Wk 1
‘Top Gun: Maverick’ Flies to Best Ever Tom Cruise $151M Opening at the BO!!
Paramount is now calling the 4-day weekend for Top Gun: Maverick at $151M after a $38M Saturday, which is technically up 16% from Friday’s $32.7M ($52M less $19.3M Thursday previews). That uptick means a ton in today’s market, given how older skewing this movie is. Disney asserts it continues to own the Memorial Day weekend record with 2007’s Pirates of the Caribbean: At World’s End with $153M; read previous update for all the agita. Still, with Top Gun 2, that’s the best Memorial Day weekend we’ve seen in quite some time.
Worldwide for Top Gun 2 is $248M, which is also the best Cruise has ever seen. For producer Jerry Bruckheimer, it’s his second best 3-day stateside debut after 2006’s Pirates of the Caribbean: Dead Man’s Chest ($135.6M), and ahead of the 3-day of At World’s End ($114.7M). EntTelligence reports that 11.1M moviegoers will have seen Top Gun 2 to date through EOD Monday, blowing away the 2M opening weekend traffic of the 1986 pic.
Updated demos are 58% guys, 42% women. The under-35 repped 45%, which is promising, considering that the sequel is appealing to a wider demo. Those over 35 repped 55%, while the 18-34 segment repped 37% of attendance. Diversity demos were 66% Caucasian, 16% Latino and Hispanic, 7% African American, and 7% Asian.
Close to half of the audience said Top Gun 2 exceeded expectations, while another 30% said they would see it again in theaters. All promising.
The sequel overperformed in the western US, Rockies, South Central, and southeastern US, was at norm in the Midwest, and underperformed in the Northeast. Canada drove 7% of the pic’s weekend. Those markets that overperformed include Phoenix, Salt Lake City, Seattle, San Diego, Tampa, Portland OR, Kansas City, Nashville, Oklahoma City, and Jacksonville. “Top grossing theaters hailed from a diverse and varied geographical spread including LA, Nashville, NY, San Antonio, OKC, Knoxville, SLC, Denver, Dallas, Wash DC, SD, Tampa, Seattle, Phoenix, Portland OR, Fresno, and Orlando,” reads Paramount’s note. PLF screen accounted for 22% of the weekend, while Imax contributed another 15% or $21M. For Imax, it’s also the biggest opening weekend ever for a Cruise film, and the biggest ever over Memorial Day weekend.
“If you thought movies were dead, go see Top Gun: Maverick and then let me know what you think. This film heralds the return of the summer blockbuster, and is a catalyst that will accelerate demand for moviegoing like an F-18 breaking the sound barrier,” beamed Rich Gelfond, CEO of IMAX in a statement. “There’s no way you sit in a theatre, with a huge screen and chest-pounding speakers, and come away thinking there’s any other way you want to experience Top Gun: Maverick, and our hats are off to Tom Cruise, Joe Kosinski, and their fearless creative team for what they’ve accomplished.”
There’s an argument to be made that Top Gun 2 is soaking up all the business this weekend at the box office; a trend that was certainly occurring pre-pandemic with big tentpole movies, and even as recent as Christmas with Spider-Man: No Way Home.
However, credit goes to Disney for giving the weekend some breadth with the fourth weekend of Doctor Strange 2, which beat The Batman as the highest-grossing movie of the year to date, and the debut of The Bob’s Burgers Movie. In regards to the latter, that was a project put into development before the Disney-Fox merger. It was always a niche movie, so these numbers aren’t shocking. The Simpsons Movie ($74M opening in 2007) was never expected to be. EntTelligence says that roughly 1.1M moviegoers saw Bob’s Burgers over the last three days, a figure that’s not far from its weekly series average of ~1.3M viewers (according to Nielsen data published on TVSeriesFinale, from 9/27/20 to 5/23/21). Great exits coming from the fans who showed up. Parents and kids combined repped 16% of the audience, while general audience was 84%. The 18-34 demo repped a huge 67% of the weekend’s traffic.
Overall, EntTelligence reports that Memorial Day 2022 vs. the holiday a year ago: Ticket prices are up 7.5%, PLF tickets are +3.2% and there’s 69% more available seats for the public.
Sunday AM studio reported estimates; we’ll have more for you tomorrow.
1.) Top Gun: Maverick (Par) 4,735 theaters Fri $52M, Sat $38M, Sun $34M, Mon $27M, 3-day $124M, 4-day $151M/Wk 1
2.) Doctor Strange in the Multiverse of Madness (Dis) 3,805 theaters (-729), Fri $4.4M (-48%), Sat $6.1M, Sun $5.88M, Mon $4.7M, 3 day $16.4M (-49%), 4 day $21.1M, total $375.4M, /Wk 4
3.) The Bob’s Burgers Movie (20th/Dis) 3,425 theaters, Fri $5.7M, Sat $3.7M, Sun, $3.2M, Mon $2.4M, 3-day $12.6M, 4-day $15M/Wk 1
4.) Downton Abbey: A New Era (Foc) 3,830 theaters (+10), Fri $1.8M (-75%), Sat $2M, Sun $1.98M, Mon $1.6M, 3-day $5.9M (-63%), 4-day $7.5M, total $30M/Wk 2
5.) The Bad Guys (Uni) 2944 theaters (-761), Fri $1.2M (-18%), Sat $1.74M, Sun $1.65M, Mon $1.52M, 3-day $4.63M (-25%), 4-day $6.1M, total $82.8M/Wk 6
6.) Everything Everywhere All at Once (A24) 1,189 (-389) theaters, Fri $693K (-22%), Sat $913K, Sun $905K, Mon $679K, 3-day $2.5M (-19%), 4-day $3.189M, Total $57.5M/Wk 10
7.) Sonic the Hedgehog 2 (Par) 2,329 (-614) theaters, Fri $670K (-28%), Sat $1M, Sun $850K, Mon $600K, 3-day $2.52M (-38%) , 4-day $3.12M, Total $186.2M/Wk 8
8.) The Lost City (Par) 1,027 (-369) theaters, Fri $445K, Sat $710K, Sun $635K, Mon $510K, 3-day $1.79M (+15%), 4-day $2.3M, Total $102.2M/Wk 10
9.) Men (A24) 2,196 (-16) theaters, Fri $379K (-73%), Sat $433K, Sun $411k, Mon $309K 3-day $1.2M (-63%), 4-day $1.53M, Total $6.27M/Wk 2
10.) F3: Fun and Frustration (Independent Indian) 400 theaters, Fri $518K, Sat $261K, Sun $249K, Mon $167K, 3-day $1.04M , 4-day $1.2M/Wk 1
‘Doctor Strange 2’ Continues Reign at Top-Spot as ‘Downton Abbey: A New Era’ Opens with $16M at the BO!!
Downton Abbey: A New Era debuted at the number two spot in its first weekend with $16 million, which is lower than Friday’s $18 million forecast, but good enough for Focus Features’ best weekend debut of the pandemic era. This is less than half of the $31 million that the first Downton Abbey film opened to back in 2019, but a win nonetheless for a marketplace struggling to lure older audiences to theaters.
Downton Abbey 2 comes with a heftier production budget compared to the first film ($40 million against the first film’s $20 million), but brings back fan favorite cast members Hugh Bonneville, Elizabeth McGovern, Maggie Smith, Michelle Dockery, Laura Carmichael, Jim Carter and Phyllis Logan. Both films are a continuation of the hit television series, which ran for six seasons on ITV in the U.K. and on PBS in the U.S. The first film legged it to nearly $100 million domestically, finishing with $194 million worldwide. Internationally, Downton Abbey 2 made $35 million, pushing its worldwide tally to over $51 million.
Nearly 50% of Downton Abbey 2’s audience was over the age of 55, which is a healthy sign considering how poorly other adult-skewing titles such as West Side Story and King Richard have performed. Possibly the sole outlier was directed Ridley Scott’s House of Gucci, which tapped out with over $50 million domestically.
Disney’s Doctor Strange in the Multiverse of Madness held on to the top spot for the third (and probably last) time, before Top Gun: Maverick clips its wings next weekend. With another $31.6 million, the film’s running domestic total stands at $342 million. Doctor Strange 2 has made over $460 internationally, pushing its worldwide total to over $800 million. It’s the biggest hit of the year. There’s a chance that it becomes the second film of the pandemic era to make over $1 billion worldwide, following in the footsteps of its immediate predecessor, Spider-Man: No Way Home.
Two kid-friendly titles—Universal’s The Bad Guys and Paramount’s Sonic the Hedgehog 2—took the third and fourth spots, with $6.1 million and $3.9 million, respectively. The Bad Guys has made over $74 million domestically and $182 million worldwide, while Sonic 2 has made $181 million domestically and $368 million worldwide.
Rounding out the top five was director Alex Garland’s follow-up to the well-reviewed Annihilation, the A24 horror picture Men, which failed to generate much attention with a $3.29 million debut weekend. The film earned a terrible D+ CinemaScore, which is very common for arthouse horror fare. But A24 has reason to celebrate this weekend, with the word-of-mouth hit Everything Everywhere All at Once overtaking Uncut Gems to become the indie outfit’s biggest-ever domestic release.
Expect Top Gun: Maverick to fly away with a top-spot finish next weekend, as Paramount prepares to put a cherry on top of an already excellent year.
Sunday AM estimates:
1.) Doctor Strange in the Multiverse of Madness (Dis) 4,534 theaters, Fri $8.5M (-50%), Sat $13.8M, Sun $9.3M, 3-day $31.6M (-51%)/Total $342M/Wk 3
2.) Downton Abbey: A New Era (Foc) 3,820 theaters, Fri $7.38M, Sat $4.75M, Sun $3.89M, 3 Day $16M/Wk 1
3.) The Bad Guys (Uni) 3,705 (-83) Theaters, Fri $1.46M (-14%), Sat $2.7M, Sun $1.9M, 3-day $6.1M (-13%)/Total $74.3M/Wk 5
4.)Sonic the Hedgehog 2 (Par) 2,943 (-173) theaters, Fri $925K, Sat $1.83M, Sun $1.18M, 3-day $3.94M (-15%)/Total $181M/Wk 7
5.) Men (A24) 2,212 theaters Fri $1.4M, Sat $1M, Sun $832K, 3-day $3.29M/Wk 1
6.) Everything Everywhere All at Once (A24) 1,576 (-150) theaters, Fri $889K (-3%), Sat $1.2M, Sun $962K, 3-day $3.1M (-6%)/Total $52.3M/Wk 9
7.) Fantastic Beasts…Dumbledore (WB), 1,923 (-655) theaters, Fri $500K (-24%)/Sat $825K/Sun $580K/ 3-day $1.905M (-25%)/Total $93M/Wk 6
8.) Firestarter (Uni) 3,413 theaters, Fri $560K (-64%), Sat $830K, Sun $510K, 3-day $1.9M (-50%)/Total $6.79M/Wk 2
9.) The Lost City (Par) 1,396 (-279) theaters Fri. $415K (-12%), Sat $685K, Sun $400K, 3-day $1.5M (-12%)/Total $99.26M/ Wk 9
10.) The Northman (Foc) 1,263 (-671) theaters, Fri $290K (-41%), Sat $430K, Sun $300K, 3-day $1.02M (-42%)/Total $33M/Wk 5
‘Everything Everywhere All at Once’ Has Become A24’s Biggest Domestic BO Success!!
Director duo Daniel Kwan and Daniel Scheinert, collectively known as Daniels, can expect to be courted by the biggest studios in the industry after the record-breaking success of their difficult-to-describe second feature together, Everything Everywhere All at Once. In its ninth weekend of release, the martial arts fantasy will become indie outfit A24’s highest grossing domestic release, with over $50 million in the bank.
Everything Everywhere All at Once edged out director Greta Gerwig’s Lady Bird ($48.9 million) on Friday to become A24’s second-biggest domestic grosser. It should overtake the Safdie brothers’ Uncut Gems ($50.02 million) to claim the top spot by Sunday. Ari Aster’s debut horror film Hereditary remains A24’s highest-grossing release worldwide ($80 million) but it tapped out domestically with $44 million.
Starring Michelle Yeoh, Jamie Lee Curtis, Stephanie Hsu, Ke Huy Quan, Everything Everywhere All at Once tells a multiverse-hopping love story filled with visual energy and narrative ambition. It pays homage to martial arts movies, black comedies, animation and sci-fi/fantasy epics. The film is currently playing in over 1,500 domestic theaters, after a careful platform release that began over two months ago, kick-started after a headline-grabbing premiere at the SXSW Film Festival.
The film was released in 10 theaters in its opening weekend, where it broke the record for the best per-theater average of the year ($50k). Everything Everywhere All At Once subsequently crossed over from specialty cinemas and made it to nationwide chains, all on the strength of positive word-of-mouth, a smart marketing campaign, and some truly spectacular reviews.
Describing it as “one of the most ambitious and bonkers films in recent memory,” Collider’s own Ross Bonaime wrote in his review, “Everything Everywhere All At Once is a bombardment of hot dog fingers, googly-eyes, Wong Kar-Wai homages, fanny packs incredibly strong pinkie fingers, talking rocks, the Nine Days song ‘Absolutely (Story of a Girl),’ raccoons, the guy who played Santa Claus in I Think You Should Leave, and butt plugs.”
Daniels broke out with their 2016 absurdist black comedy Swiss Army Man, starring Paul Dano and Daniel Radcliffe. Scheinert followed it up solo with 2019’s The Death of Dick Long. Both films were released by A24, which is dominating the ongoing Cannes Film Festival with multiple titles playing in various categories.
Everything Everywhere All at Once is expected to finish its ninth weekend at the domestic box office at the number six spot, behind fellow A24 release Men, directed by Alex Garland. Up next, the distributor has Marcel the Shell with Shoes On on June 24 and Bodies Bodies Bodies, which is set for August. Earlier in 2022, A24 debuted Josephine Decker’s The Sky is Everywhere on Apple TV+, Kogonada’s After Yang in theaters and on Showtime, and Ti West’s X exclusively in theaters.
‘Doctor Strange in the Multiverse of Madness’ Retains Top Spot with $61 Million at the BO!!
Doctor Strange in the Multiverse of Madness had a great fall in its second weekend, down -67% for a Disney-reported $61M take (rivals are seeing $60M, -68%).
While that drop is akin to the second weekend declines of recent MCU titles, the uber-successful Spider-Man: No Way Home (-67.5%) and Black Widow (-67.8%), know that all these percentile plummets are not equal. Doctor Strange 2 ranks among the MCU’s biggest second weekend box office drops which includes Black Widow, No Way Home and 2003’s Hulk (-70%) (the latter was executive produced by Kevin Feige, though not part of Disney’s Marvel).
Doctor Strange 2‘s second weekend decline simply rests on bad word of mouth; the sequel receiving a back-to-back meh grade from CinemaScore for an MCU movie, B+ to Eternals’ B back in November.
All of this should be a splash of cold water in Marvel’s face as they go crazy exploiting IP between features and streaming Disney+ series.
Now, we made a lot of hay about Disney/Marvel’s Black Widow‘s second weekend drop back in July; that the pic’s release was impacted by a theatrical Disney+ PVOD day-and-date strategy, plus piracy. That argument still stands, rock solid. Not to mention, witness the immense amount of money that Doctor Strange 2 opened to at $187.4M when it was exclusively available in theaters compared to Black Widow‘s $80.3M back in July.
But what about the third highest grossing movie ever at the domestic box office ($804.66M), Spider-Man: No Way Home, and its second weekend fall? Why did that movie tumble? That beloved sequel’s decline was strictly due to Christmas Eve (a low traffic moviegoing day) falling on Friday, and the fact that the Jon Watts-directed movie was making money hand over fist during its weekdays, it’s first midweek grosses ranging from $28.8M to $37M per day. Note, Doctor Strange 2‘s fall this weekend doesn’t have anything to do with a slow traffic moviegoing day.
However, yesterday afternoon, it finally hit me in the face that the bad word of mouth on Doctor Strange 2 and that B+ grade were taking its toll; that a Batman v. Superman factor was in effect (another B graded, -69% second weekend decline comic book title). This occurred when my jaunt to Bed, Bath and Beyond was interrupted by a phone call from my cousin Vinny in the Bronx, a guy who is a very passionate MCU fanboy and fits tracking’s definition of being a frequent moviegoer watching at least 3 movies a month. Typically, such phone calls on a Saturday are from box office sources complaining about my analysis, or trying to whisper that Moonfall was in the black.
Vinny is also the type of moviegoer who shows up to an MCU movie on a Thursday night at Lincoln Square and buys his tickets in advance. He’s definitely not wasting his time seeing Doctor Strange 2 a second time, which is an anomaly for him.
“I’m going around telling everyone I know to avoid Doctor Strange 2,” Vinny complained (Marvel/Disney calm down; my cousin isn’t a social media influencer).
“Why?” I asked, “I mean, it’s not the best, but it’s not the worst.”
Vinny unloaded: “It’s a two-hour season finale to WandaVision. I expected more from Sam Raimi; what’s going on here? They set-up this whole multi-universe thing and then re-set it by the end of the film. Where do we go from here? Thor: Love & Thunder is going to be a comedy. And what’s with killing all those great cameos in the middle? That was senseless in addition to Charlize Theron’s stunt casting at the end; why should we care? The entire phase 4 has been completely random movies. Black Widow, Shang-Chi, Eternals have nothing to do with setting up anything. They have no set plot in mind. My head hurts just thinking about it.”
Marvel, I did defend that Disney+’s Secret Invasion, Loki season 2 and Ant-Man and the Wasp: Quantumania are on the horizon in regards to building out the multiverse. However, Vinny’s not alone in the lackluster reception to Doctor Strange 2.
“The movie has to be loved and enjoyed enough to want to see it a second time,” said Kentucky-Delaware exhibition boss Rick Roman to Deadline this weekend, “My moviegoers feel the film is not good enough to see again.”
Also potentially triggering lower grosses for Doctor Strange 2 this past weekend is the fact that exhibition, per EntTelligence, downsized the available seats for the film by over 17%, meaning less showtimes. Many of the shows that were lost were in the daytime (which is when cheaper ticket pricing is in effect). With less shows at a lesser price, the national average falls. Doctor Strange 2 according to EntTelligence clocked 4.5M admissions to last weekend’s 13.5M, also a 67% decline.
Some more statistical proof that second trips to Doctor Strange 2 were curbed can be seen in the Comscore/Screen Engine PostTrak exits: 27% said they plan on seeing Doctor Strange 2 a second time, below the 36% who said they were seeing No Way Home again and 34% for Shang-Chi. Those polled after watching Eternals also weren’t over the moon forking over money again to see that film at 22%.
Social media analytics firm RelishMix provided an updated pulse on what was being said about Doctor Strange 2 heading into weekend 2: “Exit chatter for Doctor Strange 2 swings mixed-positive — from adoration of the visual experience of cinematic joy, fight scenes, to threads about Wanda, Spider-Man, dream-walking, the Illuminati, and Sam Raimi’s director masterwork — to deep critical MCU discussion about storylines that may have jumped the shark and high expectations from the trailer to the actual film.”
Recently, I was told by one distribution source that when a movie keeps missing its projection calculations during the course of a weekend, i.e. some rivals saw Doctor Strange 2 by Saturday AM a week ago with a $200M start before descending to $187.4M; that falloff is all because bad of word of mouth is sinking in.
True, at Doctor Strange 2‘s opening level and its second weekend drop here, it’s like complaining about the distance of a Mike Trout homerun.
Still, all of this should speak truths to Marvel and Kevin Feige’s power. Something is clearly off in the development of the movies of late (and Moon Knight didn’t exactly shine bright. Also Samba TV didn’t report any viewership for the finale, which typically means it was bad). This could possibly have to do Covid and the factory runway, and which MCU projects are coming down the pipeline first (Doctor Strange 2 scribe Michael Waldron told Deadline’s Hero Nation that at one point while he was writing the screenplay, he expected the sequel to be released before Spider-Man: No Way Home, thus kicking off the multiverse concept. That didn’t happen). Feige and Marvel have relied on friends and family test screenings (which I hear counts some fanboy media influencers in its mix), and have constantly had a philosophy of “plus-ing” (an old Walt Disney rule of thumb); and that at any given point in time during any movie’s production, it’s the worst the studio ever made.
Well, Marvel, it’s time to take the “plus-ing” and testing to a whole other stratosphere. Maybe include some average folks from the flyover states and stop worrying about secrets leaking. Regroup, re-think and get these movies back on track. Some will feasibly give the MCU a pass now, saying it stands to reason that after a hot streak, there will be some misses.
Then there’s the whole 45 days of exclusive theatrical before heading to Disney+ — once fanboys figure that out, could that hold them back from a second trip to the cinema? Maybe.
Why all the fuss, Marvel? Because as the entire town knows, the success of movie theaters and the box office as we come out of this pandemic hinges on your movies, and the last thing we need is for that to break down.
Universal’s $12M production of Firestarter is in bad shape, with $3.8M over three-days after a $1.54M Friday. I mean, the original 1984 Drew Barrymore movie, unadjusted for inflation, opened to more money with $4.7M, and at fewer theaters, that being 1,356. The Blumhouse co-production was slammed with a C- CinemaScore. Even if there was a full theatrical here, sans Peacock, the mind wonders how much more business would trickle in. Screen Engine and Comscore PostTrak was bad at 50%, with a 27% recommend. Of those who showed were 54% guys, 71% over 25, with 69% between 18-44. Diversity demos were 42% Caucasian, 22% Latin and Hispanic, 22% Black, and 14% Asian/other. Most potent markets were West and South. Firestarter only saw 130K admissions, per EntTelligence.
Why is the movie on this weekend? It was Friday the 13th yesterday, and that opportunity launch for a horror title can’t be passed up by a genre studio such as Blumhouse. Certainly, the window collapsing here on Peacock will do further damage to Firestarter‘s downstream revenues in the long run. Again, it’s experimentation. Universal knew it was a bad movie, and here it is with a theatrical day-and-date. It doesn’t mean they’ll practice this with all bad horror movies.
Mixed chatter on social media before opening, per RelishMix, “From the 1984 Drew Barrymore title trending in convo with continuous positive references to the original, and questions as to why she does not make an appearance in the remake. Zac Efron’s casting is well-received, as well as Stephen King’s cinematic legacy. That said, questions bubble about if the film is ‘straight to streaming’ with some confusion if it is day/date — with expected criticisms of ‘Hollywood reboots.’”
In regards to Firestarter‘s reach on social media, RelishMix counted 182.3M across Facebook, Twitter, YouTube, Instagram and TikTok. While that’s ahead of norms, close to half of the pic’s SMU connects to Efron’s social media followers at 90.3M. Blumhouse’s social channels, with 1.2M fans, are moderate, and Peacock’s social at 1.7M are lightly sprinkled into the mix.
Roadside Attractions has the family faith-based movie Family Camp booked in 854 locations which opened to $1.425M. The Brian Cates directed and co-written film follows two polar-opposite families who are forced to camp together. The dads struggle to hold onto their families and marriages as they compete for the coveted camp trophy. Any business this title did was in the faith-based belt of the South and Mid-West, a total of 175 markets, with the best markets being Dallas, Phoenix, Oklahoma City, Nashville, San Antonio and Sacramento.
All of this action is amounting to a $93M box office weekend for all titles off 38% from the same weekend in 2019 which did $148.9M.
FINAL SUNDAY AM STUDIO-REPORTED ESTIMATES.
1.) Doctor Strange in the Multiverse of Madness (Dis) 4,534 theaters, Fri $16.7M (-81%)/ Sat $26.5M, Sun $17.7M, 3-day $61M (-67%)/Total $291.9M/Wk 2
2.) The Bad Guys (Uni) 3,788 (-51) Theaters, Fri $1.68M (-28%), Sat $3.16M, Sun $2.06M, 3-day $6.9M (-28%)/Total $66.2M/Wk 4
3.)Sonic the Hedgehog 2 (Par) 3,116 (-242) theaters, Fri $1.03M (-31%), Sat $2.1M, Sun $1.42M, 3-day $4.55M (-24%)/Total $175.7M/Wk 6
4.) Firestarter (Uni) 3,412 theaters, Fri $1.55M (includes previews), Sat $1.38M, Sun $890K, 3-day $3.8M/Wk 1
5.) Everything Everywhere All at Once (A24) 1,726 (+184) theaters, Fri $917,4K (-3%), Sat $1.36M, Sun $1M, 3-day $3.3M (-6%)/Total $47.1M/Wk 8
Wow, get a load of that hold in weekend 8. The Daniels directed, AGBO production is the third highest grossing at the domestic box office for A24 after Uncut Gems ($50M) and Lady Bird ($49M).
6.) Fantastic Beasts…Dumbledore (WB), 2,578 (-473) theaters, Fri $640K (-38%), Sat $1.08M, Sun $700K, 3-day $2.42M (-43%)/Total $90M/Wk 5
7.) The Lost City (Par) 1,675 (-222) theaters Fri. $470K (-25%), Sat $765K, Sun $530K, 3-day $1.73M (-37%)/Total $97.1M/ Wk 8
The pic is currently available on Paramount+ to watch.
8.) The Northman (Foc) 1,934 (-479) theaters, Fri $490K (-41%), Sat $730K, Sun $480K, 3-day $1.7M (-41%)/Total $31.1M/Wk 4
9.) Family Camp (RSA) 854 theaters, Fri $499K, Sat $530K, Sun $398K, 3-day $1.42M/Wk 1
10.) Unbearable Weight of Massive Talent (LG) 1,076 (-255) theaters, Fri $291K (-31%), Sat $459K, Sun $300K, 3-day $1.05M (-33%)/Total $18.2M/Wk 4
‘Doctor Strange In The Multiverse Of Madness’ Set for Huge $190M+ Opening at the BO!!
Doctor Strange in the Multiverse of Madness is coming in with a Disney-reported $57.5M Saturday, which is 36% off from the pic’s opening day of $90M. Many believe that the sequel’s opening is between $194M-$197M, according to industry estimates. But Disney is calling stateside at $185M as of this morning, or as Entelligence reports, that translates to 13.5M admissions.
Either way, that’s a great kickoff to summer and the best opening for a Disney movie during the pandemic, and the second-best during the Covid-19 era after Spider-Man: No Way Home‘s $260.1M.
While domestic will likely come in higher by tomorrow AM, global for Doctor Strange 2 at $450M reps the second-highest WW opening for any MPA movie during Covid-19, as well as the best year to date; all of this after Spider-Man: No Way Home‘s $600.5M global launch.
There’s been concern that Mother’s Day will drag the grosses down today. However, that’s already been accounted for, with an estimate around $44M per industry projections (-23%). Disney is forecasting $37.5M. The trajectory is roughly similar to Avengers: Age of Ultron, which saw a Friday to Saturday decline of 33% and a 3-day of $191.27M. One rival distribution boss says, “Mother’s Day is actually a great day for moviegoing.” Furthermore, as we previously mentioned, one of the selling points here with Doctor Strange 2 is in mama bear herself, Elizabeth Olsen’s Wanda Maximoff.
Now, back out those $36M Thursday previews from Doctor Strange 2‘s first day, and Friday was really $54M for the pic. That means Saturday was +6% over Friday, which is great and means the movie isn’t collapsing from that B+ CinemaScore.
Meanwhile, in case you were wondering, why, yes — the big chains and other exhibitors did upcharge on Doctor Strange 2 next to other films. Hey, after being movie theaters were closed for roughly a year between 2020-2021, they gotta eat. By and large, AMC is commanding the highest average ticket price for the Sam Raimi movie at $14.84, with Regal second at $13.77. Data is courtesy of EntTelligence.
Marvel wisely kicked off the marketing campaign for Doctor Strange in the Multiverse of Madness with a trailer at the end of Spider-Man: No Way Home. If my memory serves me right, that’s the first trailer that Marvel actually dropped for a subsequent MCU title in a pic’s end credits. That was a brilliant stroke in regards to reach, as everyone saw that Sony/Marvel title, with Disney releasing the trailer online a few days after No Way Home‘s $260.1M second-best-ever domestic opening.
The trailer and teasers were further trumpeted during Super Bowl LVI Pre-Kick, Olympics, NCAA Final Four Pre-Sale Messaging, and more. There were digital takeovers on Amazon Fire TV, YouTube CTV Masthead, Roku, Snapchat First Commercial, ESPN FrontPage, Fandango, Twitter Spotlight Trend, Twitch First Impression, Reddit Trending, and more. There was also placement in high-profile programming, including the NBA Playoffs, late night, SNL, American Idol, This Is Us, The Walking Dead, American Song Contest, The Good Doctor, Univision Novelas. Disney made a special media focus on April 28, which was National Superhero Day and included spots during the NBA Playoffs and NBA Draft.
RelishMix notes that coming off of the Super Bowl on Feb. 13, the Doctor Strange 2 trailer grabbed the most viewership online in the 24 hours after the game, with 93.1M social views besting Jurassic World Dominion (86.8M views) and upcoming Prime Video series Lord of the Rings (80.3M views).
Promo partners for Doctor strange included Procter & Gamble/Tide, who launched “Cloak vs. Tuna Melt,” in which Marvel Partnerships developed and produced a co-branded short-form spot where Wong accidentally dirties the Cloak with a tuna sandwich, resulting in an even dirtier NYC chase to get the Cloak into the wash.
Another promo partner was G Fuel, which is a top drink among gamers, Xbox (which included custom cobranded console kits; Xbox’s 4thMarvel partnership) and Jaeger-Le Coultre. International partnerships included Mori Building Co., Japan’s leading urban landscape developer, leveraging its existing pop-culture fan events by turning its café and menu into a cobranded interactive photo-op experience, as well as Cadillac, Maybank, and Shell in APAC; Xiaomi and T-Mobile in EMEA; and Club Premier (Mexico) and Virgin Plus (Canada).
Digital activations for Doctor Strange 2 featured Xochitl Gomez taking over the @Instagram account (480M followers). It should also be noted that Hispanic and Latino audiences are overindexing for this Marvel title with a 28% turnout versus the Marvel average of 22%.
Other digital promos included a custom Instagram AR lens that utilized the shattered glass motif, Instagram stickers, and a Messenger AR Group Effects which also used the shattered glass motif. There was a Twitter Spotlight with exclusive branded “like” custom animations utilizing the recognizable Doctor Strange portal; six custom emojis and a Twitter Q&A with Cumberbatch and Olsen on @twittermovies.
Also, according to RelishMix, most of the cast for the sequel was non-social, which is unusual for a Marvel movie, i.e. Cumberbatch, Olsen, Chiwetel Ejiofor and Rachel McAdams. Benedict Wong does have 692K followers on Instagram, and Cumberbatch has a super fan page with 2M followers with posts from premieres, marketing materials and behind-the-scenes.
Imax screens at a 410 count amped up $18M for Doctor Strange 2, a $44K theater average and the biggest Imax U.S./Canada opening ever in May, and the sixth highest Imax Marvel stateside opening ever. Overall, all premium formats are contributing 36% of Doctor Strange 2‘s box office.
“Summer blockbuster season is off to a roaring start with Doctor Strange— an excellent sign for the phenomenal slate ahead representing some of the most bankable franchises, filmmakers, and stars in the world,” said Rich Gelfond, CEO of IMAX in a statement. “From our Filmed for IMAX camera program to IMAX Enhanced on Disney+, IMAX and Disney have built a strong partnership that will only grow this year with amazing releases like Lightyear, Thor: Love and Thunder, Black Panther: Wakanda Forever, and Avatar: The Way of Water to come.”
Another bragging point here about Doctor Strange 2, especially with the exclusive drop of the Avatar 2 trailer in its theaters this week, is that 3D accounted for 9% of the pic’s opening weekend, an encouraging number not far from the pre-pandemic shares of Captain Marvel – 11%, Ant-Man & The Wasp – 10% and Spider-Man: Far From Home – 9%.
Disney reported demos show a general audience of 88%, with parents and kids at a combined 12% turnout. There’s been a lot of hay made about the PG-13 rating and how scary Doctor Strange 2 is. However, that turnout by families is one point shy of the ratio of Spider-Man: No Way Home, which was 13%. Yeah, if you have a 5- or 6-year-old, this is a scary movie. But no one is getting their hearts pulled out of their chests like in Indiana Jones and the Temple of Doom. Furthermore, kids under 12 gave the movie 5 stars, while their parents awarded it with 4 1/2 stars. Umm, so, not so scary after all. Sequel is still being driven by 62% guys and 57% 18-34.
Total overall ticket sales for the weekend per ComScore are at $219.1M, +10% vs. the same first weekend of May in 2019. Total running domestic B.O. for Jan. 1-May 8 is $2.19 billion, +361% over the same frame last year.
Again, Doctor Strange 2 pulled in the second biggest audience over a pic’s opening weekend during the pandemic per EntTelligence. Check out the chart below:
1.) Doctor Strange in the Multiverse of Madness (Dis) 4,534 theaters, Fri $90M/Sat $57.5M/Sun $37.5M, 3-day $185M/Wk 1
Industry projections for the weekend are between $194M-$197M for the Marvel sequel. TBD tomorrow AM.
2.) The Bad Guys (Uni) 3,839 (-203) Theaters, Fri $2.3M (-38%), Sat $4.1M, Sun $3.3M, 3-day $9.77M (-40%)/Total $57.5M/Wk 3
3.)Sonic the Hedgehog 2 (Par) 3,358 (-443) theaters, Fri $1.5M (-41%), Sat $2.74M, Sun $1.96M, 3-day $6.2M (-46%)/Total $169.9M/Wk 5
4.) Fantastic Beasts…Dumbledore (WB), 3,051 (-911) theaters, Fri $1.045M (-51%), Sat $1.7M, Sun $1.2M, 3-day $3.95M (-52%)/Total $86M/Wk 4
5.) Everything Everywhere All at Once (A24) 1,542 (-671) theaters, Fri $951K (-39%), Sat $1.35M, Sun $1M, 3-day $3.3M (-40%)/Total $41.56M/Wk 7
6.) The Northman (Foc) 2,413 (-871) theaters, Fri $830K (-54%), Sat $1.1M, Sun $800K, 3-day $2.77M (-56%)/Total $28M/Wk 3
7.) The Lost City (Par) 1,897 (-698) theaters Fri. $635K, Sat $1M, Sun$865K, 3-day $2.5M (-35%)/Total $94.38M/ Wk 7
This movie is heading toward $100M; underscoring that middle budget movies do work at the box office, and that women during the pandemic indeed want to go back to the cinema.
8.) Unbearable Weight of Massive Talent (LG) 1,331 (-1,705) theaters, Fri $437K, Sat $618K, Sun $470K, 3-day $1.525M (-61%)/Total $16.3M/Wk 3
9.) Memory (Open Road) 2,433 (-122) theaters, Fri $370K (-66%), Sat $510K, Sun $340K, 3-day $1.22M (-60%)/Total/ $5.49MWk 2
10.) Father Stu (Sony) 1,265 (-1,211) theaters, Fri $210K, Sat $285K, Sun $305K, 3-day $800K (-64%), Total $19.2M/Wk 4
‘The Bad Guys’ Takes Back Top Spot with $16.1 Million at the BO!!
After all the hallelujahs about the return of theatrical at CinemaCon this past week, the major studios skipped out on programming any new wide releases this weekend. All of this is resulting in a marketplace which is seeing an estimated $68M in total ticket sales, down 28% from last weekend. Ugh. In regards to when the majors will sit on the sidelines again this year, there’s June 3, and possibly Aug. 12 (Searchlight is holding the date for an untitled wide entry).
If it feels like a desert at the multiplex, get ready for the monsoon on Thursday night, with Disney/Marvel’s Doctor Strange in the Multiverse of Madness, which is expected to rain down anywhere from $150M-$200M in its first weekend.
Tracking sees it at a minimum of $150M; it wouldn’t be shocking if the pic gets to $200M, but Disney doesn’t want to get over its skis. Already, Doctor Strange 2 is seeing the best presales of the year, higher than The Batman, with $42M. This is all the start of a very rich summer, and after the exuberant response of Top Gun: Maverick out of CinemaCon, Tom Cruise has to be in store for the biggest global and domestic opening of his career, overtaking War of the Worlds ($64.8M, his highest domestic) and The Mummy ($172.3M, the 3x Oscar nominee’s biggest worldwide debut).
As such, this weekend will see Universal/DreamWorks Animation’s The Bad Guys at No. 1 again in weekend 2, with $16.1M, -33%, for a ten-day total by EOD $44.4M. That’s better than the $14M that Uni was spotting yesterday. And all the other family fare is holding on to their top spots, i.e. Paramount’s Sonic the Hedgehog 2 notched a better than expected fourth weekend of $11.35M in 2nd, -27%, for a running total of $160.9M, and Warner Bros.’ Fantastic Beasts: The Secrets of Dumbledore, with an estimated $8.3M in weekend 3 in 3rd, -41%, with a running cume of $79.6M by EOD.
Continuing to show proof that there’s an appetite for original fare at the box office is the amazing hold by A24’s in weekend 6 Everything Everywhere All at Once, which is seeing $5.5M, up a great 2%, for a running total of $35.4M. What’s the extra juice here? Aside from the 80 theater count surge, the Daniels directed movie returned to Imax at 256 hubs in a special extended run, minting $850K. This AGBO production is easily headed to $40M+. Forget that, some say $50M, which could mean it possibly topples A24’s highest-grossing movie of all-time, Uncut Gems ($50M).
Open Road is zigging to the major studio’s zagging, putting out their wide entry of Liam Neeson’s action movie, Memory, from director Martin Campbell, which debuted to $3.1M at 2,555 theaters. While I’m sure exhibition is thankful for new product, what’s upsetting here is that in an improved marketplace, the feature is doing similar business to what other Neeson Open Road pics were doing when NYC and LA were closed during Covid, i.e. The Marksman ($3.1M) and Honest Thief ($4.1M).
Memory‘s top five markets on its $1.1M opening day Friday were Los Angeles, New York, Phoenix, Dallas – Ft Worth and Chicago, with the day’s top-grossing cinema being the iPic Theater at Fulton Market in Manhattan.
Well, it’s all about home ancillaries and dudes for these Neeson cookie cutter action titles. Critics have had enough of the Neeson-with-a-gun pics at 29% Rotten, and those who decided to show up and sit in the dark and eat popcorn for close to two hours gave it 66% and a 49% on Comscore/Screen Engine’s PostTrak. Jeez.
Turnout was men at 51%, 84% over 25, and 46% over 45. Diversity demos were 49% Caucasian, 20% Hispanic and Latino, 20% Black, & 11% Asian/other. The most amount of money this pic is seeing came from West and Southeast. RelishMix says that social media awareness on Memory “are well under genre norms for action thrillers at 18.6M across Facebook, Twitter, YouTube, Instagram, and TikTok.”
Ahead of opening, the social media analytics corp said, “Chatter runs mixed, with expectations that are crystal clear — on any Neeson film with the assumption that someone will be kidnapped and that ‘we’ll bring them back’. The storyline and filmmaking components are incidental for these super fans, who also feel that Neeson would make for a perfect Batman with his voice, plus other chatter about his stockpile of burner phones. Super fans also put Neeson and Denzel Washington as ‘unironically the best action stars in recent time’. Fans are exposing the secret algorithm behind this film; Taken + Unknown=Memory… and, Memento ÷ Unknown = Memory.”
Focus Features’ Viking epic The Northman is seeing a second weekend that’s -49%, with $6.3M for a ten-day of $22.8M.
Lionsgate’s Nic Cage satire Unbearable Weight of Massive Talent is looking at $3.9M in weekend 2, -45%, a 10-day of $13.5M for what appears to be a $20M final domestic gross when all is said and done.
Some thoughts coming away from this at CinemaCon: Despite the movie’s upsetting opening following its vibrant world premiere at SXSW, rival distributors who’ve handled similar product believe this movie stands to overindex in home entertainment, which is Cage’s bread and butter.
Even though Cage is arguably on an upswing, career-wise, post his critically acclaimed Pig, he has been in a funk at the box office for quite some time; his last live-action tentpole being 2007’s National Treasure: Book of Secrets ($220M domestic, $459M WW). Hence, the limited reach for this great, critically acclaimed (87% certified fresh) comedy, which stokes audiences who finally turn out for it. If Neeson did a self-parody comedy, we’d expect similar results.
Still, thumbs up to Lionsgate for putting this movie out theatrically, and not jettisoning it to PVOD or streaming. Why’s that? Odds are history will be on Unbearable Weight‘s side, and that it will turn into a cult classic in the same breath as This Is Spinal Tap ($4.7M domestic by 1984 standards) and The Big Lebowski ($18.2M in 1998 bucks). If this pic was a straight-to-home release, it wouldn’t have that resonance.
Also trying to fill the gap at the weekend is the Telugu language action drama Acharya, which is now poised to earn an estimated $1M at 396 theaters in 117 markets after being front loaded on Friday with $832K, and a Saturday that’s at $100K. The pic did see some big numbers in NYC, Dallas, San Francisco, Atlanta, Houston, Seattle, Charlotte, and Baltimore. The Koratala Siva written and directed movie centers around a Naxalite-turned-social reformer who launches a fight against the Endowments Department over misappropriation of temple funds and donations.
1.) The Bad Guys (Uni) 4,042 (+34) Theaters, Fri $3.7M (-54%), Sat $7.5M, Sun $4.87M, 3-day $16.1M (-33%)/Total $44.4M/Wk 2
2.) Sonic the Hedgehog 2 (Par) 3,801 (-8) theaters, Fri $2.5M (-37%), Sat $5.37M/ Sun $3.48M, 3-day $11.35M (-27%)/Total $160.9M/Wk 4
3.) Fantastic Beasts…Dumbledore(WB), 3,962 (-283) theaters, Fri $2.1M (-47%), Sat $3.7M, Sun $2.4M, 3-day $8.3M (-41%)/Total $79.55M/Wk 3
4.) The Northman (Foc) 3,234 (+50) theaters, Fri $1.8M (-64%), Sat $2.7M, Sun $1.77M, 3-day $6.3M (-49%)/Total $22.8M/Wk 2
5.) Everything Everywhere All at Once (A24) 2,213 (+80) theaters, Fri $1.56M (+1%), Sat $2.2M, Sun $1.7M, 3-day $5.5M (+2%)/Total $35.4M/Wk 6
6.) Unbearable Weight of Massive Talent (LG) 3,036 theaters, Fri $1.1M (-62%),Sat $1.7M, Sun $1.1M, 3-day $3.9M (-45%)/Total $13.5M/Wk 2
7.) The Lost City (Par) 2,595 (-233) theaters Fri. $1M (-21%), Sat $1.78M, Sun $1.1M, 3-day $3.9M (-10%)/Total $90.78M/ Wk 6
8.) Memory (Open Road) 2,555 theaters, Fri $1.1M, Sat $1.2M, Sun $790K, 3-day $3.1M/Wk 1
9.) Father Stu (Sony) 2,476 (-229) theaters, Fri $615K (-40%), Sat $940K, Sun $655K, 3-day $2.2M (-33%), Total $17.55M/Wk 3
10.) Morbius (Sony) 1,726 (-580) theaters, Fri $388K, Sat $685K, Sun $427K, 3-day $1.5M (-34%), Total $71.4M/Wk 5
‘Sonic the Hedgehog 2’ Has Become the Highest Grossing Video Game Movie in the U.S.!!
Sonic the Hedgehog 2 is still going strong at the box office, and now it has a crown for its efforts. The sequel is now the highest-grossing video game movie ever in the U.S, surpassing its predecessor with $147 million domestically and counting. Sonic the Hedgehog had an impressive run of its own, ending at $146 million, though the success of that first film paved the way for its sequel to go even further with the goodwill garnered.
It’s not the first time Sonic 2 has taken the game film crown from its predecessor. The film’s debut served as a harbinger of what was to come with it capturing $71 million en route to becoming the highest-grossing debut of a video game film ever while felling both the Jared Leto-led Morbius and Sandra Bullock and Channing Tatum’s The Lost City in the process. Despite strong domestic numbers, the sequel is still just below the $306 million global mark of the first film, though that’ll likely change too as the film keeps chugging along in theaters. The blue blur still has a ways to go if it wants to take the global title for highest-grossing video game film. 2016’s Warcraft made up for its paltry domestic numbers with an insane overseas run that grossed a whopping $391.7 million, bringing its total to $439 million globally.
For a video game movie to post such strong numbers in the face of major releases from big studios is impressive, especially considering the constant derision video game movies often get. Sonic 2 has not just proven that the ongoing pandemic hasn’t killed the blockbuster, but that the video game rabbit hole is worth going down and can be done in a way that doesn’t violate the spirit of the source material while still making a genuinely fun film. It reflects a growing trend of studios looking to the gaming sphere now armed with the knowledge to make these stories work. Ben Schwartz, who stars as Sonic, celebrated the occasion with a tweet about the continued run of the juggernaut film.
It should be noted that Sonic 2‘s record doesn’t count for inflation, meaning it’s technically still below Angelina Jolie‘s Lara Croft: Tomb Raider whose $131 million jumps up to a robust $212 million when adjusted. Unlike that film though, Sonic 2 earned its strong box office through building on the positive air induced by the first film and by being a genuinely loved family film. The follow-up to Tomb Raider, meanwhile, was poorly received at the box office following the disastrous reviews of the first film.
Sonic 2 came packaged with an even more star-studded cast than the first with Schwartz joined by fellow superstars Jim Carrey and Idris Elba as well as Jim Marsden, Tika Sumpter, and Colleen O’Shaughnessey. The film is still out in theaters if you haven’t had the chance to see it. Check out Schwartz‘s tweet below:
‘The Bad Guys’ Steals Top Spot from ‘Fantastic Beasts 3’ with $24 Million at the BO!!
As the pandemic eases and the town questions what works on the big screen, the answers are largely family films, even if they are dated three weekends in a row. We’re talking about Universal/Dreamworks Animation’s overperformance of its $69M production The Bad Guys, which is notching a solid debut of $24M and a great A CinemaScore. Per EntTelligence, the Pierre Perifel directed animated movie drew 2.1M admissions. Paramount’s third weekend of Sonic the Hedgehog 2 is even coming up strong in second place with -48% hold, a $15.2M weekend, and tally of $145.8M by EOD Sunday.
“The very positive critical and audience reaction to The Bad Guys echoes the overperformance of our title at the domestic box office this weekend and deservedly so as this is a broad, action-packed, charming film with clever comedy for the entire family,” celebrated Uni domestic theatrical distribution Boss Jim Orr this morning.
And when it comes to counter-programming working at the box office, please pull up a chair while we explain. There’s a lot of pacing back-and-forth in studio offices as to whether mid-sized and low-budget movies are meant for in-home consumption or the big screen. Seriously, it’s not so much of a Sophie’s Choice, because at the end of the day, it comes back to good old-fashioned movie industry economics. Really.
At a time when Netflix is losing 200K subscribers, waking up to the fact that we’ve been sharing passwords with our cousins, and not even in the running for NFL’s Sunday ticket (which Apple looks to hook with a $2.5 billion bid) because they’ve been overspending on big-screen movies (Red Notice) and arthouse movie campaigns (Power of the Dog) for the sake of viewership algorithms and churn, releasing a movie through a theatrical window system is better off for a piece of movie IP than not. The brilliance of the windows system is that Hollywood created a business formula whereby a consumer buys the same piece of content two to three times. Ain’t that smart? Outside of a buzzed, binge series on a streamer, the consumer retention, and the future revenue of your average movie on an OTT service, is quite short.
So if it’s hard to wrap your head around the openings of Focus Features/New Regency’s net $70M production, The Northman, at $12M (940K admissions per EntTelligence), and Lionsgate’s Nicolas Cage satire The Unbearable Weight of Massive Talent at an estimated $7.1M (580K admissions), their legacy in the consumer’s mind will last longer than if they took the straight-to-home, streaming route. Again, exhibition needs product, so having both of these movies on the marquee hits a non-family quadrant, and is filler leading into Doctor Strange in the Multiverse of Madness. After the success of Everything Everywhere All at Once, which looks to hit close to $27M by the end of the weekend, arthouses are likely savoring The Northman.
The irony here between both The Northman, which received a lower audience scores of B CinemaScore, 3 1/2 stars and 75% positive/56% recommend on PostTrak, and Unbearable Weight, which was graded higher at a B+ and 82% positive/66% recommend, is that the latter is the more crowd-appealing movie. Both titles’ openings, no doubt, should be scrutinized. Not just at SXSW, but Unbearable Weight, when screened to audiences, played to a rapturous response.
So, why isn’t it winning against Robert Eggers’ bloody, auteurish 2 hour and 15 minute running epic? Is it because it looks like a title we’d see on a streaming menu? No. Back to moviegoing economics: both titles are aimed at guys 18-34 and Northman pulled in 61% of the age demo, 68% male (with PLFs driving 22% of ticket sales) and Unbearable Weight attracted 57% of the age group and 59% male. There’s a cannibalization of the demo going on here, and it’s best if one of these movies stayed away from the other.
Northman is coming in at the high-end of its projections, which is a good thing. The Eggers’ movie opening is even higher than 2011’s The Eagle ($8.6M), another Focus Features’ star-studded historical epic. As tracking always indicated, Focus was out-spending Lionsgate by two-to-three times in TV spots, hence the reason why the Vikings are squashing Nic Cage here.
However, many will wonder who spends $70M on an arthouse historical epic? There is a price-point at which every movie can be greenlit for P&L purposes. Even by pre-pandemic standards, which is when this Alexander Skarsgård, Nicole Kidman, Anya Taylor-Joy, Ethan Hawke movie came together, Northman‘s cost is still considered silly expensive. However, gambling on originality and auteur’s vision comes at a price, and if the dice isn’t rolled, then we will truly be living in a world that’s dominated by Marvel and DC fare. Risk was mitigated here 50/50, I hear, on the budget between Focus and New Regency, and it comes as no surprise that the latter is involved; that studio having bankrolled Alejandro Inarritu’s $135M western The Revenant, which went on to rack up Oscar wins.
You can at least see where the mindset is for New Regency investing in Northman, even though the movie isn’t in the Oscar corridor and lacks the star power of Leonardo DiCaprio and Tom Hardy. Given the cost here, Focus couldn’t platform, or release in a crowded Q4 marketplace, so they went wide, and fast (17-day window) so they could make as much money as possible.
Northman played in the West and the South, where seven of its top ten runs were. The pic’s best markets were LA, NYC, San Francisco, Dallas, Washington DC, Phoenix, Seattle, Denver, Salt Lake City, Austin, and San Diego. Diversity demos were 56% Caucasian, 21% Hispanic and Latino, 10% Black, and 13% Asian/other.
The 16th weekend of 2022 looks to be grossing around $93M per industry sources. While 2019 during this time at Avengers: Endgame, 2018 had the third weekend of a A Quiet Place leading the box office. This weekend next to 2018’s weekend 16 is off 26%, while versus 2017’s 16th weekend is off 14%.
Bad Guys Breaking Though
Despite tracking showing this original animated film at a $15M, we should have seen the success of this pic coming. It was promoted through NBCUniversal’s Symphony program, and only a handful of movies get that big marketing push throughout the conglom’s ancillary tentacles from a co-branded Xfinity campaign which included several TV and digital ad spots to support across Uni’s theme global theme parks.
All of this amounted to a turnout by moms, with 56% of Bad Guys‘ audience being females. On PostTrak, 62% were surveyed as moms. Overall, 4 stars on PostTrak with females over 25 repping 27% of the crowd, under 25 also 27% and guys over 25 at 22% and under 25 at 23%, who gave the movie its best grade at 90%. Diversity demos were 40% Caucasian, 25% Latino and Hispanic, 20% African American and 9% Asian.
Bad Guys played fairly evenly across North America with the family-friendly Mountain region of Salt Lake City significantly overperforming its 52-week norm (50% over). Also over-indexing in the Midwest, Northeast and most of Canada. Top ten markets were LA, NY, San Francisco, Dallas, Chicago, Salt Lake City, Houston, Boston, Phoenix and Toronto.
Bad Guys‘ campaign launched last December with a global trailer drop, accompanied by a first look photo, a cast table read, and theatrical placement of the trailer during Sing 2. In February, Bad Guy‘s second trailer racked up nearly a quarter of a billion global views to-date. RelishMix measured Bad Guys‘ social media reach at 220M before opening “approaching family animated norms”. In Bad Guys‘ tank was a Super Bowl pre-game spot, which clocked 8.5M on YouTube and a Facebook video view bump which culminated in 14 videos on YouTube pulling in 110.1M views. “The very robust child friendly Dreamworks/Peacock Kids YouTube channel has a subscriber count of 9.3M at 37% more than subscribers of Universal Pictures at 5.9M, demonstrating the value of YouTube for little kids.” By comparison, two weeks ago, with a wider/older family videogamer target, Sonic 2’s social media universe was at 445M before opening.
Bad Guys had a March Madness in-show and online integration with the NCAA tournament with a virtual bracket for the film’s characters on the NCAA website and ad slots in both pre and post games coverage on TNT and TBS.
Some of the stunts on social to hook younger viewers included the character Mr. Wolf debuting a Snapchat AR lens on Valentine’s Day, and TikTok, users posting videos showcasing themselves as part of the Bad Guys crew, all while using branded effects and audio set to Billie Eilish’s “bad guy” with the #TheBadGuysChallenge.
Uni capitalized on April Fool’s Day, which was when tickets went on sale. Activations included a Snap AR lens that showcased The Bad Guys safe cracking a number of global landmarks including LA’s Chinese Theater, Paris’ Arc de Triomphe, Germany’s Brandenburg Gate and London’s Natural History Museum among others. Top influencers joined in with Mr Beast and Michael Le having their videos stolen by The Bad Guys (see below). The stunt yielded over 21.5 million views and over 1.8 million likes on TikTok.
–Pantelion had the Mexican comedy Y Come Es El? at 325 theaters in 65 markets. The Ariel Winograd directed movie follows Tomás, who is a meek man on the verge of a nervous breakdown. Despite his situation he decides to fake a work trip to go to Vallarta to confront Jero, a taxi driver who is sleeping with his wife. Overall a $630K opening with OK numbers in LA, Dallas, San Francisco, Sacramento and Las Vegas.
–Yash Raj’s Hindi language Jersey from director Gowtam Tinnanuri posted an estimated $233K at 373 theaters, fueled by Toronto. The movie follows a cricketer who quits cricket and decides to revive his career at the age of 36 for his sons dream and prove his ability.
–NEON had the Céline Sciamma movie, Petite Maman, booked at LA’s the Landmark and AMC Grove and NYC’s Angelika, & Lincoln Center and saw an estimated $45,8K opening for an OK $11,4K per theater. The French movie, which reps NEON’s reteam with the award-winning Portrait of a Lady on Fire filmmaker, notched 97% certified fresh on Rotten Tomatoes. got a 97% RT rating. The drama stars sisters Joséphine Sanz and Gabrielle Sanz, with Nina Meurisse, Stéphane Varupenne and Margot Abascal. In Pete Maman, 8-year-old Nelly has just lost her beloved grandmother and is helping her parents clean out her mother’s childhood home. She explores the house and the surrounding woods where her mom, Marion, used to play and built the treehouse she’s heard so much about. One day her mother abruptly leaves. That’s when Nelly meets a girl her own age in the woods building a treehouse. Her name is Marion.
–Sony Pictures Classics’ The Duke starring Helen Mirren and Jim Broadbent, and directed by the late Roger Michell grossed $28,7K from three locations in NY (Cinema 1, Lincoln Square and the Angelika) and the Landmark in LA. Per theater was $7,1K for the 96% certified fresh title on Rotten Tomatoes. As we observe the uptick at arthouses with Indian titles, Everything Everywhere All at Once, and The Northman, the continued quandary is when we see the older 55+ demo back in full force at the the cinema.
Top 10 this weekend, we’re updating the chart….:
1.) The Bad Guys (Uni) 4,009 Theaters, Fri $8M, Sat $9.3M, Sun $6.6M, 3-day $24M/Wk 1
2.) Sonic the Hedgehog 2 (Par) 3,809 (-449) theaters, Fri $4M (-63%), Sat $6.8M, Sun $4.4M, 3-day $15.2M (-48%)/Total $145.8M/Wk 3
3.) Fantastic Beasts…Dumbledore(WB), 4,245 (+37) theaters, Fri $4.1M (-79%), Sat $6M, Sun $3.9M, 3-day $14M (-67%)/Total $67.1M/Wk 2
Yes, families spent over $42M to see it last weekend, but nobody likes it, and that’s showing in the severe drop. While that’s the worst second weekend drop for a Fantastic Beasts movie, it’s also the second-worst for a J.K. Rowling pic after Harry Potter and the Deathly Hallows Part 2 which dropped 72% off a massive $169M+ opening.
4.) The Northman (Foc) 3,234 theaters, Fri $5M, Sat $4.2M, Sun $2.7M, 3-day $12M/Wk 1
5.) Unbearable Weight of Massive Talent (LG) 3,036 theaters, Fri $2.9M, Sat $2.5M, Sun $1.76M, 3-day $7.1M/Wk 1
6.) Everything Everywhere All at Once (A24) 2,133 (-87) theaters, Fri $1.55M (-18%)/Sat $2.1M/Sun $1.7M/ 3-day $5.4M (-11%)/Total $26.9M/Wk 5
7.) The Lost City (Par) 2,828 (-602) theaters Fri. $1.3M (-35%), Sat $1.9M, Sun $1.17M, 3-day $4.375M (-30%)/Total $85.4M/ Wk 5
8.) Father Stu (Sony) 2,705 theaters, Fri $1M (-40%), Sat $1.3M, Sun $960K, 3-day $3.3M (-39%), Total $13.9M/Wk 2
9.) Morbius (Sony) 2,306 (-1,156) theaters, Fri $635K, Sat $1M, Sun $615K, 3-day $2.25M (-53%), Total $69.1M/Wk 4
10.) Ambulance (Uni) 1,966 (-1,446) theaters, Fri $530K (-59%), Sat $770K, Sun $500K, 3-day $1.8M (-55%), Total $19.2M/Wk 3
‘Fantastic Beasts: The Secrets of Dumbledore’ Opens to a Franchise-Low $43 Million at the BO!!
If there’s still a five-picture plan in place for Fantastic Beasts, clearly after this weekend’s $43M opening for The Secrets of Dumbledore, it’s time to pivot the Harry Potter franchise. That’s the lowest opening ever stateside for a J.K. Rowling Wizarding World movie, and it’s probably not prudent for the studio to go for another low opening record on the next project from the franchise. It was evident Potter fans didn’t like the last movie, Crimes of Grindelwald, even if there was a cliffhanger, and they didn’t want to come back for Dumbledore.
With the Warner Bros.-Discovery merger made official on Wall Street earlier this week, this is unfortunately not the best optics for the studio. However, as CEO David Zaslav gets to know Hollywood, he should realize that sometimes greenlight decisions pre-date the studio’s current regime. Who would greenlight a $200M net production on a franchise that wasn’t working? The Fantastic Beasts movies were put into play by former Warner Bros. Entertainment CEO Kevin Tsujihara.
The continued production of these off-beat Potter canon movies are all about the studio’s commitment to their own George Lucas, meaning Rowling, and the further build-out of the Wizarding World which spans theme parks, stage shows, the set tours, etc.
The threequel’s production was pushed in 2019 so that the script could be developed more. However, as is the nature of bruised franchises at the box office, no matter how great a third installment could be conjured up, it’s hard to restore business after fans turn their backs on the previous movie.
Former Warner Bros London-based Warner Bros. exec Josh Berger, who gets an EP credit here on Dumbledore, ran the Wizarding World franchise until roughly a year-and-a-half ago. WarnerMedia Studios and Network exec Ann Sarnoff took on that oversight. I understand she had no fingerprints on this threequel, nor could she put the brakes on it; again the threequel’s production monies were committed by a previous administration.
There are no immediate, concrete plans for the Harry Potter franchise. It was buzzed back in early 2021 that a Harry Potter spinoff series was being kicked around for HBO Max, but no writers were attached at the time. There isn’t a script in for a fourth Fantastic Beasts. If reality didn’t set in for Rowling on Grindelwald, or even the first Fantastic Beasts movie, it should set in now: The majority of your Potter fans do not want to see Fantastic Beasts.
If there’s any positive takeaways from Dumbledore, they include that Warner Bros. distribution picked a holiday to launch the movie to get the biggest audience they could and its the biggest opening for a female-skewing property during the pandemic. Comscore/Screen Engine exits show 38% women over 25–the biggest demo for the pic, which is amazing for the pandemic, followed by 33% men over 25, 16% women under 25 and 13% men under 25. Women over 25 gave the threequel the best grades at 86% positive, followed by women under 25 at 83%.
Also worthy, Warners didn’t dilute grosses down here with a day-and-date HBO Max model; many believe this film can still clear $100M-plus domestic, and that’s great for the exhibition ecosphere.
And as far as HBO Max goes, the company likely looks forward to a possible uptick in subs when the film hits the service sometime around Memorial Day weekend. Of those who watched Dumbledore, 24% told PostTrak they’d watch the movie again in cinemas, 14% would see again for free at home, 13% would purchase it digitally at home, while a combined 21% would buy it on DVD or Blu-Ray.
Before The Batman hits HBO Max tomorrow, that pic in its first seven weekends has reaped $365M, and that’s something to shout about as studios shorten their windows coming out of the pandemic. The Matt Reeves-directed movie hits $750M worldwide this weekend.
Dumbledore‘s global is at $193M, and should settle around $400M. This is after a $71.7M international/$150.4M global opening weekend. Crimping global grosses for Dumbledore is the fact that the China market isn’t at its full power; you can blame closed theaters during Covid, or the country’s POV toward U.S. movies. China delivered the best grosses for the first Fantastic Beasts outside the U.S. with $85M, and the second best after Japan on Grindelwald with $57.3M.
iSpot shows that Warners did spend to open Dumbledore with close to $21M committed to U.S. TV Spots, versus Sony’s $8M on Father Stu. TV ad impressions for Dumbledore were 958M, with spots airing across NBC, ABC, CBS, TBS and Syfy network, during events like Men’s college basketball, Winter Olympics, NBA games and on shows like Good Morning America and Survivor.
Imax drove $4.275M of Dumbledore’s ticket sales this weekend or 10% of the box office. The Top 5 Domestic IMAX locations this weekend were AMC Lincoln Square NY, AMC Citywalk Stadium LA, AMC Metreon San Francisco, AMC Empire NY, and Cineplex Scotiabank Toronto. Around 32% of the threequel’s business came from Imax, PLF, Dolby and motion seating, again indicative that when people go to the movies, they want to see it in the best format.
The top 10 locations for Dumbledore were: 1. AMC Lincoln Square NY, 2. AMC Burbank, 3. AMC Disney Springs Orlando, 4. AMC Empire NY, 5. AMC Citywalk Stadium LA, 6. Cineplex Odeon Brossard Montreal, 7. AMC Century City LA, 8. Santikos Palladium San Antonio, 9. Larry Miller Jordan Commons Megaplex Salt Lake City, and 10. Regal Warren Oklahoma City. The pic’s top 10 markets were 1. Los Angeles, 2. New York, 3. Dallas, 4. San Francisco, 5. Salt Lake City, 6. Chicago, 7. Houston, 8. Seattle, 9. Phoenix, and 10. Washington DC.
We’re building the weekend box office chart:
1.) Fantastic Beasts…Dumbledore (WB), 4,208 theaters, Fri $20M, Sat $13.9M, Sun $9.1M, 3-day $43M/Wk 1
2.) Sonic the Hedgehog 2 (Par) 4,258 theaters (+24), Fri $10.85M (-59%), Sat $11.6M, Sun $7.55M, 3-day $30M (-58%)/Total $119.6M/Wk 2
3.) The Lost City (Par) 3,430 (-367) theaters Fri. $2.07M (-20%), Sat $2.55M, Sun $1.9M, 3-day $6.5M (-28%)/Total $78.5M/ Wk 4
4.) Everything Everywhere All at Once (A24) 2,220 (+970) theaters, Fri $1.9M, Sat $2.4M, Sun $1.85M, 3-day $6.1M (+1%)/Total $17.7M/Wk 4
A fantastic hold here by the Daniels/AGBO movie. People are finding it, and I hear $20M is in store. May the riches reign upon the arthouses.
5.) Father Stu (Sony) 2,705 theaters, Fri $1.68M/Sat $2.2M, Sun $1.8M, 3-day $5.68M/Total $8M/Wk 1
6.) Morbius (Sony) 3,462 (-806) theaters, Fri $1.57M (-46%), Sat $1.98M, Sun $1.1M, 3-day $4.7M (-54%)/Total $65.1M/Wk 3
7.) Ambulance (Uni) 3,412 theaters, Fri $1.3M (-59%), Sat $1.6M, Sun $1.08M, 3-day $4.04M (-54%)/Total $15.6M/Wk 2
8.) The Batman(WB) 2,535 (-719) theaters Fri $1.3M (-28%), Sat $1.56M, Sun $940K, 3-day: $3.8M (-41%) Total $365M/Wk 7
9.) K.F.G. Chapter 2 (Sia) 510 theaters, Fri $527K Sat $573K, Sun $386K, 3-day $1.486M/Total $2.9M/Wk 1
10.) K.F.G. Chapter 2 (Viva, Hindi) 300 theaters $497K, Sat $518K, Sun $373K, 3-day $1.38M/Total $1.7M/Wk 1
‘Sonic the Hedgehog 2’ Breaks Video Game Adaptations Record with $71 Million Debut at the BO!!
Sonic the Hedgehog 2 is outstripping the three-day opening results of its 2020 original movie — which, keep in mind, was over a holiday weekend — with $71M. For Jim Carrey, Sonic the Hedgehog 2 is his biggest domestic opener on a three-day basis, beating the $68M start of Bruce Almighty in 2003.
Sonic 2‘s updated gross is after an estimated $26M Saturday, which was up 1% against Friday plus previews of $26.8M. Technically speaking, the Jeff Fowler-directed sequel was up 30% on Saturday over Friday if you back out previews.
Paramount Theatrical Distribution Boss Chris Aronson beamed, “Sonic 2‘s record opening is a victory for Paramount and for the industry at large. The filmmakers did an amazing job of crafting a film that is both in service of Sonic’s legions of fans as well as the general and family audience. Growing a franchise is no small feat and having an opening +22% over the first film is a remarkable achievement. Kudos to the filmmakers and to the marketing and distributions teams at Paramount for doing a fantastic job in bringing the film into the global marketplace!”
Knock on wood, it’s going to be fun to see the legs on this one and how vibrant a Sonic movie can truly be in the market, especially for a sector that has been starving for movies. The first movie’s momentum was stalled by Covid and the closing of movie theaters, the pic making close to 50% of its $148.9M final domestic in its first four days.
Critics at 68% Rotten didn’t curtail business for the Hedgehog as he received an A CinemaScore, the same grade as the first film, with an 87% positive and 74% recommend on Comscore/Screen Engine’s PostTrak with kids under 12 jumping up and down at 95% positive and a 79% definite recommend.
Demos were 61% guys, 39% women with 32% under 17, and 46% between 18-34 years old. Diversity demos showed a strong turnout among Latino and Hispanic audiences of 38%, Caucasian at 29%, 20% Black and 13% Asian/other. Sonic was great everywhere, but showed power on the coasts and in the South. PLFs by Saturday AM drove 22% of ticket sales.
The audience was made up of 27% parents, 31% kids and 42% general.
EntTelligence says 6M admissions were closed for Sonic 2. Matinee attendance was strong on Saturday with almost 56% of the audience attending before 5PM. Thirty-one percent came between 5PM to 8PM, and 13% after 8PM. On Friday, approximately 31% of the audience came before 5PM, 46% came during the 5PM to 8PM dayparts, and 23% of patrons showed up after 8PM. By comparison, Encanto had over 83% of their audience see the film before 8PM on opening day. Average ticket price for Sonic 2 was $11.69.
iSpot monitored that Paramount spent just under $18M on U.S. TV spots that yielded 717M impressions with the campaign running on NBC, Nick, CBS, USA and Univision on such shows as the Winter Olympics, SpongeBob, men’s college basketball, and of course the Super Bowl LVI pregame and NBA games.
Social awareness for Sonic 2 per RelishMix before the weekend stood at 468.6M and 29% above the social media universe of family-live-action movies across Facebook, Twitter, YouTube, Instagram and TikTok. And, it also runs in-line with the first installment of Sonic which opened two years ago, just before the pandemic, and exceeded predictions for that opening weekend at $58M. Included, is the 11.7M social/digital kick from the Super Bowl pre-game spot and social pages for the movie at 568K which is strong. The franchise based on the 31 year old video game, has social cross-promotional integration from the Sega game platform (4.3M) and the Sonic The Hedgehog social media (13.1M). RelishMix noticed that the word of mouth was positive for Sonic 2 and that “expectations and love for Jim Carrey as Dr. Eggman, and concerns as to whether this this will be his ‘last film’ are building interest even more.”
The weekend’s other wide opener, Michael Bay’s Ambulance from Universal, saw $3.3M on Saturday, the same as yesterday for $8.7M in 4th place (this is as of Saturday night). Those who bought tickets love the movie with an A- CinemaScore. However, there was a disparity with PostTrak exits which were much lower at 77% positive, and 61% recommend. Older guy heavy as expected at 62%, 77% over 25 with 49% over 35 years old. Diversity demos were 38% Caucasian, 29% Latino and Hispanic, 22% Black and 11% Asian/other. West and Southwest were the best areas of play for the action pic with Imax accounting for 14% of ticket sales, and nine of the top ten runs coming from the large format exhibitor and another 7% from PLFs. According to EntTelligence, Ambulance pulled in 675K admissions this weekend, with over 35% of the audience coming after 8PM on Friday and 27% attending after 8PM on Saturday.
iSpot shows that Uni spent an enormous amount of cash on TV spots at $33M. This includes NBCUniversal owned networks, which generated 819M impressions. Spots aired across NFL games, men’s college basketball, the Winter Olympics, NBA games and The Big Bang Theory re-runs.
A24 this AM reported that their wide expansion of Everything Everywhere All at Once is in 6th place with $6M, the best weekend of the year for a platform release (Yes, they still work; not all indie movies are 17 days). A24 will continue to expand the movie in the next few weeks. The Daniels directed movie wasn’t just beloved by critics at 97% Certified Fresh after two weekends of limited play, however, PostTrak measured 89% positive, and a great 77% recommend. Guys bought tickets at 64%, with 61% over 25, and 69% between 18-34. Diversity demos were 45% Caucasian, 19% Asian, 19% Latino and Hispanic, 13% Black and 4% other. Coasts saw the best business with nine of the top ten runs; which isn’t unusual for an A24 release. Best markets were LA, NY, San Francisco, Dallas, Washington DC, Seattle, Denver, Toronto, San Diego, and Austin. Data from Tubular Labs showed trailers from A24 garnered 29.1 million views across Twitter, YouTube and Facebook.
Comscore reports that all movies this weekend grossed $118.6M, +7% when compared to the 2nd weekend of April 2019, which grossed $111.1M.
Top 6 Movies; we’ll have more updates for you later this morning:
1.) Sonic the Hedgehog 2 (Par) 4,234 theaters, Fri $26.5M, Sat $26.8M, Sun $17.7M, 3-day $71M/Wk 1
2.) Morbius (Sony) 4,268 theaters, Fri $2.9M, Sat $4.4M, Sun $2.8M, 3-day $10.2M (-74%)/Total $57M/Wk 2
3.) The Lost City (Par) 3,797 (-486) theaters Fri. $2.56M, Sat $4M, Sun $2.55M,, 3-day $9.1M (-38%)/Total $68.8M/ Wk 3
4.) Ambulance (Uni) 3,412 theaters, Fri $3.2M, Sat, $3.3M, Sun $2.2M, 3-day $8.7M/Wk 1
5.) The Batman(WB) 3,254 (-478) theaters Fri $1.75M, Sat $2.9M, Sun $1.9M, 3-day: $6.5M (-41%) Total $358.8M/Wk 6
6.) Everything Everywhere All at Once (A24) 1,250 (+1,212) theaters, Fri $2.1M, Sat $2.1M, Sun $1.7M, 3-day $6.05M (+505%)/Total $8.4M/Wk 3
7.) Uncharted (Sony) 2,318 (-746) theaters, Fri $735K Sat $1.2M Sun $710K, 3-day $2.65M (-28%), Total $142.9M/Wk 8
8.) Jujutsu Kaisen (Crunch) 850 (-1,220) theaters, Fri $230K, Sat $345K, Sun $250K, 3-day $825K (-58%), Total $33.1M/Wk 4
9.) Spider-Man: No Way Home (Sony) 1,009 (-696) theaters, Fri $170k, Sat $288K, Sun $167K, 3-day $625K, -57%, Total $803.8M/Wk 17
10.) RRR (Sarigama Cinemas) 350 (-515) theaters, Fri $151K, Sat $248K, Sun $171K, 3-day $570K (65%), Total $13.66M/Wk 3
‘Morbius’ Tops Weekend with Solid $39 Million Opening at the BO!!
Sony’s Morbius is playing more like a horror movie: All the fans came out on Thursday night and Friday, with Saturday taking a 25% hit for a now $39.1M result. The pic’s worldwide start stands at $84M.
This is a glass half-full scenario right now at the box office. Considering their hardships during the pandemic, exhibition can’t be upset with this opening. Not only is it on an exclusive theatrical window from Sony, Morbius‘ start here is higher than last weekend’s The Lost City ($30.4M), and part of April’s back-to-back tentpole machine leading into May 6’s Doctor Strange in the Multiverse of Madness.
At the same time, we’ve seen better from Sony’s own handling of Marvel. Look, no one was expecting this movie to be Ant-Man in regards to its caliber. It was buzzed all throughout the pandemic by distribution and exhibition sources that Morbius wasn’t exactly up to snuff, and clearly the C+ CinemaScore and 2 1/2 star word of mouth of it all seeped in over the weekend.
Heading into Friday, tracking had been wild about this movie, projecting $40M-$50M stateside. Morbius‘ results this weekend will at least reset some box office diagnostic firms to not shoot for the moon. While the 18-34 bunch have shown a rabid appetite to return to cinemas as the pandemic eases, particularly to comic book movies, at the end of the day, box office market forces haven’t changed: Unfortunately, you can’t overperform on a poorly reviewed and audience-received movie (that was something in the ’90s and the early aughts, which was very feasible to do). Twenty-three percent told PostTrak the movie was below their expectations, while 18% said that it exceeded their expectations, and 60% said it met their expectations.
In all fairness to Sony, they saw Morbius at $38M Saturday morning; everyone else had it higher. Sony’s own estimate heading into the weekend was a low $33M.
In regards to franchise building, I think Sony’s intent is to simply exploit the Marvel characters in its arsenal (they apparently have access to 900), many of them supporting characters or villains in the Spider-Man universe. Can’t fault any studio sitting on a prized asset with those business maneuvers, and credit to Sony Pictures Entertainment Chairperson Tom Rothman and Sony Motion Picture Group President Sanford Panitch for rolling the dice on a deeper universe Marvel anti-hero. It’s likely we’ll see Morbius costarring in another Sony Marvel movie, versus a sequel. It would be hard to make a sequel to Morbius: Even if the reviews on part 2 are through the roof, it’s very hard, business-wise, to convince the audience of that, and bring them back.
On the upside for Sony, they’ll have the benefit of steering Morbius through a theatrical window/ancillary model. Sony also kept the budget low here at a reported $75M net (some have even told me $83M); not the standard $100M-$200M+ associated with other Marvel movies. The pay deals with Netflix and Disney+, plus International territory deals, are poised to make Morbius profitable, according to one film finance source this morning. Remember, even the worst-received theatrical titles find a home audience; and being on a cinema marquee is the best and biggest form of advertisement for any movie, versus getting lost on a streaming queue.
Imax accounted for $3M of Morbius‘ business from 400 auditoriums in the US/Canada. Men over 25 were the most dominant at 35% (59% grade), followed by men under 25 at 27% (59%), women over 25 at 23% (best grade for the Leto movie at 72%), and women under 25 at 15% (65%). EntTelligence reports that 3M people watched Morbius this weekend, with 26% of the audience arrive after 8 PM on Saturday, which is very similar to The Batman, which grabbed 27% of it’s first Saturday’s attendance during the night-time hours.
1.) Morbius (Sony) 4,268 theaters, Fri $17.3M, Sat $13.2M, Sun $8.6M, 3-day $39.1M/Wk 1
2.) The Lost City (Par) 4,253 theater Fri. $4.3M (-63%), Sat $6.3M, Sun $4.1M, 3-day $14.8M (-51%)/Total $54.5M/ Wk 2
3.) The Batman(WB) 3,732 (-235) theaters Fri $3.1M (-44%), Sat $4.8M, Sun $2.9M, 3-day: $10.8M (-47%) Total $349M/Wk 5
The Matt Reeves is clicking past $700M today. Theatrical is alive.
4.) Uncharted (Sony) 3,064 (-352) theaters, Fri $1M (-23%), Sat $1.6M, Sun $950K, 3-day $3.6M (-27%)/Total $138.9M/Wk 7
5.) Jujutsu Kaisen 0 (Crunchy) 2,070 (-401) theaters, Fri $564K (-57%), Sat $824K, Sun $582K, 3-day $1.97M (-57%) /Total $31.3M/ Wk 3
6.) RRR (Sarigama Cinemas) 1,200 theaters, Fri $442K (-92%), Sat $710K, Sun $461K, 3-day $1.6M (-83%)/Total $12.3M/Wk 2
7) Spider-Man: No Way Home (Sony) 1,705 (-298) theaters, Fri $375K, Sat $650K, Sun $375K, 3-day $1.4M (-29%)/Total $802.7M/Wk 16
8.) Dog (UAR) 2,053 (-786) theaters, Fri $360K (-38%), Sat $599K, Sun $360K, 3-day $1.31M (-38%)/Total $60.1M/Wk 7
9.) X (A24) 1,799 (-1,121) theaters, Fri $331,55K (-54%), Sat $418,3K, Sun $271,9K, 3-day $1.02M (-52%)/Total $10.39M/ Wk 3
10.) Everything Everywhere All at Once (A24) 38 (+28) theaters, Fri $354,9K (+74%), Sat $375,4K, Sun $281,5K, 3-day $1.01M (+102%), Total $1.75M/Wk 2
The Daniels’ directed fantasy martial arts family movie has a per theater of $26,6K, which is spectacular for a second weekend in a row per screen. The movie goes wide next weekend at 1,200 theaters.
11.) Sing 2 (Uni/Ill) 2,095 (-528) theaters, Fri $190K (-36%), Sat $390K, Sun $250K, 3-day $830K (-40%)/Total: $161.7M/Wk 15
12.) The Contractor (Par) 489 locations, Fri $195K, Sat $213K, Sun $127K, 3-day: $535K/Wk 1
‘Spider-Man: No Way Home’ Crosses $800 Million Milestone; Becomes Third Film Ever to Domestically!!
As if it hadn’t broken enough records already, Sony‘s Spider-Man: No Way Home will become the third film in history to cross the $800 million mark domestically this weekend. The superhero extravaganza is poised to make $1.85 million in its 15th weekend, for a running domestic total of $800.4 million.
The two other films that have made more than $800 million domestically (unadjusted for inflation, of course) are Star Wars: The Force Awakens ($936 million) and Avengers: Endgame ($858 million). No Way Home has outperformed hits such as Avatar, Black Panther, and The Avengers. Internationally, the film has made nearly $1.9 billion after opening to record-breaking numbers in December.
It’s safe to say that No Way Home performed about as well as it would have in non-pandemic times. It boggles the mind to speculate just how much better it would have done under normal circumstances. But despite everything, No Way Home still has numerous records to its name. It is the highest-grossing film of 2021, the highest-grossing Spider-Man film, and the highest-grossing film released by Sony. It also registered the second-biggest domestic opening weekend of all time ($260 million), behind Endgame, delivered the biggest December debut of all time, and became the first film since 2019’s Star Wars: The Rise of Skywalker to make more than $1 billion at the worldwide box office.
Starring Tom Holland as the titular superhero, the film was notable for bringing back cast members from two previous Spider-Man film series. Tobey Maguire, who played the character in a trilogy of hits directed by Sam Raimi, and Andrew Garfield, who took over the role in two films directed by Marc Webb, appeared in supporting roles in No Way Home. This was made possible by a plot device involving the splitting open of the multiverse.
This was Holland‘s sixth appearance as the character. He first played Peter Parker/Spider-Man in 2016’s Captain America: Civil War. He reprised the role in two Avengers films — Avengers: Infinity War and Avengers: Endgame — as well as two solo Spider-Man movies, Spider-Man: Homecoming and Spider-Man: Far From Home. Each of his three Spidey films has been directed by Jon Watts.
The actor is expected to return as Spider-Man in more films, according to reassurances made by Marvel Studios president Kevin Feige, although no official announcements about this have been made yet. Both Garfield and Maguire have also spoken about their willingness to return for more adventures. No Way Home became available on digital earlier this month. Stay tuned to Collider for more updates!
‘The Lost City’ Dethrones ‘The Batman’ with $31 Million Debut at the BO!!
In what is a record opening during the pandemic for a female-driven feature, Paramount’s Sandra Bullock-Channing Tatum romantic comedy adventure The Lost City is opening to $31M after a $11.55M Friday and $11.8M Saturday.
While the older female demographic has been known to be cautious about moviegoing during the pandemic, they indeed showed up at 61% overall, with those over 35 repping close to half the crowd. Previously, over Valentine’s Day weekend, two-glossy female targeted movies tried to deliver, but did not in their openings: Death on the Nile ($12.8M) and Marry Me ($7.9M).
Moreover, give it up for an original piece of content opening at the box office off of sheer star power, and not brand IP.
“It’s kind of a throwback,” says Paramount Domestic Distribution Boss Chris Aronson this morning. “But it shows that movies still matter.”
“This is very much a crowd-pleasing movie, and it points toward people want to laugh and they want to be entertained after the last two years we’ve been through,” added Aronson about feature comedy’s return at the B.O.
Lost City‘s debut ranks second for Paramount during the pandemic, behind A Quiet Place Part II ($47.5M). It’s the studio’s third movie to open at No 1 this year, after Scream and Jackass Forever.
In the switch-off from Jim Gianopulos to Brian Robbins as Paramount Studios boss, the latter was immediately painted by the media as a guy who was primed to embrace theatrical day-and-date, as Paramount Global board chair Shari Redstone looked to mushroom the studio’s fledgling streaming service Paramount+. Not true: This guy isn’t going to burn down a great theatrical slate to keep warm. His talent and experience is in building franchises, and that’s on the streaming and the theatrical side.
As the box office bounces back, industry executives are reminded about the riches inherent in the ancillary model, especially in the streaming age. Even though Marvel departed Paramount for Disney a while ago, the former studio is still franchise-rich in its Nickelodeon, Hasbro, etc. IP, and that’s currency which will go a long way for a long time. Even the younger-skewing stuff, when made at the right price, is a box office cash cow.
Talking to Deadline at SXSW, Bullock said that she had read Lost City a few years ago, “But I said ‘No’, this is outdated, it had been on the shelf for seven years.”
“Then it was brought back to me by Elizabeth Raposo, who was at Paramount at that time, and she said, ‘You can do what you want with it.,” adds the Oscar winning actress, who is also a producer there.
“As soon as you’re given that allowance, you can see things that you couldn’t see before, because there weren’t a bunch of attachments to it,” adds Bullock.
She called producer Liza Chasin to develop the project, and they found their hook in Couples Retreat and Cruella scribe Dana Fox.
“You know how hard it is to find a writer with this tone of action, comedy, drama, it’s not easy, and Dana Fox is one of the top writers for that very reason,” says Bullock. The Nee Brothers, who were hot around town with their VFX pitch of Bumblebee, won Chasin and Bullock over, with the film ultimately shooting down in the Dominican Republic during Covid for a reported net budget of $68M.
“Sandy set out to make a movie to entertain people, and boy, did people respond,” adds Aronson.
Bullock didn’t speculate on a sequel at interview time. However, if she’s making something that’s greater than Lost City, it’s with Fox.
Lost City‘s weekend number is in the range from other Bullock pre-pandemic openers, such as the comedy The Heat ($39M) and The Proposal ($34M). It’s a number many in distribution circles were expecting, and continues to prove that theatrical isn’t broken, especially for comedies and female-driven fare, which have largely been jettisoned to streamers. Comedies still work on the big screen, and Lost City played like a rock concert during its world premiere at SXSW at the Paramount Theatre on March 12.
Box office analytics corp EntTelligence clocked 935K admissions for Lost City‘s opening day, and 2.6M admissions for the weekend. The average ticket price for the pic was $11.66. The major circuits didn’t upcharge on Lost City like they did for Batman. Saturday matinees were strong for Lost City, with over 46% of the audience coming before 5PM. Approximately 36% of the audience came between 5PM and 8PM, and 18% came after 8PM.
The Lost City overperformed west of the Mississippi, and was at norm in the Southeast. Canada repped 7.54% market share on 8% of total locations. Top markets that overperformed included Salt Lake City, Phoenix, Denver, Tampa, Minneapolis, Portland OR, Kansas City, Indianapolis, Albuquerque, Honolulu, and Oklahoma City, while the top markets that under-indexed include NY, Chicago, Houston, Atlanta, Philadelphia, and Boston. Top grossing theaters hailed from LA, Orlando, Salt Lake City, Albuquerque, NYC, San Antonio, Phoenix, Pharr TX, OKC, El Paso, Denver, Nashville, Dallas, Canton OH, Colorado Springs, and Toronto.
Premium large format screens, we hear, are driving 21% of ticket sales. Diversity demos were 61% Caucasian, 21% Latino and Hispanic, 6% Black, and 7% Asian. Cinemascore here is a B+, with 81% on PostTrak and a 61% recommend, which is very good for this type of movie right now. Rotten Tomatoes’ audience meter is a bit higher at 86%.
Ahead of opening, social media monitor RelishMix spotted positive conversation for Lost City, with those online “making unending comparisons to Romancing the Stone and The Jewel Of The Nile — with enthusiasm for the playful onscreen chemistry of Sandra Bullock and Channing Tatum, and boiling screams of joy for Brad Pitt.” Total reach across Facebook, Twitter, YouTube, Instagram, and TikTok combined is 125.3M social media followers, “exceeding genre norms for action-adventure-comedy,” says RelishMix, with Tatum posts spiking with a super Instagram post at 3.1M views, plus a solid stack of YouTube materials driving 56.6M views.
Tatum is the social media champ here for the pic, engaging 45.6M fans, and driving cast activation on the film at 96%, while also repping 36% of the pic’s entire SMU reach. Other cast members Bullock, Daniel Radcliffe, and Brad Pitt are hot topics in social chatter, but are socially off-the-grid.
The Lost City campaign launched with a trailer in December with a custom intro by Bullock, Tatum, and Radcliffe, which ultimately yielded over 170M views to date. Ad spots ran during the Winter Olympics and Super Bowl LVI. iSpot estimates that Paramount spent $27M on TV ads stateside across NBC (27.8%), ESPN (6.6%), CBS (4.9%), ABC (4.8%) and Food Network (4.3%), with ads also running on Survivor, Sports Center and Today.
While we have some depth in the box office chart, with The Batman seeing a fourth weekend of $20.5M, RRR now seeing the second-best opening for an Indian movie at $9.5M stateside, and Spider-Man: No Way Home clicking past $800M, we’re still used to seeing more depth at the weekend box office. All ticket sales look to be coming in at $81.5M, which is 45% off of weekend 12 in 2019. That’s when Universal’s Us drove all movies to a $148.8M weekend. Looking under the hood of that weekend, Jordan Peele’s Us rang up a $71.1M opening, while Disney’s third weekend of Captain Marvel did $34.2M.
The ticket prices for the three-hour action movie RRR, which includes an intermission, are being charged at specialty event prices at $22.54 per seat, according to EntTelligence. The pic is booked at 1,200 theaters and notched a $4.5M Thursday preview, the highest ever recorded for an Indian title in US/Canada.
Unfortunately, Saturday ticket sales fell apart, according to industry estimates, with $2.5M, making S.S. Ramajouli’s RRR the second best opening for an Indian movie stateside after his own stateside record with 2017’s Baahubali 2: The Conclusion, which opened to $10.4M and finaled at $20.8M, per Comscore. RRR played best in the East and the South, with the top 10 theater delivering over $50K, and 46 bookings seeing over $25K. Specialty cinema is very much alive, and it’s with Indian epics.
With the major studios not sopping up all the theaters just yet, Bleecker Street took its Naomi Watts thriller Infinite Storm much wider than intended with 1,525 theaters in 187 markets. The survival mountain climber blizzard movie didn’t wow critics at 59% rotten, and froze out PostTrak audiences at 55%. Any money came from the coasts, with NYC Lincoln Square doing $2K to date. Friday looks to be $262K, and the weekend a not-very-powerful $751,2K, for a $492 theater average for a No. 10 slot.
Also in another big plus sign for arthouses during the pandemic is the Daniels’ martial arts fantasy Everything Everywhere All at Once which racked up a $203,9K Friday at ten theaters for a $20K average and very strong numbers across the board in NYC, LA, and respectable results in San Francisco, where the pic is booked at the New Mission, Metreon, & Kabuki. The opening for the AGBO produced movie per A24 is $509,6K. That’s a $50,965 theater average which is the second-best opening theater average during the pandemic for a platform release after MGM/UAR’s Licorice Pizza ($86K) — and the best opening theater average of 2022 to date. The Daniels’ previous A24 movie, Swiss Army Man, opened to $105,4K in three theaters back in June 2016 for a $35,1K theater average. Bravo, A24.
A24 is looking to make this a platform arthouse event, similar to its 2014 spring hit Ex Machina, but even bigger with an Imax screening event across top markets on Wednesday ahead of a nationwide launch on April 8. Already there were sold-out Imax engagements, with exit polls in the 90s. As we told you prior, A24 fired Everything Everywhere All at Once off at SXSW’s opening night to a rapturous response.
On the other end of the arthouse spectrum, there’s Sony Pictures Classics’ Mothering Sunday, a very naughty R-rated, Merchant-Ivory type of film by filmmaker Eva Husson about a maid living in post-World War I England who secretly plans to meet with the man she loves before he leaves to marry another woman. The pic, which launched at Cannes last summer, got a 76% from critics on Rotten Tomatoes. That score needs to be higher to draw this cautious over 50 crowd back. Five runs in NY and LA are seeing an estimated $10,7K for a low $2,1K per theater.
In regards to the Oscar’s halo effect for Best Picture nominees, it’s sad — there really wasn’t that much, nor did these films really wow on streaming, as we previously reported. Should Coda take home Best Picture tonight, the boom will be in subscriptions.
Final Sunday reported studio figures:
1.) The Lost City (Par) 4,253 theater Fri. $11.55M, Sat $11.8M, Sun $7.65M, 3-day $31M/Wk 1
2.) The Batman(WB) 3,967 (-335) theaters Fri $5.5M (-49%), Sat $9.1M, Sun $5.9M, 3-day: $20.5M (-44%) Total $332M/Wk 4
3.) RRR (Sarigama Cinemas) 1,200 theaters, Fri $5.4M, Sat $2.5M, Sun $1.6M, 3-day $9.5M/Wk 1
4.) Uncharted (Sony) 3,416 (-284) theaters, Fri $1.3M (-42%), Sat $2.2M, Sun $1.3M, 3-day $5M (-36%)/Total $133.5M/Wk 6
5.) Jujutsu Kaisen 0 (Crunchy) 2,400 (+103) theaters, Fri $1.3M (-85%), Sat $1.88M, Sun $1.39M, 3-day $4.58M (-69%)/Total $27.6M/ Wk 2
6.) X (A24) 2,920 (+55) theaters, Fri $715,5K (-60%) 3-day $2.2M (-48%)/Total $8.3M/ Wk 2
7.) Dog (UAR) 2,839 (-468) theaters, Fri $578K (-51%), Sat $987K, Sun $543K, 3-day $2.1M (-47%)/Total $57.8M/Wk 6
8) Spider-Man: No Way Home (Sony) 2,003 (-582) theaters, Fri $505K, Sat $915K, Sun $580K/3-day $2M (-35%)/Total $800.5M/Wk 15
9.) Sing 2 (Uni/Ill) 2,626 (+788) theaters, Fri $290K (-28%), Sat $620K, Sun $370K, 3-day $1.28M (-12%)/Total: $160.2M/Wk 14
10.) Infinite Storm (BST) 1,525 theaters, Fri $269K, Sat $299K, Sun $182,5K, 3-day $751,2K, Wk 1
‘The Batman’ Crosses $300 Million Domestically as ‘Jujutsu Kaisen 0’ Opens Strong at the BO!!
In a weekend without major studio wide releases, Crunchyroll’s anime prequel Jujutsu Kaisen 0 is providing cash to exhibition. On Friday, including previews, the pic did $8.7M I’m informed, another $5.4M on Saturday for a solid $17.7M weekend in 2nd; which is 17% under the $21.2M opening of Funimation’s Demon Slayer last April. Box office analytics firm EntTelligence reports that 1.3M bought tickets to Jujutsu Kaisen 0 vs. Demon Slayer‘s first weekend which drew 1.6M. Not bad.
Of course, Warner Bros.’ The Batman is No. 1 with a third weekend of $36.8M, down a very good 45%, and sending its running total to $300.1M by EOD. Among third weekends at the box office for Warner Bros, The Batman‘s is the third-best, after Dark Knight ($42.6M) and Wonder Woman ($41.2M). People love this movie. Just another $31M and The Batman will have surpassed 2015’s Batman v. Superman‘s domestic B.O. ($330.3M); another $35M until it clocks past Aquaman ($335.1M). Friday for The Batman came in at 10.6M, -43% from a week ago.
Worldwide, The Batman is $1.9M shy of $600M. Of that global haul, $47.6M was generated at Imax hubs. Breaking that further down, $28.5M is the running total for The Batman in U.S./Canada Imax auditoriums. Imax is celebrating that its lifetime global box office has just clicked $10 billion.
EntTelligence reports that The Batman has the second best number of admissions during the pandemic to date with 23M through 17 days, just behind the 50M racked up by Sony’s Spider-Man: No Way Home over the same frame. Shang-Chi during its first 17 days pulled in 14.2M while Venom: Let There Be Carnage clocked 13.7M admissions.
A24’s horror movie X did $1.77M on Friday and takes fourth place with $4.4M at 2,865 theaters, fueled by venues in the Southwest, where nine of the top ten theaters came from. In standard fashion, it’s the type of A24 release that divides critics and audiences, with a 95% certified fresh rating on Rotten Tomatoes and 68% on Comscore’s PostTrak audience exits, along with a low 45% recommend. The Ti West-directed and written movie skewed 55% male, 73% between 18-34, with diversity demos of 50% Caucasian, 22% Latino and Hispanic, 12% Black, and 16% Asian/other. Among A24’s wide releases during the pandemic, X is lower than The Green Knight‘s $6.7M start (which got to a final domestic of $17.1M, a 2.6x multiple) and ahead of Zola‘s $1.2M. But that was only on roughly half the number of theaters that X is playing at.
Jujutsu Kaisen 0 wins on both fronts with critics (100%) and audiences (93% positive, 81% recommend on updated PostTrak through last night). Kids under 12 were also excellent in exits, at 95% and a 88% recommend. Men showed up at 61% and 75% between 18-34. Diversity demos were a heavy 32% Latino and Hispanic, 25% Caucasian, 20% Asian, and 17% Black. Jujutsu played to great numbers everywhere, with close to 170 runs over $10K and just over 500 theaters doing $5k on Friday alone.
Very strong numbers on the coasts in Los Angeles, New York, San Francisco and Seattle. The pic is boosted by plays in 4DX, Dbox, and PLFs. Prints are subtitled in Japanese and English-dubbed. Jujutsu Kaisen 0 is the first movie to be released under the newly-unified Crunchyroll. Earlier this month, it was announced that all Funimation global group brands were brought under the Crunchyroll banner by Sony Pictures Entertainment.
All of this amounts to a total estimated weekend for all movies of $86M per industry calculations, which is 38% off the same weekend 11 in 2019 ($139.8M). Realize that Disney had the second weekend of Captain Marvel during that frame three years ago ($67.9M), and there were three new wide releases. Arguably, it’s not demand that the box office is lacking now, but product. According to Comscore, rolling spring breaks began this weekend with 22% K-12 schools out on Friday and 8% colleges. This seems like a missed opportunity for the majors by sitting out. However, everyone was so concerned about Omicron that they delayed their releases and marketing spends. Next weekend, Paramount finally delivers the Sandra Bullock-Channing Tatum movie The Lost City, which I hear is eyeing a $20M-$30M opening.
Separately, after Paramount debuted The Lost City to a fun-filled, rowdy premiere at SXSW a week ago, the studio with Fandango held early access paid previews last night. We hear that two thirds of the screenings were sold out and near 83% capacity across all showtimes. Top grossing theaters came from Boise, Salt Lake City, Nashville, Los Angeles, Columbus OH, Paramus NJ, Dallas, San Francisco, Washington DC, Seattle, Dayton, Minneapolis, Boston, Denver, and San Diego.
Focus Features has the Mark Rylance movie The Outfit cracking the top 10, with $530K on Friday at 1,324 theaters, for what is a $1.5M opening, with most of that money from the coasts. The Graham Moore-directed and cowritten title follows an expert tailor who must outwit a dangerous group of mobsters in order to survive a fateful night. Critics liked the movie more than audiences, 90% certified fresh on Rotten Tomatoes to 74% positive on PostTrak and 55% recommend. Guy leaning here at 56% with close to 60% over 35 and 40% over 45. Diversity demos were 60% Caucasian, 15% Latino and Hispanic, 10% Black and 15% Asian/other.
The Vivek Agnihotri-directed title The Kashmir Files from Zee Studios did $413K on Friday at 230 theaters, on its way to a $1.485M opening for a near $7K theater average. If you want to know where the specialty box office is alive during the pandemic, it’s here, with this Hindi-language movie. The pic is based on video interviews of the first generation victims of the Genocide of Kashmiri Pandit Community in 1990. Booked in 81 markets, The Kashmir Files is seeing strong numbers in New York, Chicago, Dallas, San Francisco, Seattle, Austin, and Toronto.
Sony/Stage 6’s Sandra Oh horror movie Umma at 805 theaters is seeing a $915K opening off of bad reviews at 21% Rotten and awful audience scores of 52% on PostTrak. Women bought tickets at 57%, with 61% between 18-34. Diversity demos were 42% Caucasian, 19% Latino and Hispanic, 18% Black, 17% Asian and 4% other.
Weekend Top 10 chart updated as of Sunday AM:
1.) The Batman (WB) 4,302 (-115) theaters Fri $10.6M (-43%)/Sat $15.9M/Sun $10.3M/3-day: $36.8M (-45%) Total $300.1M/Wk 3
2.) Jujutsu Kaisen 0 (Crunchy) 2,297 theaters, Fri $8.7M/Sat $5.47M/Sunday $3.5M/3-day $17.7M/Wk 1
3.) Uncharted (Sony) 3,700 (-25) theaters, Fri $2.25M (-6%)/Sat $3.47M/Sun $2.26M/3-day $8M (-13%)/Total $125.8M/Wk 5
4.) X (A24) 2,865 theaters, Fri $1.77M, Sat $1.5M, Sun $1.11M, 3-day $4.4M/Wk 1
5.) Dog (UAR) 3,307 (-100) theaters, Fri $1.1M (-15%), Sat $1.8M, Sun $1.1M, 3-day $4.09M (-21%)/Total $54.2M/Wk 5
6.) Spider-Man: No Way Home (Sony) 2,585 (-117) theaters, Fri $875K (-10%) /Sat $1.42M/Sun $900K/ 3-day $3.2M (-21%)/Total $797.5M/Wk 14
7.) Death on the Nile (Dis) 2,050 (-380) theaters, Fri $498K (-25%)/Sat $761K/Sun $441k/3-day $1.7M (-29%)/Total $43.5M/Wk 6
8.) The Outfit (Foc) 1,325 theaters Fri $530K, Sat $590K, Sun $390K, 3-day $1.5M/Wk 1
9.) The Kashmir Files (Zee) 230 theaters, Fri $413K, Sat $613K, Sun $459K, 3-day $1.485M/Wk 1
10.) Sing 2 (Uni/Ill) 1,838 (-150) theaters, Fri $390K (+15%)/Sat $630K /Sun $450K/3-day $1.48M (-8%)/Total: $158.4M/Wk 13
11.) Umma (Sony/Stage 6) 805 locations Fri $338K/Sat $352K/Sun $225K/ 3-day $915K/Wk 1
‘The Batman’ Continues Strong Hold with $66 Million at the BO!!
Even with AMC, Regal, and Cinemark reducing their ticket prices for the second weekend of Warner Bros.’ The Batman, the DC film had a phenomenal hold of -51% in weekend 2 with $66M. If you back out the $21.6M previews form last weekend’s $134M opening, the second weekend hold for the Matt Reeves movie is even better at -41%.
Batman‘s second weekend beats the second weekend hold of a Disney Marvel movie, which can post an average second weekend decline of -63%, and it’s ahead of previous DC movies’ second weekend eases, such as Batman v. Superman (-69%), and Dark Knight Rises (-61%), Justice League (-56%) and The Dark Knight (-53%).
Overall, excellent for a three-hour movie. Batman‘s running domestic cume through its second weekend will stand at $238.5M today. The pic clocked past $400M WW yesterday. It will soon pass a half-billion this week.
Imax and PLF drove 26% of Batman‘s second frame. However, we’re hearing that ticket sales are broadening out to non-format auditoriums.
Look around you: Moviegoing is returning; the only thing missing is arguably more product. Down here in SXSW, the back-to-back world premieres of Paramount’s Sandra Bullock-Channing Tatum movie The Lost City, and Lionsgate’s Nicolas Cage action satire The Unbearable Weight of Massive Talent, played like gangbusters at Austin TX’s Paramount Theatre. If those were test screenings last night, judging from the shared non-stop laughs between both films, it’s easy to project that the sky is the limit on both films. If you forgot what the experience was like to laugh and cheer with a crowded theater (Deadpool?), those movies were a screaming reminder.
RelishMix noticed the post-social chatter on the DC movie, reporting that it “runs positive as doubts are extinguished, with cast choices applauded for Robert Pattinson’s performance as an all-time best Batman performance, while fans continue to adore Nirvana’s music in the film, which was inspiration for Matt Reeves as he was writing the film.” YouTube videos popped most on social digital, adding 20.6M views for studio-owned and earned materials over the week. Official social pages for the film added 282K new fans, notably on Instagram, with Twitter and Facebook pages now totaling 1.3M for The Batman.
Zoe Kravitz’s super Instagram has surged up to 7.4M fans, adding 617K over the week, with images from the spicy new Ellen Von Unwerth photo Wonderland magazine, with portraits of the actress and Pattinson. In a further promo boost for the pic in theaters, Kravitz hosted SNL last night.
Despite the pandemic calming down and the mask mandate easing in Los Angeles and New York, the middle of the box office is filled largely with holdovers. However, Trafalgar Releasing’s Saturday night stunt, BTS Permission to Dance on Stage – Seoul Live Viewing did great business, with $6.8M at 803 theaters in 170 markets, with an $8,5K theater average. The concert film even beat The Batman in 55 locations, and was a No. 2 in all the rest. Fantastic ticket sales here in Los Angeles, San Francisco, Dallas, Houston, Chicago, Toronto, Vancouver, Sacramento, and Sat Lake City. Exhibition loves this type of one-night-only stuff, and there will only be more alternative programming in the future (it was already happening via Fathom, pre-pandemic).
Sony’s Spider-Man: No Way Home is still gunning toward $800M, but will stand at $792.2M by Sunday after a 13th weekend take of $4M, -11%, and a theatrical booking of 2,702 locations. That’s a theatrical hold that any rival distributor would envy three months after a pic’s release.
Had Disney kept Pixar’s Turning Red in theaters this weekend nationwide, that could have possibly delivered $20M-$30M+, at least providing a depth of dollars for exhibitors this weekend. True, you can argue that the studio didn’t know how long omicron would linger. But we got Sing 2 still hanging around in the top 10 of the box office 12 weekends after its release, with $1.55M. C’mon, Disney, you know families are heading out to the theater. I received an email about the Pixar movie playing the AMC Empire 25 in NYC. This is true, and it’s also playing the El Capitan in Hollywood. These are awards qualifying runs for the 2022-23 season.
Note that when Netflix launches a show or movie (outside their major awards season fare), they spend a very thrifty amount of money, relying squarely on their subscriber menu to launch a title.
But in the case of Disney with Turning Red, they’ve shelled out for the pic like it was a major theatrical release. Why? Likely the marketing money was already there and accounted for, but also they’re eager for the Disney+ subscribers. The bombardment of Turning Red ads on social media is arguably on par with what Lionsgate was pushing for Moonfall (and that studio did, in fact, push that movie).
iSpot shows that Disney spent $23M for US TV spots. That’s as much as they spent for Black Widow, and more than Jungle Cruise ($19.5M), Cruella ($12.6M), and what Netflix spent on Red Notice ads ($3.3M), that streamer’s most-watched movie ever.
Disney ran spots during the Winter Olympics, Big City Greens, Miraculous -Tale of Ladybug & Cat Noir, The Bachelor and Good Morning America. iSpot reports that Turning Red‘s trailer was the 16th-most-seen spot on all of TV since Feb. 21. Why didn’t Disney keep this movie in theaters? Again, they need the subscribers over at Disney+, given the billions they’re spending on streaming programming, which isn’t coming down the pipeline as fast as it needs to be.
All-in, total weekend tickets sales stand at an estimated $106M with the Batman hold and BTS Saturday, -50% from the same weekend in 2019, which was when Disney had Captain Marvel, which boomed all tickets sales for that weekend to north of $210M.
Weekend Top 10, chart:
1.) The Batman (WB) 4,417 theaters Fri $18.8M (-66%)/Sat $28.6M/Sun $18.6M/3-day: $66M (-51%) Total $238.5M/Wk 2
2.) Uncharted (Sony) 3,725 (-150) theaters, Fri $2.4M (-19%)/Sat $4.1M/Sun $2.7M/3-day $9.25M (-17%)/Total $113.3M/Wk 4
3.) BTS Permission to Dance (Trag) 803 theaters, Sat $6.8M/Wk 1
4.) Dog (UAR) 3,407 (-100) theaters, Fri $1.38M (-13%)/Sat $2.4M/Sun $1.56M/3-day $5.3M (-13%)/Total $47.8M/Wk 4
5.) Spider-Man: No Way Home (Sony) 2,702 (-7) theaters, Fri $970K (-10%) /Sat $1.85M/Sun $1.25M/ 3-day $4M (-11%)/Total $792.2M/Wk 13
6.) Death on the Nile (Dis) 2,450 (-115) theaters, Fri $680K (-12%)/Sat $1.1M/Sun $692k/3-day $2.5M (-7%)/Total $40.8M/Wk 5
7.) Radhe Shyam (Alerion) 800 theaters, Fri $1.25M/Sat $350K/Sun $260K/ 3-day $1.86M/Wk 1
8.) Sing 2 (Uni/Ill) 1,988 (-38) theaters, Fri $340K /Sat $730K/Sun $510K /3-day $1.58M (-3%)/Total: $155.8M/Wk 12
9.) Jackass Forever(Par) 1,627 (-354) theaters, Fri $320K (-25%)/Sat $465K/Sun $315K/3-day $1.1M (-23%)/Total: $56.2M/Wk 6
10.) Scream (Par) 664 (-189) theaters Fri $120K (-25%)/Sat $210K/Sun $115K/3-day $445M (-23%) /Total: $80.9M/Wk 9
‘The Batman’ Enacts His Vengeance with $128.5 Million Opening at the BO!!
In another clear sign that moviegoing is alive and well despite ceasing during the pandemic, Warner Bros.’ The Batman is delivering the second-best opening since 2019. That’s after Spider-Man: No Way Home with $128.5M after a $43.2M Saturday, which was -24% against the pic’s opening Friday+previews. Around the globe, Batman made $248.5M. There’s a very good chance by tomorrow AM that Batman could rise beyond $130M.
As Discovery Communications is set to merge with WarnerMedia as early as next month, the success here of Batman should serve as a reminder to CEO David Zaslav as to how theatrical continues to work vibrantly for the studio, and how executives like Chairman Motion Picture Group Boss Toby Emmerich and DC President Walter Hamada are instrumental for the momentum of the studio’s success as the pandemic eases and moviegoing re-surges.
There’s been word around town that Zaslav is bound to make staff cuts at the new merger; even talk of some new overall conglom head. However, Zaslav should be cognizant that when it ain’t broke, you don’t fix it. Let’s keep the Warner Bros.’ theatrical machine going, as it sets the table for other spinoffs, such as Reeves’ upcoming Penguin series, to make waves on streaming service HBO Max.
When Emmerich became President and Chief Content Office of Warner Bros. Pictures Group in 2017, for both Hamada and him, Reeves was their first choice to take the reigns of the next iteration of the The Dark Knight franchise. Reeves was initially reluctant, as a high bar had been set on Batman with films by Tim Burton and Christopher Nolan. However, the Let Me In filmmaker came around with a passionate pitch.
“When he pitched the first draft of the script, it harkened back to Batman as the world’s greatest detective,” Emmerich tells us this morning, “He talked about the Warner Bros. gangster movies of old and capturing that gangster DNA.”
Emmerich mentions that when he first sat down with Reeves, “I had his remake of the Scandinavian film, Let Me In, in my head.”
Batman was one of Emmerich’s first priorities in his promotion at Warner Bros, in addition to getting Joker greenlit. At the time of Emmerich taking over the Motion Picture Group, Patty Jenkins was in post on Wonder Woman, Zach Snyder was in post on Justice League, James Wan was shooting Aquaman, and Todd Phillips was writing The Joker.
In regards to the gripping near three-hour runtime of Batman, Emmerich shared the NYC premiere’s audience atmosphere earlier this week, “The last time I went to a premiere in Alice Tully Hall was Seven, and on Tuesday night, Batman reminded me of that: The audience was rapt.”
A shorter version of Batman was tested. However, that cut didn’t test as well as the 2-hour, 55-minute version.
In regards to Emmerich’s vision for DC at Warner Bros, he responds, “The secret of the movie business is quality. It’s the best business strategy for both theatrical motion pictures and superhero movies. The movies don’t have to all have the same tone, or interlock with other DC movies, or have an Easter egg that sets up another film. Quality is the most important factor for a studio, and the biggest thing you can do to influence quality is the filmmaker that you hire.”
And for Warners, that guy is Reeves, who fits in the triumphant group of superhero filmmakers before him, including Burton, Nolan, and Richard Donner.
Presales for The Batman remained strong throughout the weekend, meaning they weren’t front-loaded. It indicates that those moviegoers who came out to see a near 3-hour movie literally made an appointment to go to the cinema. That speaks volumes about the U.S./Canada moviegoing appetite right now.
Overall ticket sales look to be around $162M for the weekend for all movies, +166% from last weekend, and +40% ahead of weekend 9 in 2019 (using industry and Box Office Mojo stats). Bravo. There are no major studio releases opening next weekend after Disney decided to move Pixar’s Turning Red exclusively to Disney+ (are ya sure ya wanted to do that, Disney?). That means next weekend is Batman‘s to own. Competition doesn’t enter the marketplace until March 25, with Paramount’s The Lost City.
1.) The Batman (WB) 4,417 theaters Fri $57.1M/Sat $43.2M/Sun $28.2M/3-day $128.5M/Wk 1
2.) Uncharted (Sony) 3,875 (-400) theaters, Fri $3M (-49%)/Sat $4.9M/Sun $3.05M/3-day $11M (-52%)/Total $100.2M/Wk 3
3.) Dog (UAR) 3,507 (-320) theaters, Fri $1.6M (-35%)/Sat $2.7M/Sun $1.65M/ 3-day $6M (-41%)/Total $40M/Wk 3
4.) Spider-Man: No Way Home (Sony) 2,709 (-293) theaters, Fri $1.08M /Sat $2M/Sun $1.28M/ 3-day $4.4M (-24%)/Total $786.4M/Wk 12
5.) Death on the Nile (Dis) 2,565 (-855) theaters, Fri $772K (-36%)/Sat $1.22M/$728K/3-day $2.7M (-40%)/Total $37M/Wk 4
6.) Sing 2 (Uni/Ill) 2,026 (-356) theaters, Fri $330K (-21%)/Sat $720K/Sun $470K/3-day $1.52M (-32%)/Total: $153.5M/Wk 11
7.) Jackass Forever(Par) 1,981 theaters (-932), Fri $425K (-51%)/Sat $585K/Sun $350K/3-day $1.36M (-57%)/Total: $54.4M/Wk 5
8.) Cyrano (UAR) 797 theaters Fri $191K (-59%)/Sat $298K/Sun $194K/ 3-day $683K (-51%)/Total $2.57M/Wk 2
9.) Gangubai Kathiawadi (Hamsin) 280 (-205) theaters, Fri $160K/Sat $243K/Sun $189K/ 3-day $592k (-41%)/Total $1.7M/Wk 2
10.) Scream (Par) 853 (-713) theaters Fri $160K (-54%)/Sat $265K/Sun $145K/ 3-day $570M (-57%) /Total: $80.2M/Wk 8
11.) Marry Me (Uni) 1,246 (-1,864) theaters Fri $160K (-70%)/Sat $240K/Sun $130K/ 3-day $530K (-72%)/Total $21.4M/Wk 4
‘Uncharted’ Sticks to Top Spot as the World Prepares for ‘The Batman’ to Rule at the BO!!
Before a big tentpole comes into the marketplace, there’s typically a lull at the box office. But it’s an even bigger lull when the major studios don’t have any new wide entries. Everyone is waiting for Warner Bros. The Batman next weekend, and many sources tell me it’s bound easily for a $100M+ opening, in fact $115M+, and the advance ticket sales are there to prove that.
This despite the 3-hour running time, and from what I hear (I haven’t seen it yet) is a more noir, detective story by director Matt Reeves than Christopher Nolan’s previous Dark Knight action-infused movies. iSpot shows Warner Bros. having already spent $28M+ in US TV spots (that’s even a big number from that data agency’s POV) across such shows as the Winter Olympics, NFL, Good Morning America, NBA games and Big Brother: Celebrity Edition.
Note, Warners’ hasn’t weighed in on these industry projections at the time of writing. But also note, they’ll safely lowball. That said, no one sees it below $100M.
Until then, Sony’s Tom Holland-Mark Wahlberg movie, Uncharted, is maintaining a great hold in its second weekend with $23.2M, -47%, after a second Friday of $6M, -61% from last Friday and previews and $10.6M yesterday. By EOD, the Ruben Fleischer-directed take on the Sony PlayStation videogame looks to stand at $83.3M. Imax drove another $2M for Uncharted this weekend putting the large format exhib’s total at $7M domestic. All in Imax, so far, has made $15.7M around the world from Uncharted.
United Artists Releasing/MGM’s second weekend of Channing Tatum’s Dogalso had a nice hold, -32%, with a second weekend of $10.1M, better than the $8.5M we saw yesterday, taking its ten-day cume to $30.8M.
So if everything is holding so well, why does the weekend box office still suck, with an anticipated weekend of $64M for all films? This weekend alone is -32% from last weekend.
The eighth weekend of the year in pre-pandemic 2020, post Presidents Day weekend, grossed $102.6M, per Box Office Mojo (led by second weekend of Sonic the Hedgehog at $26.1M), while the weekend at the same point in time in 2019 pulled in $128M, led by How to Train Your Dragon: The Hidden World with a $55M debut).
Again, we need more major studio-supported and driven product, more meat to fill the gap between the events films and specialty box office. This weekend’s wide release of Dave Grohl horror comedy Studio 666 from Open Road Films in 2,306 theaters won’t cut it, with an estimated $1.58M after a $725K Friday. Unfortunately, a niche movie like this doesn’t have the major studio spend.
At this point in time two years ago, Disney had 20th Century Studios’ upscale family movie Call of the Wild further bolstering the box office with a $24.7M opening, even though that title was a hollow victory, given its $135M production cost.
Studio 666 wasn’t for critics at 56% Rotten, and audiences weren’t excited at 66% positive and a 46% recommend. The numbers speak for themselves. Guys at 58% bought tickets, with 53% being 25-44, 73% between 18-44 and diversity demos standing at 69% Caucasian, 18% Latino and Hispanic, 3% Black and 10% Asian/other. Pic did 47% of its business on the coasts versus the 40% average. A majority of runs didn’t do a lot of business, I hear.
AMC Woodland Hills and Regal Sherman Oaks saw grosses boosted with personal appearances by Foo Fighters and Director BJ McDonnell on Friday. They landed among the top theaters alongside AMC Burbank, AMC Century City, AMC Alderwood – Seattle, AMC Westminster – Denver, Marcus Ronnie’s 20 Cinema, St. Louis; Regal Opry Mills Stadium 20, Nashville; AMC Empire 25, NYC and AMC River East, Chicago.
Social Media analytics firm RelishMix spotted a 97.9M social media universe for Studio 666 “in line with horror genre norms” and fueled by Foo Fighters’ SMU of 22.6M on Facebook, Twitter, Instagram, YouTube, and TikTok, which “did the heavy lifting for all videos, plus the social for the band members at 4.1M.” Studio 666 videos were fed into The Foo Fighters’ YouTube channel with 3.3M subscribers, and were well-boosted, plus Sony UK in the mix for international. “Reposting runs moderate, but building across movie channels and fan channels at a total of 27.2M views for the six owned posts including additional earned videos — 1.1M from Instagram video views and 123K on TikTok” adds RelishMix.
Ahead of opening, says RelishMix, “convo for Studio 666 ran snarky mixed-positive, with fans of Foo Fighters ready for a fun experimental film event, while some wonder if this is shot as a Spinal Tap-style mockumentary, a Tenacious D film, or a spoof of band movies like Hard Day’s Night and Help, with Dave Grohl’s inspiration being The Beatles. Plus, there was discussion on the level of filmmaking commitment to crafting a functional story cast with the members of the band and amusing cameos like Lionel Ritchie and Whitney Cummings as the neighbor.”
UAR has finally released the feature take of original musical, Cyrano, from Joe Wright, which is looking at $1.4M in 10th from 797 theaters in 160 markets. UAR sought to protect this movie, and wait for the right time to release it, given older audiences’ funk over heading to the movies during omicron. This AM’s weekend estimate is an improvement on yesterday’s projection of $1.25M.
Overall, the specialty marketplace is still greatly challenged. All of this gives you an idea of the ground we need to make up: Wright’s Anna Karenina over the 3-day portion of Thanksgiving weekend in 2012 grossed $896K at 66 theaters, while Atonement in its second weekend at only 117 theaters in early December 2007 pulled in $1.8M. Cyrano counted 86% certified fresh on Rotten Tomatoes, with those RT audiences who saw it giving it a 86% rating. UAR saw best markets from NY, LA, Salt Lake City, San Francisco, Phoenix, DC, San Diego, Dallas, Seattle, Austin, Sacramento, and more.
In addition, the movie didn’t take off at the Oscar noms, with only one nomination for Best Costume Design. That’s not to say that UAR didn’t campaign extensively for this, screening the movie very early during awards season following a world premiere at Telluride. Even this weekend, you can’t stumble upon a website or a social media feed where there isn’t a Cyrano advertisement.
Star Haley Bennett championed this movie extensively on her social media handles, well before release during Q4 of last year. Of the 25M+ social media pull across YouTube views, Instagram, Facebook and Twitter, RelishMix observes that star Peter Dinklage at 4.6M and Bennett at 365K “drive the Cyrano train”. Bennett and Dinklage starred the workshop musical at Goodspeed in Connecticut, the former being a catalyst in getting Wright attached to direct. The production was shot during the fall of 2020 during Covid in Sicily.
The 1997 re-release of Francis Ford Coppola’s 1972 blockbuster, The Godfather, made $1.2M in its entire limited run, and this weekend at 156 runs in 46 markets, the 50th anniversary cut is on its way to earning $900K, for a $5,8K theater average after a $425K Friday and $298K Saturday, which is pretty good. Strong numbers here in NYC, LA, Chicago, San Francisco, Boston, Orlando, San Diego, Nashville and Las Vegas. Box Office Mojo has the lifetime domestic gross for The Godfather at $134.96M, and this weekend would take it to $136.3M.
Prime Media Pictures’s Saagar K. Chandra directed movie Bheemia Nayak opened in 400 runs in 121 markets (Telugu) with, what I hear, are very good numbers from NY, LA, Dallas, San Francisco, DC, Atlanta, Detroit putting its weekend at $1.24M. Logline: Things change when the egos of an upright police officer and a retired army havildar clash.
Sanjay Leela Bhansali’s Gangubai Kathiawadi from Hamsini pulled in an estimated $1M from 485 locations for a $2K theater average. Starring Alia Bhatt, pic is based on the true-crime bestseller Mafia Queens of Mumbai by Hussain Zaidi and follows Gangubai Kathiawadi, who, in the 1960s, was tricked into prostitution in Mumbai’s Kamathipura red-light district. Through her political connections, she rose to become an underworld drug kingpin. She also campaigned for sex workers’ rights and reportedly met with India’s first prime minister, Nehru.
Among Oscar highlights, Paul Thomas Anderson’s Licorice Pizza with $16.1M through weekend 14 is $200K from overtaking his 2012 Oscar nominated feature, The Master ($16.3M domestic). Pic, booked at 607 sites, made $356K, -45% this weekend. NEON’s The Worst Person in the World, up for Original Screenplay and International Film, drew a fourth weekend of $421,6K, -14%, for a running total of $1.8M at 554 theaters.
Hey, Disney, you’re confident in your decision to send Pixar’s Turning Red straight to Disney+? Because the family marketplace sure looks healthy enough, and could use another family hit. Behold, Universal/Illumination’s Sing 2: In its 10th weekend, the movie, which is available for in-home consumption after a theatrical window, pulled in $2.1M, sending its cume to $151.2M. Worldwide is at $351.4M. Sure, discount houses are likely in play now for the sequel. However, that 10th weekend cash is more than the first Sing‘s take at the same point in time ($488K) and even more than the uber-Illumination hit Minions ($1.5M). Yes, yes, blah, blah, Turning Red is another subscription stunt: Let’s just make sure we’re not burning down the house to keep warm, agree? Warner Bros. sure had the confidence in the pandemic marketplace to keep Batman where it is.
1.) Uncharted (Sony) 4,275 theaters, Fri $6M (-61%)/Sat $10.6M/Sun $6.7M/3-day $23.2M (-47%)/Total $83.3M/Wk 2
2.) Dog (UAR) 3,827 (+150) theaters, Fri $2.4M (-51%)/Sat $4.78M/Sun $2.8M/3-day $10.1M (-32%)/Total $30.8M/Wk 2
3.) Spider-Man: No Way Home (Sony) 3,002 (+46) theaters, Fri $1.3M (-24%)/Sat $2.7M/Sun $1.7M/3-day $5.75M (-23%)/Total $779.88M/Wk 11
4.) Death on the Nile (Dis) 3,420 (+140) theaters, Fri $1.2M (-32%)/Sat $2.08M/Sun $1.2M/, 3-day $4.5M (-31%)/Total $32.7M/Wk 3
5.) Jackass Forever(Par) 2,913 theaters (-158), Fri $870K (-41%)/Sat $1.4M/Sun $865K/3-day $3.175M (-39%)/Total: $52.07M/Wk 4
6.) Sing 2 (Uni/Ill) 2,382 (-94) theaters, Fri $420K (-31%)/Sat $1.09M/Sun $600K/3-day $2.1M (-26%)/Total: $151.2M/Wk 10
7.) Marry Me (Uni) 3,110 (-533), Fri $530K (-51%)/Sat $850K/Sun $470K/3-day $1.85M (-50%)/Total $20.2M/Wk 3
8.) Studio 666 (OR) 2,306 theaters, Fri $725K/Sat $515K/Sun $340K/ 3-day $1.58M/Wk 1
9.) Cyrano (UAR) 797 theaters Fri $473/Sat $562K/Sun $365K/ 3-day $1.4M/Wk 1
10.) Scream (Par) 1,566 (-341) theaters Fri $345K (-34%)/Sat $646K/Sun $354K/ 3-day $1.345M (-31%) /Total: $79.2M/Wk 7
‘Uncharted’ and ‘Dog’ Climb to an Unexpected $51M and $18M Opening at the BO!!
There’s plenty to be happy about at the Presidents Day weekend box office with many truths proven as Sony’s Uncharted overperforms to $51M over 4-days, and MGM/UAR’s female skewing Dog rises to $18M.
Among them, a frosh videogame IP proved to work, again, in February. Sony deserves a lot of applause in backing a videogame feature adaptation, which are often risky projects, and casting it up with Tom Holland and Mark Wahlberg. Next, Holland is an actual star who can put people in seats. And as we’ve all known, it’s not stars so much which were driving the box office in pre-pandemic times and today, rather prolific IP and brands.
And in regards to the thrifty priced $15M Dog: Yes, we made a big to-do about older women not showing up at the box office last weekend for Death on the Nile and Marry Me as Covid continued to linger, however, this Channing Tatum movie, wound up pulling in a consistent amount of that demo, if not more, at least when compared to Death on the Nile. Dog skewed 54% women, 73% over 25, 53% over 35 and 37% over 45 vs. Death on the Nile‘s 49% females, 77% over 25, 47% over 35 and 28% over 45. Marry Me brought in 67% women, but a low $7.9M start, 46% were over 35, and 26% over 45.
“It’s the first time two movies have overperformed in the same weekend in a long time,” beamed UAR Distribution Boss Erik Lomis, “This speaks to the health of the market and shouldn’t be overlooked. The marketplace can sustain more than one overperformer.” Lomis also praised Gerry Rich and the UAR marketing team as well as Dog filmmaker Reid Carolin and Tatum for propelling the movie’s success.
Said Josh Greenstein, President, Sony Pictures Motion Picture Group, about Uncharted, “This result is yet another extraordinary testament to the appetite for the theatrical experience that Sony Pictures bet on. Tom Holland and Mark Wahlberg are brilliant together. Thank you to our sister company, PlayStation, for their incredible partnership, and all the many people who worked so hard to bring this film to life in a big, theatrical way.”
With over $100M WW, the possibility of a franchise starter for Uncharted looks promising. The movie’s Saturday business clocked $16.3M up 6% over Friday+Thursday previews’ $15.4M. With movie theaters reopened in Ontario, Canada rushed back to the B.O. delivering 8% of Uncharted‘s ticket sales. PLFs and Imax drove 32% of the pic’s weekend to date. Top venues were AMC Burbank, AMC Disney Springs, Harkins Estrella Falls in Goodyear, AZ, The Warren OKC in Moore, OK, and the AMC Thoroughbred in Franklin, TN.
To raise this movie’s profile, Sony eventized the launch of ticketing with custom talent videos timed to the final Uncharted trailer which dropped over NFL Championship weekend. They surrounded the Winter Olympics with campaigns on TV, online and featured “The Race To Uncharted,” an online treasure hunt. There was a 360-marketing campaign surrounding Super Bowl LVI with pre-game stunting, digital extensions, signage around SoFi Stadium, fan screenings around the globe, all culminating in a global influencers activation, “Uncharted Waters,” which was a skydiving experience.
Overall, iSpot measured that Sony spent close to $20M in TV spots, that generated 1.12 billion. This compared to the near $26M that Warner Bros. has already spent on The Batman. Top networks Uncharted advertised on were NBC, CBS, ESPN, ABC and Fox across shows such as NFL football, Super Bowl LVI Pregame, SportsCenter and the Winter Olympics and the NBA.
Social media firm RelishMix spotted online promo power from Holland with 68.4M across his social media handles, and that doesn’t even include Facebook. Wahlberg engaged his 45.9M fans as well as Antonio Banderas who counts 9.1M fans. Holland’s Instagram views for Uncharted posts ranged from 6M all the way up to 15M, this being his highest:
Of course, Sony also leveraged PlayStation which had a console reach across 24 countries and 26 languages, including several ‘firsts’ being shown on the PS5/PS4 from the pic, exclusive content drops, and a Fortnite/PlayStation Themed Event.
Among Uncharted‘s promo partners, Hyundai Motors touted a global push, promoting the TUCSON in an add that starred Holland and was directed by the film’s director Ruben Fleischer. The spot ran on last week’s pre-game Super Bowl, while another unique and specially created co-branded spot was seen dominating the largest digital billboard in Piccadilly Circus, London.
RelishMix notes that online frenzy 24 hours after the Big Game reached 522.3M for Uncharted across Facebook, YouTube, Instagram and Twitter, far exceeding the awareness for an action-adventure movie social reach by 4X. Cross-promotions from the Sony PlayStation social channels were at 104.5M before weekend opening, while the film’s social channels at 407K built strong momentum from 42 Facebook videos at 40.9M and 24 YouTube videos at 104.6M . The campaign also reaped 12.5M off of its two Super Bowl spots.
G Fuel was also a promo partner, creating a new flavor Fortune Blend inspired by the pic. Customers could buy a standalone 40-serving tub and a Collector’s Box, which included one 40-serving tub and one 16 oz Shaker Cup. The first 2,500 Fortune Blend Collector’s Boxes contained a secret treasure: a replica of Nathan Drake’s ring from the pic. ASUS computers served as a global partner on the Fleischer directed movie, and even made a cameo in the film.
Tatum worked it in promoting Dog. He launched the trailer exclusively on the The Kelly Clarkson Show. Did a USO tour with Carolin and Brett Rodriguez, visiting military bases in San Antonio, TX and Columbus, GA and participated in demonstrations and discussions with active military members and vets. There was a 100 Thieves Esports partnership Tatum participated in, appearing in a special video with Carolin sharing their experience working with a trained military dog, who in turn attacks the gamers as they wore bite suits. The experience was shared across the 100 Thieves and influencer social channels and DOG accounts reaching over 200M.
DraftKings, one of the pic’s promo partners, hosted a free-to-play game on their site, where consumers bet on a pre-recorded race between Tatum and the canine from the pic.
iSpot clocked that UAR shelled out $16.3M in TV ads for Dog yielding 1.17 billion impressions across Fox News, CBS, TLC, NBC and ABC, and on such shows as the Winter Olympics, NFL, Friends re-runs, and Hannity. UAR also aired Dog spots during the NFC Divisional and Championship games, the Puppy Bowl, Nascar Daytona 500, and Busch Clash, over 15 national NBA matchups.
RelishMix reports that Dog‘s social digital awareness hit 81.9M across Facebook, Twitter, YouTube and Instagram before opening. Tatum reps 91% of the cast awareness with 45.6M fans and 55% of the entire film. The digital efforts honed in on moviegoers, fans of Tatum and dog movies, along with military and faith audiences while broadening out to high impact takeovers across social including TikTok TopView Video and a Snapchat Lens.
Other promo partners for Dog included 5.11 Tactical, which produced a video showing Tatum delivering a video to a chosen veteran. They promoted the video on social media with paid media and produced a backpack to be sold at all their stores with all proceeds benefiting K9 for Warriors. Red Roof Inn was another partner along with Nylabone, USAA and GSTV, the latter touted a greeting from Tatum at over 15K gas stations which reached over 100M impressions.
There was also an extensive outdoor campaign in Los Angeles, Dallas, Houston, Phoenix, and San Diego for the film.
In theaters, Dog trailered on movies such as Ghostbusters: Afterlife, Licorice Pizza, Spider-Man: No Way Home, Matrix Resurrections, Sing 2, The King’s Man, Scream, Jackass Forever among others. There was a custom silence your cell phone PSA with Tatum and Lulu on screen at select circuits.
UAR screened Dog extensively, not just at military bases, but promo screenings in 30 markets as well as previews for digital creators and dog influencers including Bandit the Husky, Chewie the Pomeranian, artist & veteran Samantha Juan, Twitch streamer & veteran Nathan Thomas, and off-roader & veteran Brad Kowitz (Trail Recon).
LD Entertainment’s updated re-telling of the werewolf legend, The Cursed, released via Decal, NEON and Bleecker Street’s joint home entertainment distribution venture in a service deal, is seeing a $1.7M 3-day and $1.9M 4-day.
EntTelligence reports that Uncharted pulled in 3.5M people over the weekend, and repped 44% of the moviegoing public on Saturday. Dog drew 1.4M moviegoers over three days with 65% of attendees coming out before 7PM. The box office analytics firm also observed that “moviegoing was nicely spread out over Saturday with 30% of the moviegoing public attending a cinema before 4PM, 50% of the audience attending between 4PM-8PM and 20% of the audience coming after 8PM.”
1.) Uncharted (Sony) 4,275 theaters, Fri $15.4M/Sat $16.3M/Sun $12.5M /Mon $6.8M/3-day $44.1M/4-day $51M/Wk 1
2.) Dog (UAR) 3,677 theaters, Fri $5M/Sat $5.6M/Sun $4.4M/Mon $2.9M/3-day $15.1M/4-day $18.05M/Wk 1
3.) Spider-Man: No Way Home (Sony) 2,956 (-344) theaters, Fri $1.7M (-11%)/Sat $3.1M/Sun $2.4M/Mon $1.6M/3-day $7.2M (-4%)/4-day $8.8M/Total $771.7M/Wk 10
4.) Death on the Nile (Dis) 3,280 theaters, Fri $1.76M (-65%)/Sat $2.76M/Sun $1.72M/Mon $934K/ 3-day $6.25M (-51%)/ 4-day $7.18M/ Total $25.9M/Wk 2
5.) Jackass Forever(Par) 3,071 theaters (-582), Fri $1.47M (-49%)/Sat $2.1M/Sun $1.6M/Mon $960K/3-day $5.2M (-35%)/4-day $6.2M//Total: $47.7M/Wk 3
6.) Marry Me (Uni) 3,643 (+1), Fri $1.08M (-64%)/Sat $1.5M/Sun $1.07M/Mon $590K/3-day $3.68M (-54%)/4-day $4.27M/Total $17.4M/Wk 2
7.) Sing 2 (Uni/Ill) 2,476 (-355) theaters, Fri $600K (-12%)/Sat $1.22M/Sun $1.02M/Mon $970K/3-day $2.84M (-8%)/4-day: $3.8M/Total: $148.3M/Wk 9
8.) Scream (Par) 1,907 (-712) theaters Fri $515K (-37%)/Sat $845K/Sun $595K/Mon $320K/ 3-day $1.96M (-34%) /4-day $2.2M/Total: $77.3M/Wk 6
9.) Blacklight (Briar) 2,772 theaters Fri $470K (-62%)/ Sat $750K/Sun $550K/Mon $290K/3-day $1.77M (-49%)/4-day $2.06M/Total $7.36M /Wk 2
10.) The Cursed (LD) 1,687 theaters Fri $600K/Sat $667K/Sun $453k/Mon $226K/ 3-day $1.7M/4-day $1.9M/Wk 1
‘Spider-Man: No Way Home’ Tops ‘Avatar’ to Become Third-Biggest Domestic Grosser of All Time!!
Someone just popped a champagne bottle at Sony, because Spider-Man: No Way Home just took Avatar’s place as the third-biggest domestic box office in history. The result is even more impressive when we consider that movie theaters are still suffering from the effects of the pandemic and that No Way Home’s box office is three times bigger than the second highest-grossing movie of the pandemic era, Shang-Chi and the Legend of the Ten Rings.
James Cameron’s Avatar held the top spot of the domestic box office with $760.5 million from 2009 till 2015, when Disney’s Star Wars: The Force Awakens got $936 million and pushed it to second place. Avatar would drop another position in 2019, when Disney’s Avengers: Endgame amassed $858 million. No Way Home is technically a Sony production, but since it’s part of Disney’s Marvel Cinematic Universe, that’s another win to the House of the Mouse.
No Way Home hauled the final $1 million it needed to grab the third position this Monday, taking its domestic box office to $760.5 million. When we look at the global box office, No Way Home is the sixth-highest grossing movie of all time with $1.8 billion. While it’s unlikely the movie will grab another $100 million to surpass Endgame’s domestic record, No Way Home’s impressive box office will undoubtedly ensure both the MCU and Sony’s Universe of Marvel Characters to aggressively expand in the near future. The superhero hype train is still on track, and even with the pandemics, it does not seem to be slowing down.
In Spider-Man: No Way Home, Doctor Strange (Benedict Cumberbatch) is enlisted to erase Spider-Man’s real identity from public memory. Unfortunately, the spell doesn’t work as planned, and instead brings visitors from other realities into the MCU. Spider-Man: No Way Home features appearances from Alfred Molina’s Doctor Octopus, Jamie Foxx’s Electro, Willem Dafoe’s Green Goblin, Thomas Haden Church‘s Sandman, and Rhys Ifans‘ Lizard. All these villains come from previous iterations of the Web Crawler, exactly one bad guy for each pre-MCU film — three starring Tobey Maguire as the titular hero, and the other two led by Andrew Garfield.
No Way Home also sees the return of Zendaya as MJ, Jacob Batalon as Ned Leeds, Marisa Tomei as May Parker, Jon Favreau as Happy Hogan, Benedict Wong as Wong, Tony Revolori as Flash Thompson, and Angourie Rice as Betty Brant. Jon Watts returns to direct the third Spidey installment, with a script written by Chris McKenna and Erik Sommers, who both penned the previous two MCU Spider-Man films.
Spider-Man: No Way Home is breaking box office records in theaters right now.
‘Death On The Nile’ Drowns Competition With a Quiet $12.8M at the BO!!
Two major studios this weekend took a bold swing and decided to go after the challenged older female demo over Valentine’s Day weekend in a continued pandemic. While the results were in line with projections, they wouldn’t be anything to brag about in a pre-pandemic marketplace.
There’s also an argument that the Super Bowl today slows Sunday business. However, both these titles were aimed at women, who are more apt than guys to make their way to cinemas on the Big Game day.
Disney’s Covid-delayed release of Kenneth Branagh’s $90M adaptation of Agatha Christie’s Death on the Nile, starring Gal Gadot, is seeing a $5.1M Friday and a $12.8M opening, while Universal’s $23M Jennifer Lopez-Owen Wilson romantic comedy Marry Me, which is also available on the studio’s sister streaming service Peacock on the premium tier, is landing in 3rd with $3M on Friday and $3.6M on Saturday for a $8M opening at 3,642. Box office analytics corp EntTelligence shows that Death on the Nile drew 1M admission over the weekend, with 42% coming out between the primetime hours of 6-9PM. Jackass Forever tallied 700K admissions, while Marry Me had 670K admissions with less than 20% attending after 8PM for the date movie.
“We are incredibly proud of Marry Me, the filmmakers, and the cast led by the incomparable Jennifer Lopez,” said Universal domestic distribution boss Jim Orr. “Audience reaction scores are rightly enthusiastic for this modern love story, pointing to a sustained run at the domestic box office and on Peacock as the feel-good romantic comedy this Valentine’s Day and beyond.”
Again, both are hoping for more love from the Valentine’s Day box office, and that’s unpredictable how big a boom or bust the holiday will be. Odds are there is an uptick in the daily box office between Super Bowl Sunday and Monday. But I believe we won’t know if older women are truly ready to come out to the movies again until it happens. It will take some sort of Sex and the City or Bridesmaids phenomenon to put us back there, and I don’t think we’ll be able to see it coming, It will take sheer guts and will on behalf of a major studio in terms of greenlighting a movie toward females, as studios try to make sense of what works at cinemas in an era where streaming is appetizing. Many content creators continue to worry if the same types of movies they used to make are ripe for theatrical in a truly have-and-have not marketplace, or if such genres have completely been absorbed by streaming — a place where movies live forever.
Not from a P&L perspective, but from sheer pandemic box office optics, Death on the Nile‘s opening here isn’t that far below House of Gucci‘s 3-day start of $14.4M, just -13%, which says something about the number of adults who’ll brave the cinema now with a glitzy package like this. Branagh’s previous Christie ensemble, Murder on the Orient Express, did truly surprise, crushing its projections and soaring to a $28.6M opening and legging to a $102.8M by the end of the holidays.
Murder was casted up quite a bit with Penelope Cruz, Judi Dench, Daisy Ridley, Johnny Depp, Josh Gad, Leslie Odom Jr and Michelle Pfeiffer. There was a star for everyone in that movie, whereas, with Death on the Nile, the marketing campaign seems to be anchored on a socially media quiet Gadot, who was more active during Red Notice. The movie was developed and Gadot and Hammer attached in the fall of 2018, before Disney and Fox officially came together in the spring of 2019. But the movie rolled cameras in October that year after the merger.
Disney didn’t abandon the movie: They truly spent to promote it. iSpot shows that Disney was outspending last weekend’s movies, Moonfall and Jackass Forever, before they even opened, now with a current TV spot expense just under $18M (vs. Uni’s near $15M spend on TV spots for Marry Me). ISpot shows Disney shelled out for spots during the NFL (15%), Winter Olympics (8%), Good Morning America (4%), 1,000 Lb Sisters (2%), Today (2%), This Is Us (2%) and Jeopardy! National College Championship (1.4%), and on networks such as NBC, ABC, CBS, Fox, and Discovery. RelishMix shows a social media reach of 217.9M, “at social norms for a campaign that began 18 months ago in August 2020 and wrestled with Covid re-dates and other headline news, such as Armie Hammer.” Gadot has a social media reach of 95.1M, but she hasn’t been tub-thumping the film.
Death on the Nile gets a B CinemaScore, the same grade as Murder on the Orient Express. Comscore/Screen Engine PostTrak audience exits show 77% positive, 57% definite recommend. Disney reports male leading at 51%, 49% females. Overall audiences that 77% over 25, 47% over 35 and 28% over 45. I’m told that this is a similar make-up to the older skewing Murder on the Orient Express. Diversity demos were 57% Caucasian, 15% Hispanic and Latino, 13% Black, and 15% Asian and other. Imax, PLFs and some 70MM drove 35% of the business. Death on the Nile played best in the West and Southeast with all top 10 runs coming out of those sectors (Eight of the top ten being Imax).
With Peacock paid subscribers so low at 9M, it remains to be seen whether the service is truly siphoning moviegoers from Marry Me. I’ve heard anecdotally that subscriptions have spiked greatly from the Olympics being on a paid tier, and Marry Me is in a position to possibly be watched. Comcast is about synergy, and there’s a big confluence of marketing forces at play here for Peacock between Super Bowl, Winter Olympics and JLo this weekend.
RelishMix observed that social media momentum ran strong for Marry Me with a huge reach of 546.5M before the weekend, pumped by Lopez’s fanbase of 313.3M. “The film was clearly promoted on the day/date multi-platform release on a very crowded Olympics, Super Bowl, Peacock channel and in theaters as a Valentine’s weekend counter program to Super Bowl, with all stars aligned for NBCU,” observed RelishMix, “The content stack was well fed into Universal channels with 45 Facebook videos at 9.2M views and 11 YouTube videos at 68.4M views into the Jennifer Lopez Vevo YouTube channel with 15.1M subs.”
“Even without the JLo social factor, which is 233M, Marry Me tracks in-line with other social musicals, including West Side Story at 211.8M, The Greatest Showman at 313.2M, and Bohemian Rhapsody at 242.1M,” adds the social media analytics firm in their latest report.
CinemaScore moviegoers didn’t turn their backs on Marry Me with a B+. PostTrak exits are slightly better than Death on the Nile at 80% positive, 66% recommend. Female draw here is at 67%. Core moviegoers of 18-34 repped 47% of ticket buyers, with 46% over 35. Over 25 came in at 72%, with 26% over 45. Diversity demos were 53% Caucasian, 30% Latino and Hispanic, 8% Black, and 5% Asian. Hispanic and Latino markets in the West and the Southwest overindexed; that’s where nine of the top ten theaters were.
Unlike Hustlers, which was a welcomed genre departure for Lopez, Marry Me marks a return to the romantic comedies that have populated her resume, i.e. Shall We Dance, Maid in Manhattan, The Wedding Planner, etc. Her last romantic comedy, Second Act, which opened over the 2018 year-end holidays, debuted to $6.4M and had a 6x leg-out factor to $39M stateside.
Again, it was released over the holidays, so it’s questionable if we’ll see that same-type of trajectory here. To Universal’s benefit, the movie was made at a very low cost and isn’t in any financial peril, especially as they augment the way they account for a movie’s profitability moving forward with Peacock in the mix. Success for the studio will be determined in a bifurcated manner. Meanwhile, Lopez’s Nuyorican Productions has a multi-year first-look deal at Netflix spanning feature films, TV series, and unscripted content, with an emphasis on projects that support diverse female actors, writers, and filmmakers.
Even though a majority of movies which were delayed because of the pandemic won’t profit as audiences return inconsistently, some financiers argue to me that some movies were expensive even by pre-pandemic standards and should never have been greenlighted, even at their productions costs. The point being that every type of movie can be made, it just needs to be at a reasonable cost. It’s arguable that Death on the Nile is far more expensive than it should be, even by pre-pandemic models. But a movie like Marry Me at $23M is not.
In regards to our dinging Lionsgate/Centropolis’ Moonfall last weekend (which wound up opening to $9.8M, not $10M, and is seeing a 71% drop in weekend 2 with an estimated $2.85M, steeper than -57% weather by Dean Devlin’s Geostorm), know that the disaster movie was excruciatingly more pricey than pre-pandemic costs and audience tastes at $140M (Universal, I heard, even thumbed their noses at making the movie at a $200M price). But again, it was made for a pre-Covid overseas crowd. Nonetheless, moving forward, everyone needs content.
Paramount’s Jackass Forever saw a second Friday of $2.8M and a second Saturday of $3.97M, translating into a 3-day of $8M, -65%, for a running total of $37.6M. Jackass 3D back in 2010 saw a steep fall during its second weekend with -58%. It’s just that type of film, like a horror movie, where the fans all show up on opening weekend, and then they’re largely done.
Briarcliff Entertainment’s Liam Neeson action movie Blacklight saw $1.2M on Friday, $1.6M on Saturday $3.6M opening at 2,772 locations. That’s not that far from what previous Neeson pandemic titles, Honest Thief ($4.1M) and The Marksman ($3.1M), opened to — and that’s when a majority of movie theaters, including NY and LA, were closed down. Critics have had enough of the actor with a gun at 6% on Rotten Tomatoes, while PostTrak was dismal at 58% and a 39% recommend. Guys at 64% attended with 83% over 25, 58% over 35, and 35% over 45. Diversity demos were 53% Caucasian, 14% Latino and Hispanic, 15% Black, and 18% Asian/other. Best markets were in the Midwest and the South, with four of the top ten runs coming out of those areas.
And Sony’s Spider-Man: No Way Home is destined to pass up Avatar‘s $760.5M in the next week, becoming the third-highest-grossing movie ever at the domestic box office, with just $1.5M left to go. The movie, in its 9th weekend, will raise its stateside tally to $759M by Sunday after what is expected to be a $7.15M 3-day. We’ve said there’s no middle meat to the pandemic box office. But Spider-Man is truly it. The endgame here for Spider-Man: No Way Home is looking at around $785M.
Chart is updating with full weekend numbers
1.) Death on the Nile (Dis/20th) 3,280 theaters, Fri $5.1M/Sat $5.8M/Sun $1.9M/3-day $12.8M/Wk 1
2.)Jackass Forever(Par) 3,653 theaters (+8), Fri $2.87M (-70%)/Sat $3.97M/Sun $1.2M/3-day $8.05M (-65%)/Total: $37.4M/Wk 2
3.) Marry Me (Uni) 3,642, Fri $3M/Sat $3.6M/Sun $1.4M/3-day $8M/Wk 1
4.) Spider-Man: No Way Home (Sony) 3,300 (-300) theaters, Fri $1.9M (-11%)/Sat $3.8M/Sun $1.38M/3-day $7.15M (-25%)/Total $759M/Wk 9
5.) Blacklight (Briar) 2,772 theaters Fri $1.22M/Sat $1.63M/Sun $745K/ 3-day $3.6M/Wk 1
6.) Sing 2 (Uni/Ill) 2,831 (-435) theaters, Fri $670K (-18%)/Sat $1.6M/Sun $650K/ 3-day $2.95M (-30%)/Total: $143.3M/Wk 8
7.) Moonfall (LG) 3,446 theaters Fri $824K /Sat $1.55M/Sun $476K/3-day $2.85M (-71%)/Total: $15.1M/Wk 2
8.) Scream (Par) 2,619 (-651) theaters Fri $820K (-32%)/Sat $1.55M/Sun $465K/3-day $2.835M (-40%), Total: $73.1M/Wk 5
9.) Licorice Pizza (UAR) 1,977 (+1,191) theaters, Fri $298K (+79%)/Sat $463K/ Sun $162K/3-day $923K (+43%), Total $13.99M/Wk 12
10.) The King’s Man (Dis/20th) 900 (-1010) theaters Fri $123K/Sat $224K/Sun $86K/3-day $433K (-65%)/Total $36.7M/Wk 8
11.) Beatles Get Back: Rooftop Concert (Dis) 181 theaters Fri $157K/Sat $173K/Sun $82K/3-day $412K, Total $853K/Wk 3
Best Picture Nominees:
Licorice Pizza (UAR) 1,977 (+1,191) theaters, Fri $298K (+79%)/Sat $463K/ Sun $162K/3-day $923K (+43%), Total $13.99/Wk 12
Belfast (Foc) 928 (+538) theaters, Fri $87K (+99%)/Sat $140K/Sun $58K/ 3-day $285K (+42%), Total $7.9M/Wk 14
West Side Story (Dis/20th) 450 (-350) theaters, Fri $71K (-24%)/Sat $121K/Sun $43K/ 3-day $235K (-44%)/Total $37.2M//Wk 10
That big expansion we wrote about for the Steven Spielberg Oscar nominated movie is happening on Feb. 25. The pic goes to Disney+ and HBO Max on March 2.
Drive My Car (Janus) 127 (+40 theaters) Fri $52K, Sat $88K/Sun $53K/ 3-day $192,9K (+92%)/Total $1.22M/Wk 12
Dune (WB/Legendary) 678 (+592) theaters, Fri $42K (+419%), 3-day $144K (+377%), Total $107.8M/Wk 17
Nightmare Alley (Sea) 405 (-300) theaters Fri $30K (-44%)/Sat $40K/Sun $15K/3 day $85K (-60%)/Total $11M/Wk 9
‘Jackass Forever’ Sledges ‘Moonfall’ with a $23.5 Million Debut at the BO!!
In a fight between a 22 year old reality brand and a over-the-hill disaster genre at the box office, Paramount’s Jackass Forever wins, punking its mid-teen pre-weekend estimates for a $23.5M opening to Lionsgate’s Moonfall which fell to Earth with $10M.
To its benefit, the Jackass brand was never beaten as hard over the course of its 22 years like the disaster movie genre has been at the box office. That’s a contributing factor here in its weekend win. At the same time, it’s a movie in its stunt satire which plays to the heart of the TikTok generation. Amazing to note that the over 35 crowd repped 25% of business while 67% were 18-34. Translation: the Jackass brand got younger, and that’s a winning hand for any studio savoring franchises. At 4.5 out of 5 stars on Comscore/Screen Engine’s PostTrak, it’s a joyous crowd pleaser at the box office.
Paramount pushed Jackass Forever on TikTok reaching an audience north of 150M. Live coverage from the LA premiere garnered nearly 7M+ views alone. On TikTok, the focus was all around how the Jackass crew was the first and the best at this type of content. The influencers/content creators Paramount worked with always referred to Jackass as “the OG” or “the best”. The studio also screened the movie to all influencers.
Another key to Jackass Forever‘s success: It’s the first pure comedy in a long time at the box office.
“When was the last time you grabbed your friends and had a great time,” Paramount Domestic Distribution Chief Chris Aronson tells Deadline this morning, “That was the whole thrust of what Johnny Knoxville and team wanted to do in making this movie, and working with us on the marketing after everything the world has been through.”
The Jeff Tremaine-directed movie over-indexed in the West and Midwest and was at norm in the Northeast and South Central, while under-indexing in the Southeast. Top markets that over-performed included LA, Phoenix, Sacramento, Denver, San Diego, Las Vegas, Portland OR, Fresno, Albuquerque, El Paso, Pittsburgh, and Milwaukee. Top grossing theaters hailed from LA (9 out of the top 10, 18 of the top 20, and 27 out of the top 40 theaters), Albuquerque, El Paso, Phoenix, Pharr TX, Denver, San Diego, Sacramento, Oklahoma City, Salt Lake City, Fresno, and San Antonio.
Paramount marketed this movie straight to the bro-sports crowd with the Jackass cast showing up at UFC 270: Ngannou vs. Gane in Anaheim and constant promotions throughout the match and at the stadium. Knoxville also put time in at WWE Royal Rumble. Steve-O also had his Bucket List tour.
Says RelishMix about Paramount’s promotion for Jackass Forever, “Johnny Knoxville has focused his social activity on his 3.6M Instagram and paused his Facebook of 5.3M and Twitter of 1.6M. WWE cross-promo events are popping engagement very well as Steve-O leads the charge with 20.1M total fans along with Chris Pontius at 2.3M and Dave England at 667K for a total of 36.5M activated and un-activated.”
Jackass Forever‘s TV campaign per iSpot aired on such networks as CBS, ESPN, Comedy Central, MTV and FXX across such shows as NFL, The Office re-runs, SportsCenter, NBA games and Family Guy.
With cinemas just re-opening in the province of Ontario and Quebec scheduled to re-open on Monday, Canada repped a solid 4.5% market share on 6% of total locations for Jackass Forever. Overall, Canada’s market share was 2.35% for the movie.
While the Roland Emmerich-type of disaster movies were already a tired genre before the pandemic —Geostorm lost money on the same type of production cost here, $140M— it’s important to remember that this massive package came together in pre-pandemic times, and was strictly built for foreign audiences, not U.S. moviegoers. Moonfall‘s opening here is under Geostorm‘s $13.3M stateside start.
For all the talk of cinema capacity restrictions and territory closures, moviegoers abroad have shown to come back with a movie like Spider-Man: No Way Home which has vacuumed up $1.03 billion abroad (and that’s without China), however, this movie’s success which hit Brazil, Russia and a handful of territories this weekend remains to be seen.
After a big budget disaster like Universal/Film Nation’s The 355 (currently around $24M WW) which cost $75M, is Moonfall more poison for the foreign sales ecosystem, which is continually challenged by streamers’ aggressive feature acquisitions? The answer, many sources tell me, is simply ‘No’. First, we live in a world where there is a desperate need for product around the world, not just in streaming.
And even though Moonfall didn’t deliver at the box office, exhibitors were starving for new product especially after two weekends without any new major studio wide release titles. EntTelligence reports that there were 800K admissions to Moonfall to Jackass Forever‘s 2M.
In Korea, for example, there are four major theatrical distributors, three large theater chains, four big cable/pay television companies, three major TV networks, and three large streaming services: all require content and compete for the same from the US major studios. This results in multiyear output deals at premium prices. Similarly, the demand for product will continue to rise under the combined forces of increased access to multiplexes, the spread of internet through mobile networks, increased demand from more numerous content providers and the emergence of middle classes across the globe.
As one foreign sales insider told me “foreign buyers can’t help themselves, they’ll always gamble on themselves.” Meaning, if they don’t buy into a big-budget project like Moonfall as they hit the marketplace, they’ll never see any potential for upside. The smart ones are keen not to go all in, rather grab what they can in a slate of films.
In the wake of Geostorm reaping a $72M loss, few, if any major studio would go all in on a disaster movie like Moonfall, not to mention the astronaut subgenre has been beaten to death with Gravity, Ad Astra, The Martian, and First Man. In addition, Emmerich built it for movie theaters, not for streamers. The most risk averse means for making this movie was through foreign sales: China kicked in $40M, Lionsgate was on the hook for around $15M we’re told on good authority, Germany around $15M+; in total about 65% of the pic’s $146M budget, with shooting tax credits from Montreal kicked in (which by the way, Canada isn’t seeing Moonfall this week as the local distributor there pulled the movie due to Omicron). AGC Studios, which handled foreign sales on Emmerich’s Midway, and CAA Media Finance handled sales here on Moonfall.
Surely, all those buyers who bought into Moonfall will see some sort of hit to their P&Ls; Lionsgate is on the hook for $35M P&A (iSpot measures that Lionsgate spent $12.2M in TV ads to Paramount’s $5.2M for Jackass Forever and Disney’s current $12.1M spend for Death on the Nile which opens this Friday). It’s not to say that Lionsgate abandoned the movie, they surely supported the second film from their Midway filmmaker. However, it’s truly hard to see any kind of profit here through some wonky slide rule with box office optics such as this.
Imax auditoriums drew $1.4M of Moonfall‘s weekend with another $900K overseas. Imax and PLF accounted together for 36% of the gross.
Some will say that Moonfall‘s misfire was on account to skewing toward an older audience with 75% over 25, and 31% over 45 years old, however, there’s enough VFX here to appeal to an 18-34 crowd. They can just sniff a bad movie, and in the TikTok age, bad word spreads like wildfire.
1.) Jackass Forever (Par) 3,604 theaters, Fri $9.6M/Sat $8.4M/Sun $5.5M/3-day $23.5M/Wk 1
2.) Moonfall (LG) 3,446 theaters Fri $3.4M/Sat $4M/Sun $2.5M/3-day $10M/Wk 1
3.) Spider-Man: No Way Home (Sony) 3,600 (-75) theaters, Fri $2.08M (-24%)/Sat $4.65M/Sun $2.87M/ 3-day $9.6M (-13%)/Total $748.95M/Wk 8
Spidey is now $11.55M from becoming the No. 3 highest grossing movie at the domestic box office, beating Avatar.
4.) Scream (Par) 3,227 (-360) theaters Fri $1.2M (-42%)/Sat $2.28M/Sun $1.22M/3-day $4.7M (-35%), Total: $68.9M/Wk 4
5.) Sing 2 (Uni/Ill) 3,266 (-184) theaters, Fri $810K (-22%)/Sat $2.1M/Sun $1.26M/3-day $4.17M (-11%)/Total: $139.6M/Wk 7
6.) The King’s Man (20th/Dis) 1,910 (-505) theaters Fri $305K (-33%)/3-day $1.1M (-33%)/Total $35.7M/Wk 7
7.) Redeeming Love (Uni) 1,797 (-166) theaters, Fri $270K (-53%)/Sat $460K/Sun $280K/ 3-day $1M (-43%)/Total: $8M/Wk 3
8.) American Underdog (LG) 1,470 (-643) theaters, Fri $212K (-39%)/Sat $379K/Sun $209K/ 3-day: $800K (-31%)/Total: $25.9M/Wk 7
9.) The 355 (Uni/FilmNation) 1,710 (-803) theaters, Fri $170K (-55%)/ Sat $340K/Sun $190K/ 3-day $700K (-52%)/Total $14.1M/Wk 5
10.) The Wolf and the Lion (Blue Fox Entertainment)1,005 theaters, Fri $163K/Sat $309K/ Sun $207K/3-day $679K/Wk 1
11.) Licorice Pizza (UAR) 786 (+14) theaters, Fri $167K (-10%)/Sat $289K/Sun $159K/ 3-day: $615K (-2%)Total $12.7M/Wk 11
‘The Batman’ Projected to Gross $135-185 million in First 3 Days of Release!!
We are officially one month away from The Batman’s release, and it is never too early to predict its box office performance. It’s a fan-favorite pastime and according to Box Office Pro, the Robert Pattinson-starring superhero epic looks to have one of the most successful opening weekends in the franchise’s history. As of right now, The Batman is projected to make $135-185 million in its first three days of release.
When you compare that range to past Batman films, on the low end at $135 million it would be ranked fourth all time and on the high end of $185 million it would be ranked first all time in terms of The Caped Crusader’s opening weekends. In comparison, The Dark Knight made $158.4 million, The Dark Knight Rises made $160.8 million, and Batman v Superman: Dawn of Justice made $166 million in their respective opening weekends. However, even on the low end of The Batman’s current projection it will easily pass Batman Begins’ $48.7 million and Batman’s $40.4 million opening weekends. These two classic superhero films currently sit at the forth and fifth position on the all-time Batman film list.
Box Office Pro also currently projects The Batman to make anywhere from $340-540 million in its entire domestic run which would give the new film a shot to be the most successful film in the franchise domestically. It would have a lot of work to do to pass The Dark Knight and The Dark Knight Rises’ domestic totals of $533.3 million and $448.1 million, but the low end of The Batman’s current domestic projection would have the film third all time on the character’s domestic film list. This would have it passing Batman v Superman’s $330.3 million domestic run.
So what does this all mean? Well ,it means Warner Brothers and director Matt Reeves may have a major box office hit on their hands. There are a lot of things working against this new film like the ever-evolving state of the pandemic, this being the 4th reboot of the character on the big screen, and the almost three hour runtime, but this is Batman. This iconic superhero is arguably the most popular pop culture icon in the world right now and the trailers have done nothing but showcase what appears to be a visually stunning film that takes the character in a completely new direction for longtime moviegoers.
This is being touted as a realistic neo-noir detective story with both thriller and horror elements. The marketing has been absolutely killer so far with incredibly immersive trailers, beautiful posters, and chilling musical pieces from the film’s composer Michael Giacchino. While it is still up in the air if this can be the next pandemic film to break $1 billion worldwide, and it will be interesting to see what kind of legs the film is going to have, this report is a good sign of things to come. The Batman finally stocks the streets of Gotham and hits theaters on March 4th.
‘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
‘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
‘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
‘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 Holland–Zendaya-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.
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?).
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 Cinemas’ RRR, 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
‘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