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The Weekend Report

Sunday, May 1st, 2016

It was no contest for The Jungle Book as new fare collectively could not overtake the swinger’s estimated $42.6 million session. The trio of freshmen included action comedy Keanu with a third place finish of $9.3 million, followed by the ensemble warmedy Mother’s Day with $8.1 million, and videogame adaptation Ratchet & Clank failed to translate at $4.8 million.

New exclusive entries included encouraging initial results for The Man Who Knew Infinity, calculating $79,300 from six screens and a single-screen gross of $14,400 for The Family Fang. In limited wide release, Papa Hemingway in Cuba entered with a soft $472,000. Best of the Indian imports was Hindi Baaghi with OK results of $237,000 from 79. China’s Finding Mr. Right 2 (a loose adaptation of Sleepless in Seattle) had a strong bow of $427,000 from 39 exposures.

Revenues for the frame exceeded$105 million, translating into a 20% drop from the prior weekend. It was a steep 56% decline from 2015 when Avengers: Age of Ultron debuted to $191.3 million.

The session overall felt like the lull before the storm that’s anticipated with next week’s launch of Captain America: Civil War. The Cap rolled out overseas last Wednesday and is expected to gross a whopping $200 million from 37 territories through Sunday topped by South Korea’s $29 million. It also bowed to record-breaking numbers in Brazil and Mexico with strong European grosses cued to the May Day holiday weekend. Territories yet to open include China, Russia and India.

On the domestic front, both Keanu and Mother’s Day fell short of tracking estimates in the $10-$12 million range. The former from Comedy Central favorites Key and Peele swung 53% male with a 71% audience aged 25 and older. Exit demos were unavailable for Mother’s Day but it likely had an older female bias.

The animated Ratchet & Clank also came short of commercial expectations following a few tepid openings in Europe two weeks ago including France where it’s grossed $1.3 million. Its opening domestic crowd was 64% male with 61% overall aged 25-years and younger.

Weekend (estimates) April 29 – May 1, 2016
Title Distributor Gross (avg) % chng Thtrs Cume
The Jungle Book BVI 42.6 (10,540) -31% 4041 252.3
The Huntsman: Winter’s War Uni 9.4 (2,470) -52% 3802 34
Keanu WB 9.3 (3,500) NEW 2658 9.3
Mother’s Day Open Road/ Elevation 8.1 (2,670) NEW 3035 8.1
Barbershop: The Next Cut WB 6.1 (2,640) -42% 2310 44.7
Zootopia BV 5.0 (2,030) -23% 2487 323.6
Ratchet & Clank Focus 4.8 (1,660) NEW 2891 4.8
The Boss Uni 4.2 (1,500) -32% 2823 56.1
Batman v Superman: Dawn of Justice WB 3.8 (1,630) -31% 2330 325.1
Criminal Lionsgate/VVS 1.3 (840) -57% 1578 13.5
My Big Fat Greek Wedding 2 Uni 1.1  (980) -49% 1092 57.3
A Hologram for the King Roadside At/ eOne .94 (1,800) -17% 523 2.6
Green Room A24 .92 (1,960) 368% 470 1.3
Eye in the Sky Bleecker/eOne .87 (1,410) -28% 614 16.4
Compadres Lionsgate .64 (1,740) -54% 368 2.4
God’s Not Dead 2 Pure Flix .57 (780) -49% 739 19.9
Miracles from Heaven Sony .51 (780) -52% 660 59.6
Papa Hemingway in Cuba Yari .47 (1,500) NEW 314 0.47
Hello, My Name is Doris Roadside Attractions .44 (1,090) -31% 404 12.8
Finding Mr. Right 2 Media Asia .43 (10,950) NEW 39 0.43
Deadpool Fox .44 (1,070) -36% 409 361.7
Everbody Wants Some!! Par .36 (810) -45% 442 3
Miles Ahead Sony Classics .33 (860) -48% 390 2
Sing Street Weinstein Co. .32 (3,070) 156% 104 0.58
10 Cloverfield Lane Par .29 (940) -48% 305 71.2
Weekend Total ($500,000+ Films) $100.15
% Change (Last Year) -56%
% Change (Last Week) -20%
Also debuting/expanding
Baaghi UTV .24 (3,010) 79 0.24
Elvis & Nixon Bleecker Street .20 (640) -58% 309 0.88
The Meddler Sony Classics .17 (7,060) 197% 24 0.26
The Man Who Knew Infinity IFC 79,300 (13,220) 6 0.08
Viva Magnolia 44,100 (3,150) 14 0.04
Pali Road Dadi 30,600 (1,090) 28 0.03
Raja Cheyyi Vesthe Yukta 15,500 (210) 73 0.02
The Family Fang Starz 14,400 (14,400) 1 0.01
Term Life Focus 12,300 (250) 50 0.01
Eva Hesse Zeitgeist 11,700 (11,700) 1 0.01
Three Wise Cousins Independent 10,600 (10,600) 1 0.01
L’Etudiante et Monsieur Henri A-Z Films 9,600 (1,200) 8 0.01
The Congressman Shadow 8,700 (2,900) 3 0.01
Manithan Red Giant 6,800 (570) 12 0.01
L’Attesa (The Wait) Oscillosope 5,300 (2,650) 2 0.01
Domestic Market Share (January 1 – April 28, 2016)
Distributor (releases) Box Office Market Share
Buena Vista (6) 854.2 24.30%
20th Century Fox (10) 767.9 21.80%
Warner Bros. (10) 437.5 12.40%
Paramount (8) 314.2 8.90%
Universal (8) 293.5 8.40%
Lionsgate (12) 202.5 5.80%
Sony (11) 173.4 4.90%
Focus (5) 113.9 3.20%
Weinstein Co. (7) 51.8 1.50%
STX (3) 42.3 1.20%
Open Road (3) 40.6 1.15%
A24 (5) 33.2 0.95%
Fox Searchlight (3) 16.8 0.50%
Other * (142) 174.7 5.00%
3516.5 100%
* none greater than 0.45%
Top Global Grossers (January 1 – April 28, 2016)
Title Distributor Box Office
Zootopia BV 914,124,671
Batman v. Superman: Dawn of Justice WB 858,068,481
Deadpool Fox 760,756,427
Star Wars: The Force Awakens * BV 741,002,743
The Jungle Book BV 588,173,648
The Mermaid Alibaba; Sony 552,448,853
The Revenant Fox 520,598,298
Kung Fu Panda 3 Fox; DreamWorks 503,887,235
London Has Fallen Focus; NuImage 197,459,587
The Monkey King 2 China Lion 190,755,793
From Vegas to Macau III Bona; Media Asia 186,923,621
Alvin and the Chipmunks: The Road Chip * Fox 164,327,911
Allegiant Lionsgate 157,928,597
Daddy’s Home * Par 154,734,789
Ip Man 3 * Pegasus; Well Go 147,605,573
Gods of Egypt Lionsgate 140,924,813
The Hateful Eight * Weinstein Co. 140,625,840
Detective Chin Tang Huaxia; China Lion 128,546,903
Ride Along 2 Uni 123,479,515
The Huntsman: Winter’s War Uni 113,425,058
* does not include 2015 box office

Friday Box Office Estimates

Saturday, April 30th, 2016

The Jungle Book|10.2|4041|-38%|219.9
Keanu|3.4|2658|New|3.4
Mother’s Day|2.7|3035|New|2.7
The Huntsman: Winter’s War|2.6|3802|-64%|27.2
Barbershop: The Next Cut|1.6|2310|-47%|40.2
Ratchet & Clank|1.5|2891|New|1.5
Zootopia|1.2|2487|-31%|319.7
The Boss|1.2|2823|-38%|53
Batman v Superman: Dawn of Justice |0.9|2330|-38%|322.2
Criminal|0.35|1578|-62%|12.5
||||
Also Debuting||||
Finding Mr. Right 2|0.16|39||
Papa Hemingway in Cuba|0.13|314||
Baaghi|73,400|79||
The Man Who Knew Infinity|25,000|6||
Viva|13,100|14||
Pali Road|10,400|28||
Raja Cheyyi Vesthe|6,800|73||
Term Life|4,150|50||
The Family Fang |3,300|1||
Three Wise Cousins|3,100|1||
Manithan|2,700|12||
L’Etudiante et Monsieur Henri|2,600|8||
The Congressman|2,400|2||
L’Attesa (The Wait)|1,300|2||

The Weekend Report

Sunday, April 24th, 2016

The Huntsman: Brrrrrr

The Jungle Book continued to hold sway at the box office with a top branch estimate of $61.4 million. The session’s sole wide national release The Huntsman: Winter’s War was a distant second with $20.1 million. There were also a trio of limited wide openers that included the Mexican slacker comedy Compadres at $1.4 million; the offbeat drama A Hologram for the King grossing $1.1 million and the historic Elvis & Nixon trailing with $473,000.

In the niches there was a wide variety of new imports with the Telugu Sarrainodu in the front with $586,000. Less impressive were the Punjabi Vaisakhi List at $78,100 and the Tamil Jacobinte Swargarajyam ekeing out $35,600. The sole exclusive to register any significant box office potential was the mother-daughter dramedy The Meddler with a $58,300 tally from four screens.

There was also a flurry of quickly engineered playdates for Purple Rain to honor Prince’s untimely death. A Warner Bros. spokesman said it numbered roughly 150 engagements (many single projections) with box office reporting expected Monday or Tuesday.

The frame also saw significant expansions for both Miles Ahead and Everybody Wants Some!! Both films failed to sustain early momentum.

Revenues for the weekend were slightly better than $130 million that translated into a 27% erosion from seven days earlier. It was however a 36% improvement from 2015 when the fourth weekend of Furious 7 vroomed to $17.8 million and the top new title was The Age of Adaline with $13.2 million.

There was always a degree of trepidation that the sequel to 2012’s Snow White and the Huntsman would be bereft of its heroine. Nonetheless The Huntsman: Winter’s War corralled major talent and a hefty budget and early overseas box office was encouraging. Nonetheless advance tracking was soft with high end expectations of $25 million that didn’t quite happen and have left studio executives somewhat puzzled to pinpoint commercial weaknesses.

Domestically the audience was 61% female with 53% of viewers aged 30-years and younger. The film opened two weeks ago internationally and had pocketed close to $50 million. The current weekend saw the addition of 37 territories including an $11 million box office in China and an estimated $32 million overall frame.

Meanwhile The Jungle Book remains torrid overseas with current weekend business estimated at $96 million and a $337 million cume and Japan and South Korea yet to open.

The Jungle Book swung wide and was the frame’s big winner with a potent debut estimated at $103.3 million. Two additional films made national bows as counter-programmers with Barbershop: The Next Cut sweeping up a tidy $20.2 million in second spot and Criminal opening to a grim $5.8 million.

In the niches there was strong response for a pair of Indian imports. The Hindi Fan grossed $1.4 million while the Tamil Theeri had a robust $608,000 ($1 million since its Wednesday launh). Best of the exclusives freshmen were the Irish musical Street Street with $65,800 from five screens and an unexpectedly strong $85,900 for the thriller Green Street in three engagements.

Both Miles Ahead and Everybody Wants Some!! continued slow roll outs to good effect.

The session generated revenues of about $180 million for a resilient 72% bounce from the immediate prior weekend. It was a 49% improvement from 2015 when the third weekend of Furious 7 be.

Weekend (estimates) April 22 – 24, 2016
Title Distributor Gross (avg) % chng Thtrs Cume
The Jungle Book BVI 61.4 (15,250) -41% 4028 192.1
The Huntsman: Winter’s War Uni 20.1 (5,290) NEW 3791 20.1
Barbershop: The Next Cut WB 10.7 (3,990) -47% 2676 35.9
Zootopia BV 6.6 (2,350) -19% 2798 316.4
The Boss Uni 6.1 (1,800) -39% 3375 49.5
Batman v. Superman: Dawn of Justice WB 5.5 (1,790) -39% 3066 319.5
Criminal Lionsgate/VVS 3.1 (1,170) -46% 2683 10.9
My Big Fat Greek Wedding 2 Uni 2.1 (1,190) -36% 1749 55.4
Compadres Lionsgate 1.4 (3,720) NEW 368 1.4
Eye in the Sky Bleecker/eOne 1.1 (1,360) -27% 838 14.9
A Hologram for the King Roadside Attractions 1.1 (2,820) NEW 401 1.1
Miracles from Heaven Sony 1.1  (850) -44% 1264 58.8
God’s Not Dead 2 Pure Flix 1.0 (940) -45% 1094 18.9
Deadpool Fox .68 (1,150) -30% 594 361.1
Allegiant Lionsgate .66 (770) -52% 852 65.1
Everbody Wants Some!! Par .65 (1,440) 52% 454 2.3
Miles Ahead Sony Classics .64 (1,220) 230% 527 1.3
Hello, My Name is Doris Roadside Attractions .62 (1,260) -21% 494 11.9
Sarrainodu RR Films .59 (3,810) NEW 154 0.8
10 Cloverfield Lane Par .56 (950) -47% 595 70.7
Elvis & Nixon Bleecker Street .47 (1,240) NEW 381 0.47
Fan Yash Raj .36 (1,440) -74% 247 2.1
Hardcore Henry STX/VVS .30 (580) -79% 519 9
Kung Fu Panda 3 Fox .26 (960) -4% 273 141.6
Green Room A24 .21 (6,930) 136% 30 0.32
Weekend Total ($500,000+ Films) $125.70
% Change (Last Year) 36%
% Change (Last Week) -27%
Also debuting/expanding
Midnight Special WB .14 (800) -68% 174 3.5
Sing Street Weinstein Co. .13 (5,190) 104% 25 0.21
Vaisakhi List White Hill 78,100 (1,950) 40 0.08
The Meddler Sony Classics 58,300 (14,580) 4 0.06
Born to Be Blue IFC/eOne 40,700 (540) -57% 75 0.68
Jacobinte Swargarajyam RFT 35,600 (2970) 12 0.04
Chongqing Hot Pot China Lion 35,200 (1,530) -59% 23 0.73
Union Bound Hannover House 20,100 (230) 89 0.02
The Rally – LA Rally for Christ 16,300 (2,330) 7 0.02
The Tale of Tales IFC 8,200 (4,100) 2 0.01
Precious Cargo Lionsgate 7,500 (420) 18 0.01
How to Let Go of the World and … HBO 6,500 (6,500) 1 0.01
Hockney Film Movement 6,100 (2,030) 3 0.01
Nina RLJ Entertainment 5,600 (130) 42 0.01
Holidays Vertical 3,100 (310) 10 0.01
Domestic Market Share (January 1 – April 21, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 766.4 22.90%
Buena Vista (6) 766.3 22.90%
Warner Bros. (9) 416 12.40%
Paramount (8) 312.4 9.30%
Universal (7) 257.5 7.70%
Lionsgate (11) 195.7 5.90%
Sony (11) 171.8 5.10%
Focus (5) 113.7 3.40%
Weinstein Co. (7) 51.7 1.55%
STX (3) 41.9 1.25%
Open Road (3) 40.6 1.20%
A24 (5) 32.8 1.00%
Fox Searchlight (3) 16.8 0.50%
Other * (136) 162.8 4.90%
3346.4 100%
* none greater than 0.4%
Top Limited Releases (January 1 – April 21, 2016)
Title Distributor Box Office
Eye in the Sky Bleecker/eOne 13,752,151
Hello, My Name is Doris Roadside Attractions 11,327,711
The Lady in the Van Sony Classics 9,758,341
Carol * Weinstein Co. 8,910,357
The Danish Girl * Focus 6,607,578
45 Years IFC/Mongrel 4,538,461
Where to Invade Next Drafthouse/Mongrel 3,813,224
Anomalisa Par 3,683,877
Midnight Special WB 3,318,084
The Mermaid Sony 3,229,457
2016 Oscar Nominated Shorts Magnolia 2,816,816
Ip Man 3 Well Go 2,758,588
Kapoor & Sons – Since 1921 Fox Intl 2,645,657
Sherlock: The Abominable Bride Fathom 2,598,723
Airlift B4U 2,355,084
Nannaku Pramatho CineGalaxy 2,123,996
Demolition Fox Searchlight/VVS 1,978,592
Los Domirriquenos Duende 1,856,327
Busco Novio para mi Mujer Lionsgate 1,741,889
Neerja Fox Intl 1,710,563
* does not include 2015 box office

Friday Box Office Estimates

Saturday, April 23rd, 2016

The Jungle Book|16.5|4028|-48%|147.2
The Huntsman: Winter’s War|7.2|3791|New|7.2
Barbershop: The Next Cut|3|2676|-57%|28.2
The Boss|1.9|3375|-39%|45.3
Zootopia|2.1|2798|-23%|311.5
Batman v. Superman: Dawn of Justice |2.4|3066|-41%|315.4
Criminal|0.95|2683|-54%|8.7
My Big Fat Greek Wedding 2|0.65|1749|-36%|53.9
Compadres|0.45|368|New|0.45
A Hologram for the King|0.4|401|New|0.4
||||
||||
Also Debuting||||
Sarrainodu|0.22|154||
Elvis & Nixon|0.15|381||
Vaisakhi List|20,200|38||
The Meddler|14,200|4||
The Rally – LA|9,850|7||
Jacobinte Swargarajyam|9,700|10||
Union Bound|8,400|86||
The Tale of Tales|2,200|2||
How to Let Go of the World and …|2,000|1||
Nina|1,800|32||
Precious Cargo|1,800|18||
Hockney|1,500|2||
Holidays|1,400|10||

Review: HOLOGRAM FOR A KING

Thursday, April 21st, 2016

A Hologram for the King is an experimental film, albeit with considerable assets. All the elements one might want are present even if the equation hasn’t properly been worked out.

Its tone swings from sweet to sour with whimsy, dark foreboding, pratfalls and even dashes of surreal. Based upon David Eggers’ book of the same name, the movie confronts a changing worldwith more gusto than clarity, through the eyes of a latterday Willy Loman in a mid-life crisis.

Director-screenwriter Tom Tykwer’s film is ambitious, visually dynamic and has narrative density. What’s daunting is a jaunty giddiness that belies the gravitas not that much below the surface. Alan Clay (Tom Hanks) has been sent to Saudi Arabia by an American tech company to sell its teleconferencing system to the Kingdom. In flashback we learn that he’s divorced, financially strapped and haunted by business decisions made when he was a Schwinn executive. And if that weren’t enough, he also has a cyst on his back that might be malignant. Alan lives a life of quiet desperation that he navigates with an easy smile and an outwardly buoyant personality.

But he’s walked into a society uniquely alien to anything he’s confronted in the past. Cinematographer Frank Griebe (“Run Lola Run,” “Cloud Atlas”) captures vast, arid landscapes in all its natural beauty, juxtaposed with towering modern edifices. The ultra-wealthy and powerful live isolated from a nation in abject poverty and rife with 15th century conditions.

The struggle to acclimate the contemporary with the traditional is the thread that loosely binds A Hologram for the King. Its personification is Yousef (Alexander Black), a savvy driver-for-hire, who spent a year at an American college. He’s smarter than his station but the opportunities to break out of his tribal roots are virtually unthinkable. Still, he’s more forthright and direct than the suspicious and narcissistic officials Alan encounters as he tries to set up a demonstration of his product for the people that matter.

Tykwer, a filmmaker bent on challenging an audience, thwarts expectations with aa circuitous approach to the story. At first, his thefilm unfolds as little more than a first-class travelogue despite the irony that it was actually filmed in Morocco. When the demo of the system finally takes place Tykwer demonstrates his full, flamboyant visual prowess yet it remains an isolated moment. There’s also a late-breaking romance with a local doctor (Sarita Choudhury) that feels contrived. It allows for a clean, optimistic resolution when the appropriate turn would be for a pensive fade-out.

Hanks valiantly attempts to keep all the balls in the air and largely succeeds. He’s evolved into the acting equivalent of Walter Cronkite: the voice you trust. It would have been easy to have Alan Clay wink at the audience but Hanks accepts the character’s ingratiating personality, his crippling blindness and an American go-getter approach that’s decidedly outré and naive.

The Weekend Report

Sunday, April 17th, 2016

The Jungle Book swung wide and was the frame’s big winner with a potent debut estimated at $103.3 million. Two films made national bows as counter-programmers with Barbershop: The Next Cut sweeping a tidy $20.2 million in second spot and Criminal opening to a grim $5.8 million.

Best of the exclusive freshmen were the Irish musical Street Street with $65,800 from five screens and an unexpectedly strong $85,900 for the thriller Green Street in three engagements. In the niches, Hindi Fan grossed $1.4 million while Tamil Theeri had a robust $608,000 ($1 million since its Wednesday launch). Both Miles Ahead and Everybody Wants Some!! continued slow rollouts to good results.

The session generated revenues of about $180 million for a resilient 72% bounce from the immediate prior weekend. It was a 49% improvement from 2015 when the third weekend of Furious 7 bested openings of Paul Blart: Mall Cop 2 and Unfriended with a $29.2 million box office. The newcomers opened respectively with $23.8 million and $15.8 million.

The new mixed media version of the The Jungle Book roared markedly better than the $85-$90 million anticipated by tracking. The difference was largely the result of strong reviews, fierce social media response and unexpectedly potent interest from mature audiences.

In a rare turn for a Disney “family” film, exit demographics identified a slim 49% minority of the audience as families. One can point to curiosity and affection for the bygone animated classic for a 53% tilt for viewers aged 25-years and older. The film also had a slight 51% female bias. A Disney spokesman said he was pleased that the movie had four-quadrant appeal from the get-go.

Domestically, the film saw a strong 43% preference for the 3D version with an equally impressive 10% of the trove coming from IMAX engagements.

Internationally, Jungle Book added 34 international territories (Japan and South Korea are the sole major territories yet to open) and grossed an estimated $134 million to bring its cume to about $187 million. Among the highlights were a $50 million launch in China and $13.7 million in the UK.

The third Barbershop trim arrives 14 years after its inception and a dozen years after the sequel, but despite the long gestation feels timely. Still, it and Criminal got clipped by The Jungle Book juggernaut. Tracking suggested a $25 million-plus debut for Barbershop 3 that never coalesced. Its audience wound up being 54% female with 66% aged 25-years and older.

Criminal while always expected to be a poor relation in the box office road race nonetheless appeared headed toward an $8-$9 million launch. But it quickly stalled attracting a 53% male crowd that was 85% aged 25-years and older.

Weekend (estimates) April 15 – 17, 2016
Title Distributor Gross (average) % chng Thtrs Cume
The Jungle Book BVI 103.3 (25,640) NEW 4028 103.3
Barbershop: The Next Cut WB 20.2 (7,600) NEW 2661 20.2
The Boss Uni 10.2 (2,910) -57% 3495 40.3
Batman v. Superman: Dawn of Justice WB 9.1 (2,590) -61% 3505 311.4
Zootopia BV 8.2 (2,550) -38% 3209 307.4
Criminal Lionsgate 5.8 (2,160) NEW 2683 5.8
My Big Fat Greek Wedding 2 Uni 3.2 (1,410) -50% 2297 52.1
Miracles from Heaven Sony 1.9 (920) -59% 2082 56.9
God’s Not Dead 2 Pure Flix 1.7 (1,070) -60% 1585 17
Eye in the Sky Bleecker/eOne 1.6 (1,760) -46% 891 13.1
Hardcore Henry STX/VVS 1.5 (490) -71% 3015 8.2
Fan Yash Raj 1.4 (5,070) NEW 282 1.4
Allegiant Lionsgate 1.3 (860) -64% 1484 63.8
10 Cloverfield Lane Par 1.0 (950) -65% 1085 69.8
Deadpool Fox .95 (1,200) -54% 791 360.1
Hello, My Name is Doris Roadside Attractions .77 (1,190) -52% 650 10.9
Theeri CineGalaxy .61 (3,770) NEW 162 1
Meet the Blacks FreeStyle .52 (890) -75% 584 8.4
Everybody Wants Some!! Par .43 (3,240) -11% 134 1.5
Midnight Special WB .42 (810) -63% 512 3.1
London Has Fallen Focus/VVS .30 (690) -69% 436 61.4
Demolition Searchlight/VVS .30 (350) -73% 862 1.8
Kung Fu Panda 3 Fox .26 (900) -41% 293 141.3
Miles Ahead Sony Classics .20 (4,340) -3% 47 0.63
Star Wars: The Force Awakens BV .20 (760) -48% 260 935.8
Weekend Total ($500,000+ Films) $173.25
% Change (Last Year) 49%
% Change (Last Week) 72%
Also debuting/expanding
Chongqing Hot Pot China Lion 92,600 (2,370) -58% 39 0.67
Born to Be Blue IFC/eOne 88,400 (1,090) -20% 81 0.58
The First Monday in May Magnolia 94,100 (4,710) 20 0.09
Green Room A24 85,900 (28,630) 3 0.09
Sing Street Weinstein Co. 65,800 (13,160) 5 0.07
I Saw the Light Sony Classics 54,600 (530) -81% 103 1.5
New York, New York China Lion 45,200 (2,820) 16 0.05
Marguerite Cohen Media 42,700 (1,150) -39% 37 0.78
The Invitation Drafthouse 41,700 (2,610) -39% 16 0.13
Los Sures Union 20,400 (20,400) 1 0.02
Eedo Rakam Aado Rakam Desi 13,500 (840) 16 0.01
Revelation: Dawn of Global Government Rocky Mountain 13,100 (6,550) 2 0.01
The Measure of a Man Kino 10.300 (5,150) 2 0.01
Mon Roi Seville 10,200 (1,280) 8 0.01
Colonia Screen Media 8,600 (350) 22 0.01
Our Last Tango Strand 7,200 (7,200) 1 0.01
King Liar Malayalam 6,100 (1,020) 6 0.01
The Adderall Diaries A24 5,500 (210) 26 0.01
Rio, I Love You Screen Media 3,480 (3,480) 1 0.01
Prisoner X Raven 3,100 (1,030) 3 0.01
A Sunday Kind of Love Indican 2,300 (2,300) 1 0.01
Domestic Market Share (January 1 – April 14, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 764.4 24.50%
Buena Vista (6) 628.9 20.10%
Warner Bros. (9) 379.2 12.10%
Paramount (8) 310.1 9.90%
Universal (7) 239.7 7.70%
Lionsgate (10) 186.1 6.00%
Sony (11) 169.1 5.40%
Focus (5) 113.2 3.60%
Weinstein Co. (6) 51.5 1.70%
Open Road (3) 40.5 1.30%
STX (3) 40.1 1.30%
A24 (4) 32.6 1.00%
Fox Searchlight (3) 16.4 0.50%
Other * (128) 151.4 4.90%
3123.2 100%
* none greater than 0.4%
Top Domestic Grossers (January 1 – April 14, 2016)
Title Distributor Box Office
Deadpool Fox 359,113,249
Batman v. Superman: Dawn of Justice WB 302,301,730
Zootopia BV 299,243,756
Star Wars: The Force Awakens * BV 283,675,420
The Revenant Fox 182,203,691
Kung Fu Panda 3 Fox 141,040,837
Ride Along 2 Uni 90,943,049
Daddy’s Home * Par 85,784,897
10 Cloverfield Lane Par 68,734,681
Allegiant Lionsgate 62,482,405
London Has Fallen Focus/VVS 61,099,206
Miracles from Heaven Sony 55,030,812
13 Hours: The Secret Soldiers of Benghai Par 52,897,721
My Big Fat Greek Wedding 2 Uni 48,835,490
How to Be Single WB 46,843,513
The Big Short * Par 46,300,694
The Hateful Eight * Weinstein Co. 40,719,360
Sisters Uni 37,921,265
Risen Sony 36,715,290
The Boy STX/eOne 35,819,556
* does not include 2015 box office

Leonard Klady Remembers Dan Ireland

Sunday, April 17th, 2016

The news of Dan Ireland’s death is about as tough as it gets.

My friendship with him goes back a long time, to the days when he ran the Seattle Film Festival with Darryl Macdonald. He was the dynamo of the duo. Dan would bounce off the wall with ideas, and that was part of the reason the event was so much fun. He had a keen appreciation that he was putting on a show, as well as introducing audiences to new ideas in cinema.

His and Darryl’s ferocity at finding new talent was legendary. It was a time when film festivals played a significant role in getting unknown filmmakers in the door.

It was a surprise when I learned that he was leaving Seattle back in the mid-1980s to become a production executive at Vestron, home of Dirty Dancing and a lot of cheesy movies that have faded.

We had lunch in Los Angeles shortly after he arrived. We talked shop and I gave him cautionary notes on what this evil town might have in store for him. He probably didn’t have a keen sense of what he was getting into, but that didn’t matter because whatever roadblocks lay ahead were no match for his unbridled enthusiasm.

As a movie exec he would go on to champion new talents as well as such old lions as Ken Russell and John Huston. My wife got to know him as a suit when she worked for Huston on The Dead. I wasn’t surprised when she told me that Dan was attentive, supportive, accommodating and all those things you want from head office and rarely receive. And on top of those things he was smart and funny.

A decade later he decided he wanted to be a film director. The first film was The Whole Wide World (1996), a view askew of writer Robert Howard and his relationship with a young schoolteacher in a dustbowl Texas town in the 1930s. If you knew Dan, you had to wonder what in the whole wide world does he know about Depression era Texas … even if his characters were eccentrics.

I saw the film at Sundance and couldn’t have been more delighted. It was a stunning debut and we got together the following day. He brought along Vince D’Onofrio but his female find Renee Zellweger couldn’t attend because of a work conflict. Regardless it was a charged meal, as my enthusiasm for what he’d achieved came close to his passion for this new act in his life. There was no doubt that he’d meticulously thought out every aspect of production and sought out all the talent he’d nurtured over the years to give him advice, assistance and adrenalin.

In addition to Ms. Zellweger there were other significant young actors that owe him a big debt for advancing their careers, not limited to Jessica Chastain and Emmy Rossum. The handful of features he made were always first class, although commercially they fell in the category of success d’estime. It’s disappointing that someone with some clout didn’t have Dan Ireland’s sense of talent and offer him the sort of film that would have pushed him to the next level.

There were a couple of projects he had in the works that sounded promising in the past year that evaporated. I was excited and I’m sure he was pushing ahead with his usual vigor. I’d wanted him to do my radio show on the BBC, but never heard back from him.

It goes without saying he was far too young to leave this mortal coil. The obituaries didn’t give a cause of death but he had to be gravely ill. There’s no other explanation that makes sense; his boundless energy and upbeat attitude ought to have been sufficient to overcome whatever trivial bumps he encountered along the path of life.

Dan Ireland’s death leaves a gaping hole in my life that won’t be filled. He touched a lot of people in the course of his life and work and tears simply do not suffice for his absence.

 

Friday Box Office Estimates

Saturday, April 16th, 2016

The Jungle Book|32.2|4028|New|32.2
Barbershop: The Next Cut|7|2661|New|7
The Boss|3.1|3495|-62%|33.3
Batman v. Superman: Dawn of Justice |2.4|3505|-60%|304.7
Zootopia|2.1|3209|-40%|301.3
Criminal|2|2683|New|2
My Big Fat Greek Wedding 2|1|2297|-47%|49.8
Miracles from Heaven|0.55|2082|-58%|55.6
God’s Not Dead 2|0.5|1585|-60%|15.7
Fan|0.5|282|New|0.5
||||
||||
Also Debuting||||
Theeri|0.2|162||
Green Room|35,000|3||
The First Monday in May|33,700|20||
Sing Street|18,500|5||
New York, New York|17,200|16||
Los Sures|7,100|1||
Revelation: Dawn of Global Government|6,400|2||
The Measure of a Man|3,900|2||
Eedo Rakam Aado Rakam|3,400|16||
Colonia|2,800|22||
Mon Roi|2,400|8||
King Liar|2,300|6||
Our Last Tango|2,100|1||
Rio, I Love You|1,850|1||
The Adderall Diaries|1,650|22||
Prisoner X|1,350|3||
A Sunday Kind of Love|1,200|1||

The Weekend Report

Sunday, April 10th, 2016

The dust won’t settle until tomorrow but today’s estimates give the slightest of edges for bragging rights to the Melissa McCarthy comedy The Boss. Its weekend debut is $23.5 million while Batman v Superman: Dawn of Justice is sitting at $23.4 million. The only other wide opener, Hardcore Henry, ran down a disappointing $5 million.

In limited wide, offbeat drama Demolition bowed with a soft $1.1 million. In the niches, Hindi Sardar Gabbar Singh had a $461,000 weekend following a potent Thursday launch of $620,000. Meanwhile in Québec, Les Visiteurs: La Revolution opened day-and-date with France to an OK $84,000. The 1993 original remains the second biggest French hit on home turf.

Best of the exclusive bows was the U.S. indie thriller The Invitation that won best film at the prestigious Sitges festival last year. It grossed $53,400 from six sitdowns. Expansions this weekend included good response for slow rollouts of Everybody Wants Some!! and Miles Ahead and limp results for the ramped-up break out of Midnight Special.

Grosses for the frame topped $105 million, ebbing 20% from seven days earlier tally. It was a steeper 31% decline from 2015 when the second weekend of Furious 7 led with $59.6 million and top newcomer The Longest Ride took $13 million.

While The Boss wasn’t in the same league of Spy or The Heat, it was expected to provide strong competition for BvS with top end predictions of $20 million. Despite generally withering reviews its core audience dined on the broad comedy and out-performed expatiations. The film tilted 67% female with 41% of the audience aged between 17 and 34-years old; an additional 49% were aged 35-years and older.

The Boss grossed an additional $1 million from eight secondary foreign territories including Serbia, Hungary and Lebanon. But the big noise overseas (apart from the continuing push of Batman v Superman) were advance debuts of The Jungle Book and The Huntsman: Winter’s War. The mixed media version of the Kipling classics bowed in 12 territories for better than the bear necessities of $29 million. Its $7.6 million debut in India was the second biggest bow ever for a non-local movie with Russia providing a potent $6 million gross. The Huntsman got a head start in 18 overseas locales including top spots in the UK, Mexico and Hong Kong and an overall estimate of $20 million.

Stateside, first-person POV Hardcore Henry fell short of tracking that anticipated an $8-$10 million start. Targeted at the gamer crowd with its offbeat visual sensibility it tilted 76% male with its core 17-to-34-year old demographic comprising 67% of the audience.

Weekend (estimates) April 8 – 10, 2016
Title Distributor Gross (average) % chng Thtrs Cume
The Boss Uni 23.5 (6,740) NEW 3480 23.5
Batman v Superman: Dawn of Justice WB 23.4 (5,700) -54% 4102 296.6
Zootopia BV 14.4 (4,190) -25% 3444 296.1
My Big Fat Greek Wedding 2 Uni 6.4 (2,110) -43% 3027 46.7
Hardcore Henry STX 5.0 (1,670) NEW 3015 5
Miracles from Heaven Sony 4.8 (1,720) -34% 2783 53.8
God’s Not Dead 2 Pure Flix 4.0 (1,670) -48% 2379 13.8
Allegiant Lionsgate 3.6 (1,430) -38% 2503 61.8
Eye in the Sky Bleecker/eOne 2.9 (2,640) -28% 1089 10.5
10 Cloverfield Lane Par 2.9 (1,550) -36% 1886 67.9
Deadpool Fox 2.1 (1,440) -40% 1435 358.4
Meet the Blacks FreeStyle 2.1 (2,100) -48% 1007 7.4
Hello, My Name is Doris Roadside Attractions 1.6 (1,600) -34% 979 9.3
Demolition Fox Searchlight 1.1 (1,310) NEW 854 1.1
Midnight Special WB 1.1 (2,310) 107% 493 2.3
London Has Fallen Focus/VVS .89 (970) -53% 914 60.7
Everybody Wants Some!! Par .51 (8,130) 64% 63 0.98
Kung Fu Panda 3 Fox .46 (1,360) -11% 341 141
Sardar Gabbar Singh Eros .46 (2,880) NEW 160 1.1
Star Wars: The Force Awakens BV .36 (1,050) -47% 346 935.5
I Saw the Light Sony Classics .30 (540) -56% 548 1.3
Whiskey Tango Foxtrot Par .25 (890) -52% 277 22.7
Chongqing Hot Pot China Lion .23 (5,040) 15% 46 0.52
The Revenant Fox .23 (800) -23% 286 183
Miles Ahead Sony Classics .22 (8,760) 91% 25 0.37
Weekend Total ($500,000+ Films) $100.30
% Change (Last Year) -31%
% Change (Last Week) -20%
Also debuting/expanding
Born to Be Blue IFC/eOne .11 (2,060) 5% 52 0.44
Saturday’s Warrior Purdie .10 (3,680) 7% 28 0.3
The Lady in the Van Sony Classics 93,600 (900) -33% 104 9.6
Les Visiteurs: La Revolution A-Z Films 84,200 (2,050) 42 0.08
Marguerite Cohen Media 68,700 (1,860) -7% 37 0.33
The Invitation Drafthouse 53,400 (8,900) 6 0.05
Embrace of the Serpent Oscillosope/Raven 49,300 (1,300) -40% 38 1.2
High Strung Paladin 41,500 (420) 100 0.04
Mr. Right Focus 24,300 (690) 35 0.02
Louder Than Bombs Orchard 19,300 (4,820) 4 0.02
Saka: The Martyrs of Nankana Sahib Hot Ice 14,100 (880) 16 0.01
Vita Activa: The Spirit of Hannah Arendt Zeitgeist 11,400 (11,400) 1 0.01
One More Time Starz 9,100 (450) 20 0.01
Neon Bull Kino 6,300 (6,300) 1 0.01
The Saver EyeSteel 4,100 (1,370) 3 0.01
Domestic Market Share (January 1 – April 7, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 760.5 25.50%
Buena Vista (5) 606.6 20.30%
Warner Bros. (8) 347.7 11.70%
Paramount (8) 305.3 10.20%
Universal (7) 201.9 6.80%
Lionsgate (10) 181.5 6.10%
Sony (11) 162.8 5.50%
Focus (5) 112.1 3.80%
Weinstein Co. (6) 51.5 1.70%
Open Road (3) 40.4 1.30%
STX (2) 34 1.10%
A24 (4) 32.3 1.10%
Fox Searchlight (2) 15.2 0.50%
Other * (122) 131.7 4.40%
2809 100%
* none greater than 0.4%

Friday Box Office Estimates

Saturday, April 9th, 2016

The Boss|8.1|3480|New|8.1
Batman v. Superman: Dawn of Justice |6.1|4102|-60%|279.3
Zootopia|3.4|3444|-38%|285.1
Hardcore Henry|1.9|3015|New|1.9
My Big Fat Greek Wedding 2|1.8|3027|-47%|42.2
Miracles from Heaven|1.3|2783|-40%|50.3
God’s Not Dead 2|1.1|2379|-61%|10.9
Allegiant|1|2503|-51%|59.2
10 Cloverfield Lane|0.8|1886|-42%|65.8
Eye in the Sky|0.8|1089|-36%|8.4
||||
||||
Also Debuting||||
Demolition|0.36|830||
Sardar Gabbar Singh|0.19|160||
Les Visiteurs: La Revolution|26,000|42||
The Invitation|16,100|6||
High Strung|13,100|100||
Mr. Right|8,200|35||
Louder Than Bombs|7,800|4||
Saka: The Martyrs of Nankana Sahib|4,100|12||
Vita Activa: The Spirit of Hannah Arendt|3,550|1||
One More Time |3,000|20||
Neon Bull|2,100|1||
The Saver|1,800|3||

Review: Louder Than Bombs

Thursday, April 7th, 2016

Louder Than Bombs is a family drama about the emotional fallout of the death of a woman death on her husband and her two sons. The filmmakers take up the story three years after the tragedy, when her work—she was a war zone photographer—is to be exhibited, along with the publication of a monograph.

Directed by Joachim Trier and written with his usual co-screenwriter Eskil Vogt, the Norwegian filmmaker’s fraught with the inner demons of the living and the dead. Though hardly the button-down stereotypes of the American family that was reflected in distant decades in Ordinary People to American Beauty, the surviving trio appear to have adopted the tentative aspect of behavior that belies their true nature. What’s led to such a fierce defense is the film’s other haunting question.

Isabelle Reed (Isabelle Huppert) spent decades on the frontlines of hot wars and lingered past the heat of the hostilities to record their devastating consequence. She’s less adrenalin junkie than a slave to the professional pursuit of capturing images that encapsulate horror and humanity in the landscape. Though absence is a hallmark of her family life, flashbacks demonstrate that she was engaged when she returned home.

Ironically, or not, when she finally decides to give up war photography, she dies in a fatal car crash with a big rig. The “or not” is the belief that it wasn’t an accident and that’s about to be exposed in a newspaper piece. Her husband Gene (Gabriel Byrne) and eldest son Jonah (Jesse Eisenberg) know that scenario, but teenager Conrad (David Druid) was spared that complexity at the time.

The exhibition brings the family back together, at least physically. Jonah moved away, married and has just celebrated the birth of a child. Gene, a high school teacher and former actor (there’s a hilarious clip from the 1987 Hello Again to reflect his former glory), has spectacularly failed in any meaningful communication with Conrad. He also suffers acute nerdiness that manifests itself in acting out and digging in.

It’s fitting, perhaps even inevitable, and certainly organic, that aftermath is the signature of Louder Than Bombs. The past informs but life goes on. The dilemma confronting the three men isn’t entirely the result of Isabelle’s death. Jonah’s is that he beginning to question whether he wants a seemingly traditional family; Gene is struggling with his involvement in a new relationship and Conrad is confronting typical teenage challenges he will assuredly overcome in a few years.

The visual palette of Louder Than Bombs opts for somber tones and images are cropped to accentuate the confinement of each individual. Eisenberg, seemingly the pivot, plays his character with a sly quality of detachment. He vainly fends off the very things he has to know come close to the truth. But the glue ultimately is provided by Byrne. His is a relentlessly interior performance that frustrates at every turn and yet is so impeccably honest one cannot help but be enthralled by his inability to break out of his shell.

The explosions in Louder Than Bombs are primarily subterranean and therefore sonically muffled. Nonetheless if you’re still perplexed by the riddle of the title it is SILENCE.

The Weekend Report

Sunday, April 3rd, 2016

It was the proverbial case of “the bigger they are, the harder they fall” as Batman v. Superman: Dawn of Justice took a hard hit but nonetheless emerged as the top choice in the marketplace with an estimated $52.3 million. The only new national release was faith-targeted God’s Not Dead 2 that kneeled at fourth with a disappointing $7.7 million.

In limited wide, Purge-spoofing Meet the Blacks connected with its audience with $3.9 million. Exclusive newcomers included an excellent start of $119,000 at four gigs for jazz portrait Miles Ahead and an encouraging $317,000 (19 screens) for the college daze Everybody Wants Some!! Also encouraging were the family crisis Saturday’s Warrior with $118,000 from nine engagements and a single-screen tally of $24,500 for the Tribeca outcast anti-vaccination argument Vaxxed. Indian imports saw good response for Hindi Ki & Ka of $461,000 and a dismal $26,800 for Telugu Savitri. Chongqing Hot Pot from China grossed a spicy $192,000.

The session also featured several major expansions. Hank Williams biopic I Saw the Light added 736 playdates and hit a sour note of $727,000 while the unsparing drone of Eye in the Sky maintained its niche appeal with a $4 million frame.

Weekend revenues generated about $132 million and abated 49% from the immediate prior frame. It was a comparable 42% decline from 2015 when the launch of Furious 7 debuted to $147.2 million or more the entire tally of the current 3-day period.

Spit-ballers were projecting Batman v. Superman’s second weekend fate with declines of about 60% and an eventual domestic gross of more than $350 million. It’s now expected to take a 69% hit in North America and, based upon international projections of $137 million, a considerably more buoyant 40% drop overseas. The current $680 million global gross likely means it will fall short of $1 billion worldwide theatrically but still generate enough dough to justify DC’s ambitious movie plans.

While God’s Not Dead 2 bowed just 17% off the pace of its 2014 inspiration, tracking had estimated the sequel’s opening strength at $10-$12 million. The original went on to $60 million.

Weekend (estimates) April 1 – 3, 2016
Title Distributor Gross (average) % chng Thtrs Cume
Batman v. Superman: Dawn of Justice WB 52.3 (12,290) -69% 4256 261.4
Zootopia BV 19.9 (5,390) -17% 3698 275.9
My Big Fat Greek Wedding 2 Uni 11.1 (3,490) -38% 3179 36.5
God’s Not Dead 2 Pure Flix 7.7 (3,200) NEW 2320 7.7
Miracles from Heaven Sony 7.5 (2,380) -23% 3155 46.8
Allegiant Lionsgate 5.7 (1,880) -40% 3018 56.3
10 Cloverfield Lane Par 4.7 (1,880) -20% 2511 63.5
Eye in the Sky Bleecker Street 4.0 (3,900) 331% 1029 6.1
Meet the Blacks FreeStyle 3.9 (3,870) NEW 1014 3.9
Deadpool Fox 3.5 (1,790) -28% 1968 355.1
Hello, My Name is Doris Roadside Attractions 2.3 (2,400) 39% 964 6.6
London Has Fallen Focus/VVS 1.9 (1,250) -38% 1510 59.1
I Saw the Light Sony Classics .73 (980) 1499% 741 0.8
Star Wars: The Force Awakens BV .71 (1,540) -13% 462 934.9
Midnight Special WB .57 (9,860) 472% 58 1
Whiskey Tango Foxtrot Par .53 (620) -41% 847 22.3
Kung Fu Panda 3 Fox .51 (1,290) -9% 396 140.3
Ki & Ka Eros .46 (3,220) NEW 143 0.46
The Witch A24/Elevation .45 (670) 176% 666 24.6
Oopiri/Thozha PVP .35 (2,300) -63% 151 1.5
The Perfect Match Lionsgate .32 (1,070) -53% 301 9.4
Everbody Wants Some!! Par .32 (16,680) NEW 19 0.32
The Revenant Fox .29 (860) -36% 334 182.6
Kapoor & Son – Since 1921 Fox Intl .27 (2,230) 55% 122 2.4
Risen Sony .23 (540) -75% 425 36.5
Weekend Total ($500,000+ Films) $127.55
% Change (Last Year) -42%
% Change (Last Week) -49%
Also debuting/expanding
Chongqing Hot Pot China Lion .19 (9,600) 20 0.19
Spotlight Open Road/eOne ,14 (700) -10% 202 44.6
The Lady in the Van Sony Classics .13 (910) -43% 142 9.5
Miles Ahead Sony Classics .12 (29,820) 4 0.12
Saturday’s Warrior Purdie .12 (13,130) 9 0.12
Born to Be Blue IFC/eOne .11 (3,170) 64% 35 0.3
Embrace of the Serpent Oscillosope/Raven 75,700 (1,400) -31% 54 1.1
Marguerite Cohen Media 71,400 (1,550) 56% 46 0.22
Savitri Vision 26,800 (425) 63 0.03
Vaxxed Cinema Libre 24,500 (24,500) 1 0.02
Francofonia Music Box 22,100 (11,050) 2 0.02
Dong Ju: Portrait of a Poet Megabox 15,600 (3,120) 5 0.02
Truman A-Z Films 13,900 (2,780) 5 0.01
The Dark Horse Broad Green 7,900 (3,950) 2 0.01
Standing Tall Cohen Media 7,100 (3,550) 2 0.01
Sold Matson 5,500 (5,500) 1 0.01
Kill Me, Deadly Indican 4,600 (4,600) 1 0.01
The Girl in the Photographs Vertical 4,300 (430) 10 0.01
Domestic Market Share (January 1 – March 31, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 754.4 26.90%
Buena Vista (5) 579.9 20.60%
Paramount (7) 297.7 10.60%
Warner Bros. (8) 282.6 10.10%
Universal (6) 185.8 6.60%
Lionsgate (10) 172.3 6.10%
Sony (11) 152.5 5.40%
Focus (5) 109.6 3.90%
Weinstein Co. (6) 51.5 1.80%
Open Road (3) 40.1 1.40%
STX (2) 34 1.20%
A24 (4) 31.5 1.10%
Fox Searchlight (2) 15.3 0.55%
Other * (115) 101.8 3.65%
2809 100%
* none greater than 0.4%
Top Global Grossers (January 1 – March 31, 2016) *
Title Distributor Box Office
Deadpool Fox 748,937,044
Star Wars: The Force Awakens * BV 738,742,605
Zootopia BV 726,496,541
Batman v. Superman: Dawn of Justice WB 549,490,716
The Mermaid Alibaba; Sony 541,597,636
The Revenant Fox 509,912,280
Kung Fu Panda 3 Fox; DreamWorks 439,370,096
The Monkey King 2 Filmko; China Lion 190,045,811
From Vegas to Macau III Bona; Media Asia 186,531,818
Alvin and the Chipmunks: The Road Chip * Fox 162,774,727
Daddy’s Home * Par 154,198,579
Ip Man 3 Pegasus; Well Go 146,808,543
The Hateful Eight * Weinstein Co. 139,923,743
Gods of Egypt Lionsgate 132,685,593
Detective Chin Tang Huaxia; China Lion 128,091,800
Allegiant Lionsgate 125,875,490
London Has Fallen Focus; NuImage 125,963,877
Ride Along 2 Uni 121,973,530
The Big Short * Par 106,767,841
The 5th Wave Sony 106,484,451
* does not include 2015 box office

Friday Box Office Estimates

Saturday, April 2nd, 2016

Batman v. Superman: Dawn of Justice | 15.3|4256| -72% |224.4
Zootopia|5.6| 3698 |-41%| 261.5
My Big Fat Greek Wedding 2 | 3.4| 3179 |-53%| 28.8
God’s Not Dead 2 | 2.8 |2320 |New| 2.8
Miracles from Heaven | 2.2| 3155 |-35% |41.4
Allegiant | 1.8 |3018 |-51% |52.4
Meet the Blacks | 1.4 |1014 |New |1.4
10 Cloverfield Lane | 1.4 |2511 |-32% |60.2
Eye in the Sky |1.2 |1029| 303%| 3.3
Deadpool |Fox| 1 |1968| -40% |352.6

Also Debuting
Ki & Ka | 0.14 |143
Everybody Wants Some!! | 95,800| 19
Chongqing Hot Pot | 65,300| 20
Saturday’s Warrior | 56,900| 9
Miles Ahead | 34,800 |4
Savitri | 14,500 |63
Vaxxed | 7,700 |1
Francofonia | 5,800 |2
Dong Ju: Portrait of a Poet | 4,500| 5
Sold | 3,200 |1
Kill Me, Deadly | 2,800 |1
The Dark Horse | 2,100| 2
Standing Tall | 1,900 |2
Girl in the Photographs | 1,400 |9

Review: Miles from Home and I Saw the Light

Thursday, March 31st, 2016

Film biographies date to the dawn of cinema with the lives of politicians, entertainers and sports players providing a treasure trove of drama and entertainment. We know that many bygone favorites printed the legend and skirted over or ignored the subject’s flaws. It didn’t seem to matter to the audiences that flocked to The Pride of the Yankees or The Jolson Story but today’s moviegoer is not as forgiving about blurred lines.

Last year’s Steve Jobs upended conventions of presenting a character’s life in a triptych that took three key career events meant to reflect the subject’s struggle to evolve, even if his character obstinacy was evident. While that experiment is more anomaly than trend, it suggests a willingness by filmmakers to strive for new narrative shapes.

Country singer-songwriter Hank Williams is the focus of I Saw the Light while jazz icon Miles Davis gets the spotlight in Miles Ahead. There are few parallels to make between the two icons, and that extends to the approaches taken by their respective filmmakers.

I Saw the Light is the less successful of the two, and not simply because it takes the familiar arc of the singer’s rise and fall. Williams’ brief but meteoric career began in post-Second World War Arkansas roadhouses and ended in the back seat of a car on New Year’s Day 1953. But he managed to write great songs like “Cold, Cold Heart,” “Why Don’t You Love Me” and “Move It On Over” that truly influenced the subsequent country music.

The true Hank Williams was a loathsome sort prone to violent outbursts, abusive, an abject alcoholic and inveterate womanizer. Raging Bull’s Jake LaMotta comes to mind, but writer-director Marc Abraham doesn’t have the chops or ferocity of Scorsese or Schrader. He’s a reasonably skilled filmmaker abetted by the cinematography by Dante Spinotti (a Michael Mann and Curtis Hanson regular), its lush imagery hampered by a script that adopts a measured pace whenever Williams is away from the microphone.

The film skirts around the issues that might have provided clarity and a modicum of sympathy for Williams. His relationship with his wife and manager Audrey who had an inflated sense of her singing abilities comes perilously close to a spat between the 1950s contemporaneous Ricardos. Far worse is the script’s tamping down of his debilitating spinal ailments that spurred on his abuse of alcohol and drugs.

The incandescent Elizabeth Olsen skillfully gives Audrey substance in a woefully underwritten role. Tom Hiddleston is less successful as Williams. He doesn’t appear at all comfortable in the singer’s skin despite the fact that he chose to do the actual singing rather than employing recordings. One’s fondness for I Walk the Line grows.

Miles Ahead takes the unconventional conceit of distilling the essence of Miles Davis to a couple of days in 1979 when he was tinkering with his first album in five years. Don Cheadle who plays Davis and also directed, co-wrote and provided some original music tosses in a reporter (Ewan McGregor) doing a Rolling Stone profile and the theft of a preliminary session tape by a unsavory producer (Michael Stuhlbarg) to provide the profile with momentum.

The gist of the story is like a jazz riff and it’s not difficult to go in the myriad directions in which the film proceeds. Chiefly that involves turning the clock back more than a decade to when Davis was evolving into a musical force and his budding relationship with Francis (Emayatzy Corinealdi), a dancer, who becomes his first wife.

What’s up on screen is nervy and engrossing. Cheadle knows his subject and embodies the 1970s Davis with raspy voice, aggressive and profane attitude and peacock wardrobe organically. Like Williams, he was hobbled by a bad hip, over-indulged in coke and booze and was not unknown to violent extremes. (I’d see him on occasion walking in Greenwich Village in the 1970s giving a vibe that was foreboding.) All of that is on display, but muted and contextualized with humor, humanity and a penchant for the bizarre.

The film has a rigorous pace and ramps up to a rock-‘n-roll road trip in pursuit of the purloined tapes. The look is purposely on the crude side; emulating the feel of captured on the fly documentary, a true sleight of hand for a piece rife with inventions.

Objectively one misses space to see Davis in his prime. And there’s a tendency toward caricature or plot device among the supporting cast. It also doesn’t help the more one is familiar with the actual biography of Davis or for that matter Williams. Still, Miles Ahead has plucky audacity that’s disarming with sufficient veracity to embrace the embellishments.

The Weekend Report

Sunday, March 27th, 2016

Batman v. Superman: Dawn of Justice wasn’t the only story in the Easter marketplace but its estimated $168.3 million debut did account for approximately 66% of session revenues. There was still good news for the frame’s other national newcomer My Big Fat Greek Wedding that opened at third with $18.1 million.

In Canada, Cannes-prized The Lobster bowed to a solid $61,300 at seven sites and Hank Williams’ biopic I Saw the Light displayed comparable strength of $48,700 from five honkytonks. Holidays in India offered a spate of entries including Telugu Oopiri (Thozha in Tamil versions) that opened with a potent $911,000 and Punjabi Ambarsariya with an excellent $411,000. Hindi Rocky Handsome didn’t connect, with only $88,300.

Weekend revenues climbed to roughly $255 million for a whopping 101% ascendency from seven days earlier, as well as a not too shabby 72% climb from 2015 which was not Easter weekend. A year back, openings of Home and Get Hard led viewing with respective bows of $52.1 million and $33.8 million.

Box office pundits as well as Batman v. Superman’s studio were predicting a domestic debut in the neighborhood of $160 million and considering the stakes, all were able to exhale a collective sigh of relief. If estimates hold, the superhero pairing ranks as Warner Bros. biggest opening as well as the best debut for a DC comics character. It was not a critic’s darling and audience exit polling was soft. Still, the matchup is likely headed for $350 million domestic.

Internationally, the film opened day-and-date in 66 markets, with initial estimates north of $250 million. It ranks as the studio’s second biggest foreign debut to the Harry Potter finale. Leading the charge was its $57 million gross in China but all major markets opened to outstanding results with Mexico, Hong Kong, India and Argentina setting new records for a WB picture.

On the domestic front Batman v. Superman had a 62% male audience with 60% aged 25-years and older. It also had an unusually high 41% opting for 3D engagements and IMAX shows (approximately 9% of playdates) accounted for 11% of box offie.

A lot has happened since My Big Fat Greek Wedding opened in 2002 and opaa-ed its way to become the all-time highest grossing romantic comedy. Stakes were high but the sequel didn’t have to reach lofty heights. Tracking suggested a $16 million to $18 million debut and the studio is elated to come out on the high end. It’s also optimistic that like its inspiration it will eventually have a high multiple. The opening crowd was 76% female with 60% aged 35-years and older.

Greek 2 added an additional $8 million from 14 international market launches including a potent Australian debut as well as the UK, Germany and Mexico.

Weekend (estimates) March 25 – 27, 2016
Title Distributor Gross (avg) % chng Thtrs Cume
Batman v. Superman: Dawn of Justice WB 168.3 (39,680) NEW 4242 168.3
Zootopia BV 23.2 (6,330) -38% 3670 240.6
My Big Fat Greek Wedding 2 Uni 18.1 (5,770) NEW 3133 18.1
Allegiant Lionsgate 9.6 (2,560) -67% 3740 46.7
Miracles from Heaven Sony 9.0 (2,950) -39% 3047 33.6
10 Cloverfield Lane Par 5.9 (2,110) -53% 2802 55.9
Deadpool Fox 4.8 (2,070) -40% 2336 349.3
London Has Fallen Focus/VVS 2.9 (1,330) -58% 2173 55.6
Hello, My Name is Doris Roadside Attractions 1.6 (3,260) 59% 488 3.2
Eye in the Sky Bleecker Street .95 (7,720) 124% 123 1.8
Oopiri/Thozha PVP .91 (5,590) NEW 163 1
Risen Sony .89 (1,400) -22% 634 36
Whiskey Tango Foxtrot Par .87 (1,030) -69% 847 21.3
Star Wars: The Force Awakens BV .79 (1,430) -18% 552 933.6
The Perfect Match Lionsgate .66 (1,010) -67% 658 8.7
Kapoor & Son – Since 1921 Fox Intl .59 (3,860) -40% 153 1.9
Kung Fu Panda 3 Fox .54 (1,130) -44% 480 139.4
The Revenant Fox .43 (850) -64% 506 182.1
Ambarsariya White Hill .41 (8,060) NEW 51 0.41
The Young Messiah Focus .27 (310) -75% 874 6.3
Gods of Egypt Lionsgate .23 (490) -79% 473 30.2
How to Be Single WB .23 I1,210) -43% 188 46.3
The Lady in the Van Sony Classics .22 (1,030) -45% 216 9.2
Eddie the Eagle Fox .17 (660) -71% 262 15.2
Daddy’s Home Par .17 (830) -55% 208 150.1
Weekend Total ($500,000+ Films) $249.60
% Change (Last Year) 72%
% Change (Last Week) 101%
Also debuting/expanding
Spotlight Open Road/eOne .15 (730) -64% 206 44.3
Le Petit prince Seville .11 (1,230) -24% 88 1.3
Embrace of the Serpent Oscillosope/Raven .10 (1,360) -34% 75 1
Midnight Special WB .10 (19,640) -48% 5 0.36
Rocky Handsome Big Pictures 88,300 (1,400) 63 0.09
Born to Be Blue IFC/eOne 75,400 (5,390) 274% 14 0.16
Knight of Cups Broad Green 66,900 (980) -38% 68 0.45
The Lobster Mongrel 61,300 (8,760) 7 0.06
I Saw the Light Sony Classics 48,700 (9,740) 5 0.05
Krisha A24 37,500 (1,700) 279% 22 0.05
Fastball Gravitas 16,700 (800) 21 0.02
April and the Extraordinary World Gkids 11,600 (11,600) 1 0.01
Valley of Love Strand 9,500 (4,750) 2 0.01
They’re Watching Amplify 6,800 (380) 18 0.01
Get a Job Lionsgate 6,600 (730) 9 0.01
Look at us Now, Mother! WMM 5,700 (1,420) 4 0.01
Jane Wants a Boyfriend Filmbuff 5,000 (830) 6 0.01
Domestic Market Share (January 1 – March 24, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 745.1 29.80%
Buena Vista (5) 539.8 21.60%
Paramount (7) 287.1 11.50%
Universal (6) 161.1 6.50%
Lionsgate (10) 157.3 6.30%
Sony (11) 136.3 5.50%
Focus (5) 105.1 4.20%
Warner Bros. (8) 100.6 4.00%
Weinstein Co. (6) 51.4 2.10%
Open Road (3) 39.8 1.60%
STX (2) 33.9 1.40%
A24 (3) 30.9 1.20%
Fox Searchlight (2) 15.1 0.60%
Other * (105) 91.8 3.70%
2495.3 100%
* none greater than 0.4%
Top Limited Releases (January 1 – March 24, 2016) *
Title Distributor Box Office
The Lady in the Van Sony Classics 8,946,500
Carol * Weinstein Co. 8,900,328
The Danish Girl * Focus 6,607,578
45 Years IFC/Mongrel 4,459,959
Anomalisa Par 3,683,877
Where to Invade Next Drafthouse/Mongrel 3,535,120
The Mermaid Sony 3,184,583
2016 Oscar Nominated Shorts Magnolia 2,816,816
Ip Man 3 Well Go 2,758,588
Sherlock: The Abominable Bride Fathom 2,598,723
Airlift B4U 2,355,084
Nannaku Pramatho CineGalaxy 2,123,996
Los Domirriquenos Duende 1,755,486
Busco Novio para mi Mujer Lionsgate 1,741,889
Neerja Fox Intl 1,710,563
* does not include 2015 box office

Friday Box Office Estimates

Saturday, March 26th, 2016

Batman v. Superman: Dawn of Justice *|81.7|4242|New|81.7
Zootopia|9.6|3670|0%|227
My Big Fat Greek Wedding 2|7.2|3133|New|7.2
Allegiant|3.7|3740|-69%|40.8
Miracles from Heaven|3.3|3047|-21%|27.9
10 Cloverfield Lane|2.1|2802|-44%|52.1
Deadpool|1.7|2336|-25%|346.2
London Has Fallen|0.95|2173|-48%|53.7
Hello, My Name is Doris|0.5|488|95%|2.1
Risen|0.3|634|7%|35.4
||||
* includes Thursday previews||||
||||
||||
Also Debuting||||
Oopiri/Thozha|0.27|163||
Ambarsariya|0.14|51||
Rocky Handsome|33,100|63||
The Lobster|18,700|7||
I Saw the Light|17,100|5||
Fastball|6,000|21||
April and the Extraordinary World|3,650|1||
Valley of Love|3,200|2||
They’re Watching|2,750|17||
Jane Wants a Boyfriend|2,400|5||
Get a Job|2,200|9||
Look at us Now, Mother!|1,900|4||

The Weekend Report

Sunday, March 20th, 2016

Zootopia stayed at the top of the weekend charts with an estimated $38.1 million, followed by national releases of Allegiant, the conclusion of the Divergent franchise, with $29 million, and the faith-based Miracles from Heaven that praised $14.9 million. A third national frosh, the comedy about Olympic gymnastics The Bronze, failed to qualify with a $403,000 tally.

Exclusive bows included an encouraging $24,700 start for French import My Golden Days from three sites, and a potent $183,000 for critically acclaimed thriller Midnight Special in five encounters. The latter will do a slow rollout in the coming month. In the niches, Hindi Kapoor & Sons – Since 1921 had a solid bow of $941,000, while Filipino Love is Blind struggled to $67,600 at 58 venues.

On an eccentric note, animated Oscar-nominated Anomalisa expanded nationally to $739,000 in its 12th week in release.

Session revenues topped $130 million and took a 4% dip from the immediate prior frame. It was also a slim 1% erosion from 2015 when the debut of Insurgent led with $52.3 million and Cinderella took the bridesmaid slot with $35 million.

The Divergent YA series sputtered following the initial outing’s $54.6 million debut in 2014 and a buoyant 5% decline for last year’s Insurgent. Allegiant wasn’t tracking as strongly, with pundits anticipating a $32-$34 million launch that, if today’s lower-grossing estimates hold up, will see the conclusion off 55% from Part 2.

Allegiant opened a week back in most European markets to an excellent $26 million and will likely outpace domestic performance as it rolls out internationally. Studio exit polls identified the domestic audience as 64% female with 50% of viewers aged 25-years and older. The core 25 to 34 year olds accounted for 20% of the picture.

Following on Risen and The Young Messiah, the contemporary-set Miracles from Heaven proved to have more commercial utz and easily exceeded initial estimates of $10-$12 million. Though like Allegiant, it has young adult themes, the tale of a young woman’s “miracle” cure from a crippling disease proved to have greatest appeal with an older crowd with 75% of viewers aged 25-years and older. It also tilted female with 65% of the audience.

Mature audiences also contributed to strong response for expansions of Hello, My Name is Doris and Eye in the Sky.

Weekend (estimates) March 18 – 20, 2016
Title Distributor Gross (average) % change * Theaters Cume
Zootopia BV 38.1 (9,620) -26% 3959 201.9
Allegiant Lionsgate 29.0 (7,750) NEW 3740 29
Miracles from Heaven Sony 14.9 (4,880) NEW 3047 18.4
10 Cloverfield Lane Par 12.4 (3,630) -50% 3427 45.1
Deadpool Fox 8.1 (2,760) -26% 2924 341
London Has Fallen Focus/VVS 6.9 (2,280) -37% 3011 50.1
Whiskey Tango Foxtrot Par 2.8 (1,340) -40% 2079 19.3
The Perfect Match Lionsgate 1.9 (2,040) -56% 925 7.3
The Brothers Grimsby Sony 1.4 (610) -58% 2235 5.9
The Revenant Fox 1.2 (1,300) -41% 935 181.2
Gods of Egypt Lionsgate 1.1 (1,060) -55% 1075 29.5
Risen Sony 1.1 (920) -51% 1205 34.4
The Young Messiah Focus 1.0 (590) -68% 1769 5.4
Hello, My Name is Doris Roadside Attractions 1.0 (7,890) 1088% 128 1.1
Kung Fu Panda 3 Fox 1.0 (1,380) -42% 719 138.4
Star Wars: The Force Awakens BV .96 (1,690) -26% 568 923.3
Kapoor & Son – Since 1921 Fox Intl .94 (6,580) NEW 143 0.94
Anomalisa Par .74 (1,290) 573 3.4
Eddie the Eagle Fox .61 (890) -62% 682 14.7
Eye in the Sky Bleecker Street .42 (12,030) 270% 35 0.57
Spotlight Open Road/eOne .42 (940) -55% 443 44
The Lady in the Van Sony Classics .41 (1,360) -28% 301 8.7
How to Be Single WB .40 (1,100) -56% 366 46
The Bronze Sony Classics .40 (340) NEW 1167 0.4
The Witch A24/Elevation .40 (1,100) -60% 361 23.7
Race Focus .36 (890) -51% 401 18.5
Love Punjab White Hill .34 (7,810) -27% 43 1.1
Weekend Total ($500,000+ Films) $125.15
% Change (Last Year) -1%
% Change (Last Week) -4%
Also debuting/expanding
Midnight Special WB .18 (36,640) 5 0.18
Le Petit prince Seville .17 (1,170) 10% 149 1.2
Embrace of the Serpent Oscillosope/Raven .15 (1,680) -24% 87 0.79
Brooklyn Fox Searchlight/Mongrel .14 (930) -45% 152 37.9
Knight of Cups Broad Green .11 (1,580) 12% 68 0.33
Love is Blind ABS 67,600 (1,170) 58 0.07
My Golden Days Magnolia 24,700 (8,230) 3 0.02
Summer Camp Lionsgate 23,900 (410) 59 0.02
Ktown Cowboys FreeStyle 13,500 (4,500) 3 0.01
The Clan Fox Intl 12,200 (4,070) 3 0.01
The Confirmation Saban 10,400 (450) 23 0.01
Krisha A24 9,400 (4,700) 2 0.01
The Brainwashing of My Dad Cinco Dedos 6,100 (3,050) 2 0.01
The Program eOne 5,900 (390) 15 0.01
The Preppie Connection IFC 5,800 (2,900) 2 0.01
Too Late Vanishing Angle 5,600 (5,600) 1 0.01
Fireworks Wednesday Grasshopper 5,500 (5,500) 1 0.01
Coconut Hero Search Engine 2,300 (2,300) 1 0.01
Burning Bodhi Monterey 1,450 (480) 3 0.01
Domestic Market Share (January 1 – March 17, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 729.1 31.90%
Buena Vista (5) 484.1 21.20%
Paramount (7) 263.8 11.50%
Universal (5) 159.5 7.00%
Lionsgate (10) 118.1 5.20%
Sony (10) 111.1 4.90%
Focus (5) 94.4 4.10%
Warner Bros. (6) 72.1 3.20%
Weinstein Co. (6) 51.1 2.20%
Open Road (3) 38.9 1.70%
STX (2) 33.8 1.50%
A24 (2) 30.2 1.30%
Fox Searchlight (2) 14.9 0.65%
Other * (95) 82.9 3.65%
2284 100%
* none greater than 0.4%
Top Domestic Grossers (January 1 – March 17, 2016)
Title Distributor Box Office
Deadpool Fox 332,941,383
Star Trek: The Force Awakens * BV 279,290,918
The Revenant * Fox 179,064,019
Zootopia BV 163,765,497
Kung Fu Panda 3 Fox 137,413,515
Ride Along 2 Uni 90,249,345
Daddy’s Home * Par 84,693,959
13 Hours: The Secret Soldiers of Benghai Par 52,756,249
The Big Short * Par 45,924,006
How to Be Single WB 45,550,722
London Has Fallen Focus/VVS 43,195,820
The Hateful Eight * Weinstein Co. 40,360,096
Sisters * Uni 37,921,265
Dirty Grandpa Lionsgate/VVS 35,593,113
The Boy STX/eOne 35,570,173
The 5th Wave Sony 34,022,576
Risen Sony 33,326,670
10 Cloverfield Lane Par 32,676,639
Hail, Caesar! Uni 29,814,870
Alvin and the Chipmunks: The Road Chip Fox 29,758,960

Friday Box Office Estimates

Saturday, March 19th, 2016

Allegiant | 11.8 |3740| New| 11.8
Zootopia | 9.7 |3959 |-20% |173.5
Miracles from Heaven | 4.1| 3047 |New |7.7
10 Cloverfield Lane | 3.7 |3427 |-59%|36.3
Deadpool |Fox| 2.2| 2924| -26% |335.2
London Has Fallen|1.9 |3011 |-38%| 45.1
Whiskey Tango Foxtrot | 0.75| 2079 |-44%|17.2
The Perfect Match | 0.6| 925 |-63%| 6
The Brothers Grimsby | 0.4| 2235 |-66%| 4.7
The Revenant | 0.3| 935| -40% |180.2

Also Debuting
Kapoor & Sons – Since 1921 | 0.27| 143
The Bronze | 0.13|1116
Midnight Special | 61,200 |5
Love is Blind | 20,900| 57
My Golden Days | 7,450 |3
Summer Camp | 7,250 |55
Ktown Cowboys | 6,600 |3
The Preppie Connection | 3,550| 2
The Clan | 3,300 |3
Krisha | 3,200|2
The Confirmation|3,200 |v
The Brainwashing of My Dad | 2,450| 2
The Program | 1,650| 13
Fireworks Wednesday |1,600| 1
Coconut Hero |1,500 |1
Too Late | 1,450| 1
Burning Bodhi | 1,200| 3

The Weekend Report

Sunday, March 13th, 2016

Zootopia posted an estimated $50.9 million, remaining king of the kino kingdom. 10 Cloverfield Lane held captive a solid $25.3 million but three other national openers took it on the chin. Romcom The Perfect Match took a passable $4.2 million gross but neither inspirational The Young Messiah and broad comic The Brothers Grimsby showed commercial pulse at $3.3 million and $3.1 million, respectively.

Best of the range of exclusive newcomers were political thriller Eye in the Sky with $113,000 from five secret sites, the mature romance Hello, My Name is Doris registering $87,200 from four locations and foodie fave City of Gold biting into $57,300 at four cineraunts. In the niches, two Punjabi releases had potent bows. Love Punjab opened with $378,000 at 37 venues and Ardaas grossed $262,000 from 35 screens.

Weekend revenues generated roughly $135 million and slipped 17% from seven days prior. It was a marginal 2% improvement from 2015, when openings of Cinderella and Run All Night led with $67.9 million and $11 million.

Not strictly tied to 2008’s Cloverfield, 10 Cloverfield Lane shares a classic horror-terror reveal with the earlier film. The modest production effectively went for the big shock and captured an audience 61% male with 68% of viewers aged 25-years and older. The film had been tracking in the low 20s but Thursday previews of $1.8 million suggested larger than anticipated interest.

The rest of the field displayed limited interest via tracking but nonetheless under-performed even to modest hopes. Of the poor seconds, The Perfect Match at least had an identifiable core with African Americans and the most decidedly female audience with 66% of viewers. Its crowd was also 80% aged 25-years and older.

The Young Messiah proved no pre-Easter treat as it assayed the youth of Jesus. It was perhaps too close on the heels of Risen to resurrect viewers, and appeared headed for a top-end result of $2.5 million. Its audience tilted 56% female with 86% aged 25-years and older.

A far cry from the universal pandemonium of Borat or Bruno, The Brothers Grimsby proved too Brit-centric to cross the pond. We’d still like to see Sacha as Freddie Mercury, but those other diehards profiled as 60% male and 61% aged 25-years and older.

Domestic revenues passed the $2 billion plateau Sunday, remarkably, a four day faster pace than 2015.

Weekend (estimates) March 11 – 13, 2016)
Title Distributor Gross (average) % change * Theaters Cume
Zootopia BV 50.9 (13,300) -32% 3827 143.5
10 Cloverfield Lane Pan 25.3 (7,460) NEW 3391 25.3
Deadpool Fox 10.8 (3,230) -36% 3331 328
London Has Fallen Focus/VVS 10.6 (3,030) -51% 3492 38.8
Whiskey Tango Foxtrot Par 4.6 (1,890) -39% 2413 14.5
The Perfect Match Lionsgate 4.2 (4,550) NEW 925 4.2
The Young Messiah Focus 3.3 (1,890) NEW 1761 3.3
The Brothers Grimsby Sony 3.1 (1,390) NEW 2235 3.1
Gods of Egypt Lionsgate 2.5 (1,090) -51% 2306 27.3
Risen Sony 2.2 (1,060) -43% 2095 32.4
The Revenant Fox 2.0 (1,530) -42% 1303 179.1
Kung Fu Panda 3 Fox 1.6 (980) -55% 1650 136.4
Eddie the Eagle Fox 1.5 (980) -51% 1568 13.5
Star Wars: The Force Awakens BV 1.2 (1,620) -34% 760 930.7
The Witch A24/Elevation .95 (1,010) -62% 945 22.9
How to Be Single WB .93 (1,210) -56% 767 45.1
Spotlight Open Road/eOne .90 (1,060) -49% 847 43.2
Race Focus .71 (1,030) -53% 689 17.8
The Other Side of the Door Fox .58 (990) -52% 585 2.2
The Lady in the Van Sony Classics .53 (1,470) -26% 363 8
Triple 9 Open Road/Elevation .50 (720) -78% 695 11.9
Ride Along 2 Uni .40 (1,100) -43% 368 90.1
Love Punjab White Hill .38 (10,220) NEW 37 0.38
Hail, Caesar! Uni .30 (1,170) -31% 255 29.7
The Big Short Par .29 (1,320) -42% 222 69.8
Weekend Total ($500,000+ Films) $128.90
% Change (Last Year) 2%
% Change (Last Week) -17%
Also debuting/expanding
Ardaas Hot Ice .26 (7,480) 35 0.26
Brooklyn Fox Searchlight/Mongrel 2.4 (1,080) -36% 225 37.6
Le Petit prince Seville .19 (1,220) 353% 157 0.8
Embrace of the Serpent Oscillosope/Raven .18 (2,360) 148% 77 0.54
Room 424/Elevation .15 (760) -67% 201 14.5
Eye in the Sky Bleecker Street .11 (22,680) 5 0.11
Kadhalum Kadandhu Pogum Praneeth .10 (2,190) 47 0.1
Knight of Cups Broad Green 92,600 (2,570) 53% 36 0.18
Hello, My Name is Doris Roadside Attractions 87,200 (20,900) 4 0.09
Les Herbes mauvaises Seville 73,700 (2,630) 28 0.07
Son of Saul Sony Classics 71,400 (680) -53% 105 1.7
City of Gold IFC 57,300 (19,320) 4 0.06
L’Hermine A-Z Films 48,400 (4,400) 11 0.05
Singing with Angels Candlelight 38,200 (1,410) 27 0.04
Born to Be Blue eOne 30,100 (15,050) 2 0.03
Sweet 20 CJ 23,500 (5,870) 4 0.02
Marguerite Cohen Media 19,600 (6,530) 3 0.02
Remember A24 18,900 (9,450) 2 0.01
Tuntari Garam 13,700 (440) 31 0.01
Creative Control Magnolia 7,300 (2,430) 3 0.01
Boom Bust Boom Brainstorm 3,500 (3,500) 1 0.01
Lolo FilmRise 2,820 (2,820) 1 0.01
Domestic Market Share (January 1 – March 10, 2016)
Distributor (releases) Box Office Market Share
20th Century Fox (10) 704.5 33.70%
Buena Vista (5) 410.7 19.60%
Paramount (7) 225.2 10.80%
Universal (5) 158.5 7.60%
Lionsgate (8) 106.3 5.10%
Sony (9) 99.1 4.70%
Focus (4) 75.7 3.60%
Warner Bros. (6) 70.7 3.40%
Weinstein Co. (6) 51.1 2.40%
Open Road (3) 36.8 1.80%
STX (2) 33.4 1.60%
A24 (2) 28.9 1.40%
Fox Searchlight (2) 14.6 0.70%
Other * (86) 74.9 3.60%
1878.5 100%

 

Friday Box Office Estimates

Saturday, March 12th, 2016

Zootopia | 12.3 |3827 |-37%|104.9
10 Cloverfield Lane |8.9 |3391 |New|8.9
London Has Fallen |3 |3492 |-60%|31.2
Deadpool |3 |3331 |-36%|320.3
The Perfect Match |1.5 |925 |New|1.5
The Young Messiah |1.4 |1761 |New|1.4
Whiskey Tango Foxtrot |1.3 |2413 |-45%|11.3
The Brothers Grimsby |1.2 |2235 |New|1.2
Gods of Egypt |0.65 |2306 |-51%|25.5
Risen |0.6 |2095 |-42%|30.8

Also Debuting
Love Punjab |0.1 |37
Ardaas |69,100 |35
Kadhalum Kadandhu Pogum |44,000 |46
Eye in the Sky |27,400 |4
Hello, My Name is Doris |23,900 |4
Les Herbes mauvaises |19,600 |29
Singing with Angels |17,700 |25
City of Gold |16,600 |4
Born to Be Blue |14,100 |2
L’Hermine |12,300 |11
Sweet 20 |8,650 |4
Remember |5,900 |2
Tuntari |4,500 |31
Marguerite |4,400 |3
Creative Control |2,600 |3
Boom Bust Boom |2,200 |1