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Friday Box Office Estimates

Saturday, May 28th, 2016

X-Men: Apocalypse * | 26.2| 4150 |New |26.2
Alice Through the Looking Glass * | 9.7 |3763 |New |9.7
The Angry Birds Movie | 5| 3932 |-54%| 52.7
Captain America: Civil War | 4| 3395 |-53% |361.5
Neighbors 2: Sorority Rising | 2.8| 3416 |-68%| 32
The Jungle Book | 1.8| 2523 |-34% |333.3
The Nice Guys | 1.7 |2865| -55% |17.1
Money Monster | 1 |2315| -44% |30.7
Love & Friendship | 0.65 |493| 334%| 1.6
The Darkness | 0.2 |1004| -69% |9.3

* includes previewa

Also Debuting
Idhu Namma Aalu |18,400| 18
Demain |15,200| 13
Saadey CM Saab | 9,200 |30
The Idol | 5,800 |16
Holy Hell | 3,200 |3
Last Man Club | 2,200 |10
Presenting Princess Shaw | 1,700| 3
Chevalier | 1,550 |3
The Ones Below| 1,100| 3

The Weekend Report

Sunday, May 22nd, 2016

The debut of The Angry Birds Movie flew to the top of the weekend charts with an estimated $39.1 million. Other wide openers were Neighbors 2: Sorority Rising in third spot with $21.8 million and the 1970s-style neo-noir spoof The Nice Guys a step back at $11.1 million.

Best of the exclusive incomers were the black comedy doc Weiner with $81,900 and romantic comedy Maggie’s Plan grossing $65,300 – both playing on five screens. In the niches, Telugu Brahmotsavam bowed with a solid $584,000 for the weekend (Thursday showings generated a potent $590,000) while Hindi Kaptaam grossed $89,600 in limited release. Also off to a good start was the Filipino This Time with a $212,000 box office.

Momentum faded for expansions of The Meddler, The Man Who Knew Infinity and A Bigger Splash. But new dates for The Lobster evidenced no loss of interest for shellfish.

Weekend revenues generated close to $140 million for a slight 6% boost from seven days prior. It was nonetheless 11% off 2015 totals, when the launch of Tomorrowland grossed $33 million with the second weekend of Pitch Perfect 2 right behind at $30.8 million.

Despite the Victoria Day holiday in Canada, no weekend movies opened to anticipated potency. The Angry Birds Movie was expected to gross $43-$45 million and had an awareness off the charts. Expectations were ramped up by results from international openings a week earlier to an impressive $42 million. This weekend the overseas markets added an additional $55 million. On the domestic front the audience split evenly between the sexes with 60% aged 25-years and younger for the videogame fugitives.

Neighbors 2 also got a foreign headstart two weeks ago in selective markets and had about $24 million in its war chest prior to its domestic release. It was evident it would be less potent than its inspiration, but tracking suggested a gross of $25-$26 million. It also was relatively evenly split by gender with a 51/49 male/female split. Viewers were 39% over the age of 25-years old with 78% in the key corridor of 17-34.

Despite a long-lead promotional push,The Nice Guys wasn’t expected to gross more than $15 million. Upbeat reviews provided a boost for mature audiences and again resulted in a viewership evenly divided by gender. The 18-34 year old core accounted for 38% of viewers with an additional 43% trending older.

Weekend (estimates) May 20 – 22, 2016
Title Distributor Gross (average) % chng Thtrs Cume
The Angry Birds Movie Sony 39.1 (9,950) NEW 3932 39.1
Captain America: Civil War BV 32.8 (7,750) -55% 4226 347
Neighbors 2: Sorority Rising Uni 21.8 (6,430) NEW 3384 21.8
The Nice Guys WB 11.1 (3,880) NEW 2865 11.1
The Jungle Book BV 11.0 (3,170) -36% 3460 327.5
Money Monster Sony 6.9 (2,230) -53% 3104 26.9
The Darkness High Top 2.1 (1,200) -57% 1769 8.2
Zootopia BV 1.6 (1,180) -42% 1377 334.3
The Huntsman: Winter’s War Uni 1.2 (950) -55% 1246 46.7
Mother’s Day Open Road 1.1 (640) -66% 1719 31.3
Barbershop: The Next Cut WB .84 (1,130) -49% 744 52.7
The Meddler Sony Classics .77 (1,650) 106% 464 2
The Boss Uni .59 (880) -51% 672 62.2
Brahmotsavam Classics .58 (3,010) NEW 194 1.2
Love & Friendship Roadside .54 (11,490) 304% 47 0.75
Keanu WB ,52 (740) -73% 707 20
The Man Who Knew Infinity IFC ,51 (1,880) 0% 271 1.6
The Lobster A24 .40 (16,830) 113% 24 0.68
Sing Street Weinstein .34 (660) -45% 520 2.5
My Big Fat Greek Wedding 2 Uni .33 (910) -32% 365 59.5
A Bigger Splash Searchlight .34 (2,630) 77% 128 0.79
Batman v. Superman WB .32 (1,000) -38% 321 328.7
Miracles from Heaven Sony .24 (1,470) 49% 161 60.7
Ratchet & Clank Focus .22 (630) -66% 346 8.6
This Time ABS 21 (2,940) NEW 72 0.21
Weekend Total ($500,000+ Films) $133.05
% Change (Last Year) -11%
% Change (Last Week) 6%
Also debuting/expanding
Eye in the Sky Bleecker/eOne .17 (840) -55% 198 18.2
Sarbjit White Hill .12 (1,250) 98 0.12
Hello, My Name is Doris Roadside .11 (730) -55% 155 14
Kaptaan UTV 89,600 (3,090) 29 0.09
Weiner IFC 81,900 (16,380) 5 0.08
Maggie’s Plan Sony Classics 65,300 (13,060) 5 0.07
A Hologram for the King Roadside 62,700 (450) -73% 138 4.1
Miles Ahead Sony Classics 43,800 (840) -49% 52 2.5
High-Rise Magnolia 42,500 (1,470) -40% 29 0.16
The Abolitionists FletChet 41,200 (2,170) 19 0.01
Ma Ma Oscilloscope 10,700 (10,700) 1 0.01
U-Turn Drishyam 10,200 (2,040) 5 0.01
Manhattan Night Lionsgate 8,800 (730) 12 0.01
Back in the Day West Street 7,100 (360) 20 0.01
Domestic Market Share (January 1 – May 19, 2016)
Distributor (releases) Box Office Market Share
Buena Vista (7) 1289.9 31.20%
20th Century Fox (10) 770.2 18.60%
Warner Bros. (11) 477.7 11.60%
Universal (9) 328.9 8.00%
Paramount (8) 316.1 7.70%
Lionsgate (12) 206.1 5.00%
Sony (13) 196.4 4.80%
Focus (7) 128.8 3.10%
Open Road (4) 67.5 1.60%
Weinstein  (7) 53.7 1.30%
STX (3) 42.4 1.00%
A24 (5) 35.9 0.90%
Bleecker Street (3) 17.6 0.40%
Sony Classics (7) 17.6 0.40%
Fox Searchlight (4) 17.3 0.40%
Other * (159) 165.6 4.00%
4131.7 100%
* none greater than 0.35%
Top Global Grossers (January 1 – May 19, 2016)
Title Distributor Box Office
Captain America: Civil War BV 990,958,572
Zootopia BV 973,438,782
Batman v. Superman: Dawn of Justice WB 865,964,224
The Jungle Book BV 838,918,226
Deadpool Fox 762,971,444
Star Wars: The Force Awakens * BV 741,421,311
The Mermaid Alibaba; Sony 552,487,179
The Revenant Fox 530,738,598
Kung Fu Panda 3 Fox; DreamWorks 516,588,902
London Has Fallen Focus; NuImage 202,489,688
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 165,099,630
Allegiant Lionsgate 161,304,055
The Huntsman: Winter’s War Uni 156,004,510
Daddy’s Home * Par 154,763,061
Ip Man 3 * Pegasus; Well Go 147,618,219
Gods of Egypt Lionsgate 143,037,743
The Hateful Eight * Weinstein Co. 140,625,840
Detective Chin Tang Huaxia; China Lion 128,546,903
* does not include 2015 box office

Friday Box Office Estimates

Saturday, May 21st, 2016

The Angry Birds Movie|10.8|3932|New|10.8
Captain America: Civil War |8.8|4226|-55%|323.1
Neighbors 2: Sorority Rising|8.7|3384|New|8.7
The Nice Guys|3.8|2865|New|3.8
The Jungle Book|2.7|3460|-34%|319.2
Money Monster|2|3104|-60%|22
The Darkness|0.7|1769|-67%|6.8
Zootopia|0.35|1377|-40%|333.1
The Huntsman: Winter’s War|0.35|1246|-52%|45.8
Mother’s Day|0.3|1719|-66%|30.5
||||
||||
Also Debuting||||
Brahmotsayam|0.26|194||
This Time|69,000|71||
Sarbjit|34,100|98||
Kaptaan|23,700|29||
Weiner|20,400|5||
Maggie’s Plan|16,900|5||
The Abolitionists|16,000|12||
Manhattan Night|4,100|12||
Ma Ma|3,900|1||
U-Turn|3,800|4||
Back in the Day|2,300|15||

Review: The Nice Guys, Maggie’s Plan

Thursday, May 19th, 2016

Holland March (Ryan Gosling) is an ex-LAPD detective with a young daughter struggling to get by as a slightly glorified ambulance chaser. The somewhat mysterious Jackson Healy (Russell Crowe) is an unregistered fixer with a disarming smile that masks an aggressive professional style. The two men “meet cute” over Amelia; a young woman March has been stalking for a client. She’s hired Healy to dissuade him from his pursuit and after the requisite banter he breaks the gumshoe’s arm. Is this the start of a beautiful relationship?

Although unshielded,  The Nice Guys are the newest crew of the buddy cop genre that spawned 48 Hrs., Lethal Weapon, Bad Boys and more recently,Ride Along. They are bigger goofballs than their antecedents and, regrettably, lack the requisite charm to divert attention away from a muddy narrative that involves nefarious shenanigans linking the automobile and porn industries.

Apart from his off-screen antics and past notoriety for wild parties, writer-director Shane Black has long been associated with writing such high-concept thrillers as the Lethal Weapon series to The Last Action Hero and The Long Kiss Goodnight. His earlier directing effort Kiss Kiss Bang Bang was like his current film a send-up of films noir. And as with so many attempts to have it both ways, it fails to deliver on either count.

The film opens with a spectacular car crash through a Hollywood Hills home with the driver, a noted adult film star, expiring on the cliffside. It’s an attention-grabber, and Black and co-scripter Anthony Bagarozzi have a weakness for spectacle over substance. March has been hired by the late actress’s aunt who believes she’s still alive. From there the story meanders along in search of linkage with the two rivals joining forces to resolve the mystery. Needless to say it has something to do with bribery of government officials, blackmail involving a risqué movie and a lot of gunfire and fisticuffs.

For all the wrong reasons, it evokes The Long Goodbye, Robert Altman’s Raymond Chandler adaptation written by Leigh Brackett. Coincidently, or not, Altman’s film was made in 1977 and The Nice Guys is set in that year. But the earlier film wandered with intent; never losing site of who Philip Marlowe was as a person and what he was pursuing with the seeming asides along his route eventually providing a cohesion in resolving an enigmatic tale.

The new film’s diversions are less edifying. There’s a disconnect between Gosling and Crowe’s portrait of working stiffs every time they respond with a clever retort. It’s somewhat mitigated in the former case by the presence of Holly (Angourie Rice), his precocious, whip-smart 12-year old daughter.

Apart from the fact that Crowe has ballooned to a size close to that of John Goodman, the actor comes off as uncomfortable with his character as well as his wardrobe. Gosling, conversely, dives into the deep end and while evincing an unnatural stroke nonetheless swims in these perilous waters. Nonetheless his interplay with his partner is truly flat footed.

The one true shining element is Rice who has the nascent talent of the likes of Dakota Fanning or Natalie Portman at the start. While there’s nothing particular novel of the child who’s smarter with better survival instincts than the adults, she invests her role with a vulnerability that avoids the pitfall of a cloying assurance. In this instance Nice Guys truly finish last

 

Maggie’s Plan is to find a suitable donor and have a child. The college professor in her thirites wants no emotional involvement in the mix, just a means to an end before her time runs out. But things don’t work out as planned.

There’s a giddy quality to Rebecca Miller’s comic perspective of contemporary mores that is at turns refreshing, annoying and comforting. The Manhattan setting inescapably recalls the angst of a Woody Allen scenario. Nonetheless it’s a distaff viewpoint with a more optimistic slant that may be cockeyed but remains valid in context.

Maggie (Greta Gerwig), who teaches at the New School, has lined up a former classmate _ a very masculine Nordic drop out with an upstart pickle company _ as her sperm donor. But a chance meeting with John (Ethan Hawke), teaching a possibly invented anthropologic course, leads to a head-over-heels involvement. They do it the old-fashioned way.

John happens to be married with two young children. His wife Georgette (Julianne Moore) is a noted academic who doesn’t meet his emotional needs. He wants to write a novel and Maggie agrees to read his first chapter. She gives a five star review and that sets the wheels in motion.

Three years later, Maggie and John and darling Lily appear to be the picture of domestic bliss. However there is the nagging fact that he is no closer to completing his novel. The things that made him so open and appealing have been replaced by a self absorption that allows him to brilliantly rationalize his predicament. It’s smart folk’s tsoris.

So, there is a Maggie’s plan 2. In our heroine’s mind she evolves this idea that things would be so much better if John would get back together with Georgette. Again, one has to accept that being bright may not be enough. IQ is not an excuse for developed passive aggressive defenses that ward off being direct about everyday domestic issues.

Maggie is on the one hand eternally positive and on the other averse to any form of confrontation. She will run the marathon to avoid crossing the street. John on the other hand is the perpetual pampered juvenile. Early praise has built up a protective wall impervious to criticism or self awareness.

Georgette is the most complex of the trio. She knows she’s the smartest person in the room and has no compunction about telling others what to do and how to act. Her frosty authoritative exterior masks a crippling insecurity and overpowering fear that someone will manipulate her basic vulnerability.

The film marks a dramatic turn in Miller’s work that has veered toward a darker view of humanity. Despite its obvious humor, Maggie’s Plan is a more nuanced and accessible yarn. In the case of Gerwig and Hawke she’s taken actors with familiar personalities and played on those personas while Moore is allowed to challenge and heighten perceptions and serve as the spoiler to those expectations.

Maggie’s Plan is messy like the lives Miller’s observing and one suspects her intention was sometimes thwarted by emotions that refused to be suppressed.

The Weekend Report

Sunday, May 15th, 2016

Captain America: Civil War took a sharp turn but nonetheless maintained a commanding lead  with an estimated $72.6 million. The week’s two national rollout performed roughly as expected, with Money Monster slotting third with $14.8 million and the The Darkness a notch back at $5.2 million.

There were encouraging starts among limited and exclusive openers. Whit Stillman’s Jane Austen adaptation Love & Friendship bowed with $131,000 from four engagements while sci-fier The Lobster dined out on an impressive $192,000 from its quartet. The latter opened two months ago with a current Northern cume of about $330,000. Top Indian import was the Punjabi Azhar with $124,000.

Revenues for the frame were slighter better than $130 million pushing the domestic cume to more than $4 billion. The 2016 pace is 9% better than a year ago while the current weekend dipped 47% from seven days ago. It was also 30% off of 2015 when debuts of Cinderella and Run All Night led, with respective openers of $67.9 million and $11 million.

Despite its heavyweight cast, politically-charged Money Monster was tepid with high-end estimates of $15 million. Reviews were lukewarm but its fortunes may not be so dire with its position as one of the few mature-targeted films in the marketplace. Studio exit demos identified the audience as evenly split between the sexes with 77% aged 25-years and older. Following its Cannes premiere, Money Monster opened day-and-date in 15 foreign climes. Foreign estimates were unavailable.

The Blumhouse fright machine continued with The Darkness and as one industryite observed: “They make ‘em so cheap, a gross of $1.42 puts them in profit.”

The relative lull in the marketplace allowed for modest expansions for a number of titles including Sing Street, The Meddler and The Man Who Knew Infinity. The trio and other alternative options are largely holding their own against stiff competition.

Captain America: Civil War added an estimated $84 million internationally to lead in that arena.

Weekend (estimates) May 13 – 15, 2016
Title Distributor Gross (avg) % chng Thtrs Cume
Captain America: Civil War BV 72.6 (17,190) -59% 4226 296
The Jungle Book BV 17.6 (4,440) -28% 3970 311.6
Money Monster Sony 14.8 (4,760) NEW 3104 14.8
The Darkness High Top 5.2 (2,950) NEW 1755 5.2
Mother’s Day Open Road/Elevation 3.2 (970) -71% 3291 28.7
Zootopia BV 2.7 (1,420) -15% 1935 331.7
The Huntsman: Winter’s War Uni 2.6 (1,020) -35% 2518 44.5
Keanu WB 1.9 (890) -42% 2120 18.6
Barbershop: The Next Cut WB 1.7 (1,250) -40% 1333 51.4
The Boss Uni 1.2 (860) -39% 1350 62.1
Sing Street Weinstein Co. .63 (1,200) 44% 525 1.9
Ratchet & Clank Focus .54 (430) -63% 1258 8.1
Batman v. Superman: Dawn of Justice WB .52 (700) -51% 744 328.2
The Man Who Knew Infinity IFC .51 (2,630) 132% 194 0.92
My Big Fat Greek Wedding 2 Uni .46 (650) -27% 717 59
Green Room A24/D Films .41 (530) 21% 777 2.7
The Meddler Sony Classics .38 (3,020) 24% 127 1.1
Eye in the Sky Bleecker/eOne .38 (1,050) -33% 360 17.9
Hello, My Name is Doris Roadside Attractions .28 (1,080) -19% 257 13.8
A Hologram for the King Roadside At/eOne .25 (730) -50% 346 3.9
24 CineGalaxy .23 (1,650) -77% 142 1.4
Deadpool Fox .19 (740) -19% 262 362.5
The Lobster A24 .19 (47,700) NEW 4 0.19
10 Cloverfield Lane Par .19 (720) 68% 260 71.7
A Bigger Splash Fox Searchlight .18 (7,080) 61% 26 0.37
Weekend Total ($500,000+ Films) $125.70
% Change (Last Year) -30%
% Change (Last Week) -47%
Also debuting/expanding
Love & Friendship Roadside Attract. .13 (32,800) 4 0.13
AmeriGeddon Forewarned .13 (4,270) 30 0.13
Azhar White Hill .12 (2,040) 61 0.12
Finding Mr. Right 2 Media Asia 86,800 (2,280) -56% 38 1.2
Miles Ahead Sony Classics 84,500 (1,010) -38% 84 2.4
High-Rise Magnolia 71,300 (2,380) 30 0.07
The Family Fang Starz 56,300 (1,150) -40% 49 0.21
Jimmy Vestvood: Amerikan Hero Front Row 50,900 (12,720) 4 0.05
Sundown Lionsgate 16,800 (230) 74 0.02
2 Bol Hot Ice 15,600 (870) 18 0.02
Sunset Song Magnolia 14,200 (3,550) 4 0.01
Last Days in the Desert Broad Green 12,600 (1,580) 8 0.01
Kill Zone 2 Well Go 8,850 (800) 11 0.01
Phantom Detective CJ 7,300 (7,300) 1 0.01
Pele IFC 7,100 (2,370) 3 0.01
How to Plan an Orgy in a Small Town Gravitas 5,900 (540) 11 0.01
Search Party Focus 3,800 (480) 8 0.01
Domestic Market Share (January 1 – May 12, 2016)
Distributor (releases) Box Office Market Share
Buena Vista (7) 1172.6 29.60%
20th Century Fox (10) 769.6 19.40%
Warner Bros. (10) 471.3 11.90%
Universal (8) 321.4 8.10%
Paramount (8) 315.6 8.00%
Lionsgate (12) 205.5 5.20%
Sony (12) 175.7 4.40%
Focus (6) 121.7 3.10%
Open Road (4) 63.4 1.60%
Weinstein Co. (7) 53.8 1.40%
STX (3) 42.4 1.10%
A24 (5) 35.1 0.90%
Fox Searhlight (4) 17.1 0.45%
Bleecker Street (3) 17.1 0.45%
Sony Classics (7) 16.9 0.40%
Other * (148) 159.6 4.00%
3958.8 100%
* none greater than 0.35%
Top Domestic Grossers (January 1 – May 12, 2016)
Title Distributor Box Office
Deadpool Fox 362,318,179
Zootopia BV 329,014,439
Batman v. Superman: Dawn of Justice WB 327,679,243
The Jungle Book BV 293,996,110
Star Wars: The Force Awakens * BV 284,449,924
Captain America: Civil War BV 223,329,078
The Revenant * Fox 182,736,971
Kung Fu Panda 3 Fox 142,283,408
Ride Along 2 Uni 91,205,257
Daddy’s Home * Par 85,902,195
10 Cloverfield Lane Par 71,510,806
Allegiant Lionsgate 65,762,792
London Has Fallen Focus/VVS 62,115,298
Miracles from Heaven Sony 60,153,577
The Boss Uni 59,961,700
My Big Fat Greek Wedding 2 Uni 58,487,890
13 Hours: The Secret Soldiers of Benghai Par 52,897,721
Barbershop: The Next Cut WB 49,680,702
How to Be Single WB 46,962,319
The Big Short * Par 46,300,694
* does not include 2015 box office

Friday Box Office Estimates

Saturday, May 14th, 2016

Captain America: Civil War|19.5|4226|-74%|242.8
Money Monster|4.9|3104|New|4.9
The Jungle Book|4.1|3970|-27%|298.1
The Darkness|2.1|1755|New|2.1
Mother’s Day|0.9|3291|-52%|26.4
The Huntsman: Winter’s War|0.7|2518|-29%|42.6
Zootopia|0.6|1935|-19%|329.6
Keanu|0.55|2120|-43%|17.2
Barbershop: The Next Cut|0.45|1333|-37%|50.1
The Boss|0.3|1350|-33%|60.3
||||
||||
Also Debuting||||
AmeriGeddon|45,900|30||
Azhar|41,900|58||
Love & Friendship|35,100|4||
High-Rise|21,900|30||
Jimmy Vestvood: Amerikan Hero|15,800|4||
Sundown|4,600|66||
Last Days in the Desert|3,900|7||
2 Bol|3,900|18||
Kill Zone 2|2,900|10||
How to Plan an Orgy in a Small Town|2,600|9||
Sunset Song|2,300|3||
Phantom Detective|2,200|1||
Pele|1,750|3||
Search Party|1,500|8||

Review: DHEEPAN, THE LOBSTER

Thursday, May 12th, 2016

Dheepan, from Jacques Audiard, who made The Prophet (also Cannes-prized), is the assumed name of the title character. He’s one of Sri Lanka’s Tamil Tiger rebels. As the film opens he struggles with his commitment to the cause and knows that what lies ahead is persecution or death. The character chooses to re-create himself as a political refugee and flee the country. At the suggestion of a border representative he “adopts” a young woman and a girl to pose as his family. They only know what they’re escaping cannot be worse than where they will be sent. The latter turns out to be France and one of the more violent banlieus of Paris where he becomes the caretaker of a housing project with an ongoing turf war between drug gangs.

At its heart, Audiard’s film is about identity. In the process of starting a new life his trio of refugees have the additional hurdle of adopting roles that have little bearing on their pasts. Ironically, the scenario playing out in the building among the locals is presented as more tenable to their experience than they are allowed to admit.

It’s also clear that none of them wants to be drawn into the battle. Dheepan and his “wife” Yalini have sufficient difficulty simply sharing quarters as a couple with an even more mysterious school child in the mix. Apart from the domestic dilemmas, his anxiety level builds as it comes clear that survival in the new environment likely means adopting the very things he’d abandoned at the Sri Lanka border.

As shown in his earlier films, Audiard takes on tough subjects and walks the tightrope that threatens to tumble into the banal and exploitive. There’s no denying Dheepan is a precarious perch. Yet amid the terrifying veracity he never loses site of the underlying humanity of his displaced people as well as the culturally dispossessed folk that populate the projects. It’s a grim existence observed under a microscope and, at this time of force migration, a poignant reminder of the plight domestic and foreign that society foolishly hopes will right itself.

The mood of The Lobster is comparably downbeat, albeit muted by an irrepressible strain of black comedy. Set in the near future, Yorgos Lanthimos’ film paints a society where it’s a crime to be single and that applies across the board to those who’ve lost mates to death or new lovers. The compassionate side of this new order is a retreat where other solos reside are hopefully will spark new unions.

All those in such circumstances have 45 days to get connected or…

Failure has steep consequences. New arrivals are asked what animal they’d like to be by the administrators of the facility. David (Colin Farrell), the protagonist, knows all too well what that means as he’s accompanied by a dog who was his brother before being transformed.

It doesn’t really matter what led this future world to adopt this societal norm. It’s the one rule that has no option for debate or compromise. Director and co-writer Lanthimos _ who made his international debut with the audacious Dogtooth _ is in his element observing this oddball milieu, its denizens and the regulations that govern their path to normalization.

The dos and don’ts are genuinely bizarre including, politely, the appropriate employ of masturbation. The comparably peculiar residents have a neediness and desperation that is partly innate, partly the product of the dictates of the world they inhabit_a metaphor for the debate on nurture or nature.

The dilemma with the film is that while rich in instance and observation, its structure thwarts an organic conclusion, save for the underlying dire dictum. Dramatically there’s something basically false about David opting for a “jail break” and going rogue with a handful of other internees. The filmmakers fail to bridge the contrast between the defined and the radical and The Lobster ultimately trips over its ambition.

The Weekend Report

Sunday, May 8th, 2016

Captain America: Civil War delivered a blistering blow with a potent estimated debut of $182.4 million. The film accounted for roughly 76% of all weekend ticket sales, and coupled with its Disney stablemates, corralled 87% of business for the frame. The company also became the first in 2016 to surpass $1 billion at the domestic box office on Friday and set a new record for that benchmark as well. While no one put out a sacrificial lamb as counterprogramming, the second weekend of Mother’s Day served that purpose with a carbon-copy gross to its opening session.

Exclusive freshmen included a solid start for last year’s Cannes winner Dheepan of $20,200 at two venues and a more solid return of $113,000 for A Bigger Splash at five. Expansions of The Meddler and The Man Who Knew Infinity had momentum while Sing Street and The Family Fang flagged.

In the niches, India’s 24 bowed in Tamil and Telugu versions with a potent $994,000. Also getting a good start was Filipino Just the 3 of Us, with $232,000 from 69 engagements.

Weekend revenues spiked to roughly $240 million for a 126% expansion from seven days ago. It was also an 82% improvement from 2015, when the second weekend of Avengers: Age of Ultron grossed $77.7 million and the top newcomer was Hot Pursuit at $13.9 million.

Some predicted a $200 million-plus opening for Captain America: Civil War coupling record pre-sales and rapturous reviews into the mix. The studio was more cautious, hoping for a 10% drop from Ultron that put it in the neighborhood of $175 million. Regardless, the film is in rarefied company with insufficient comparables to accurately assess its opening power. It immediately ranks as the fifth biggest opening grosser of all-time and yet, ironically, can’t crow about a raft of industry records … significant or otherwise.

The film opened a week earlier in 37 foreign battlegrounds to $200 million and added 18 territories this weekend and an additional $220 million. China bowed to $95 million, and Russia contributed an opening salvo of $9.1 million. Overseas cume is now estimated at just shy of $500 million.

On the domestic front, the opening audience was estimated at 59% male ,with 57% aged 25-years and older. Families accounted for 20% of viewers and the core crowd aged 17 to 34 was almost half at 49%.

Weekend (estimates) May 6 – 8, 2016
Title Distributor Gross (average) % chng Thtrs Cume
Captain America: Civil War BV 182.4 (43,170) NEW 4226 182.4
The Jungle Book BV 21.8 (5,260) -50% 4144 284.9
Mother’s Day Open Road/Elevation 8.5 (2,700) 1% 3141 20.2
The Huntsman: Winter’s War Uni 3.6 (1,230) -63% 2901 40.4
Keanu WB 3.1 (1,150) -67% 2681 15.1
Zootopia BV 2.8 (1,360) -47% 2077 327.8
Barbershop: The Next Cut WB 2.6 (1,490) -57% 1734 48.7
The Boss Uni 1.7 (900) -59% 1933 59.1
Ratchet & Clank Focus 1.5 (500) -70% 2895 7.1
Batman v. Superman: Dawn of Justice WB 1.0 (650) -73% 1593 327.2
24 CineGalaxy 1.0 (6,170) NEW 161 1.2
Eye in the Sky Bleecker/eOne .58 (1,370) -37% 420 17.3
My Big Fat Greek Wedding 2 Uni .52 (810) -54% 640 58.2
A Hologram for the King Roadside At/eOne .49 (1,230) -48% 400 3.4
Sing Street Weinstein Co. .42 (2,770) 31% 153 1.1
Green Room A24/D Films .33 (710) -64% 470 2.1
The Meddler Sony Classics .29 (5,450) 76% 53 0.61
Hello, My Name is Doris Roadside Attractions .28 (980) -38% 285 13.3
Criminal Lionsgate/VVS .27 (530) -80% 517 14.2
Just the 3 of Us ABS .23 (3,360) NEW 69 0.23
Deadpool Fox .23 (680) -47% 335 362.2
The Man Who Knew Infinity IFC .21 (5,330) 165% 40 0.32
Finding Mr. Right 2 Media Asia .20 (4,210) -55% 47 1.1
Papa Hemingway in Cuba Yari .19 (900) -61% 208 0.85
Weekend Total ($500,000+ Films) $231.60
% Change (Last Year) 82%
% Change (Last Week) 126%
Also debuting/expanding
Miles Ahead Sony Classics .13 (910) -63% 141 2.2
A Bigger Splash Fox Searchlight .11 (22,620) 5 0.14
The Family Fang Starz .10 (1,990) 613% 52 0.12
Supreme Blue Sky 52,600 (730) 72 0.07
MBA Partners Media Asia 25,500 (1,160) 22 0.02
Dheepan IFC 20,200 (10,100) 2 0.02
Phantom of the Theater Well Go 19,400 (750) 26 0.02
1920 London Big Pictures 15,900 (510) 31 0.02
Dark Horse Sony Classics 14,100 (4,700) 3 0.01
Being Charlie Paladin 12,900 (3,220) 4 0.01
Rabin in His Own Words Menemsha 11,400 (1,900) 6 0.01
Mothers and Daughters Screen Media 11,200 (330) 34 0.01
Zorawar Viva 10,400 (430) 24 0.01
Disorder Soda 10,300 (1,130) 9 0.01
Belles familles Axia 7,800 (1,300) 6 0.01
Dragon Inn (reissue) Janus 6,400 (1,280) 5 0.01
Natasha Mongrel 4,800 (2,400) 2 0.01
Domestic Market Share (January 1 – May 5, 2016)
Distributor (releases) Box Office Market Share
Buena Vista (7) 939.1 25.50%
20th Century Fox (10) 768.9 20.90%
Warner Bros. (10) 461.5 12.50%
Paramount (8) 315.3 8.60%
Universal (8) 312.8 8.50%
Lionsgate (12) 204.6 5.60%
Sony (11) 174.2 4.70%
Focus (6) 119.8 3.30%
Weinstein Co. (7) 52.3 1.40%
Open Road (4) 51.2 1.40%
STX (3) 42.4 1.20%
A24 (5) 34.6 0.95%
Fox Searchlight (3) 16.8 0.45%
Bleecker Street (3) 16.4 0.45%
Sony Classics (7) 16.3 0.45%
Other * (144) 152.8 4.10%
3679 100%
* none greater than 0.4%

Friday Box Office Estimates

Saturday, May 7th, 2016

Captain America: Civil War *|74.8|4226|New|74.8
The Jungle Book|5.3|4144|-48%|268.4
Mother’s Day|1.9|3141|-32%|13.6
The Huntsman: Winter’s War|0.95|2901|-64%|37.7
Keanu|0.9|2681|-73%|12.9
Zootopia|0.7|2077|-44%|325.6
Barbershop: The Next Cut|0.65|1734|-60%|46.7
The Boss|0.45|1933|-62%|57.8
Ratchet & Clank|0.3|2895|-79%|5.9
24|0.3|161|New|0.3
||||
* includes previews||||
||||
Also Debuting||||
Just the 3 of Us|65,700|67||
A Bigger Splash|31,200|5||
Supreme|16,700|72||
MBA Partners|8,700|22||
Phantom of the Theater|7,700|24||
Dheepan|6,000|2||
1920 London|5,100|30||
Mothers and Daughters|3,900|30||
Dark Horse|3,600|3||
Zorawar|3,500|24||
Being Charlie|3,400|4||
Rabin in His Own Words|3,300|6||
Disorder|2,700|9||
Dragon Inn (reissue)|2,200|5||
Belles familles|1,500|6||
Natasha|1,500|2||

Review: A Bigger Splash

Friday, May 6th, 2016

There’s a glow that enshrines the Mediterranean isle of Pantelleria. The idyllic fashion in which it’s presented in A Bigger Splash, the skeptical would conclude it was a fictional locale. It’s not. Pantelleria is a getaway for wealthy Europeans.

So it’s the perfect perch for rock superstar Marianne Lane (Tilda Swinton) and filmmaker boyfriend Paul (Matthias Schoenaerts). Their serenity and seclusion will soon be undone by the arrival of bombastic record producer Harry Hawkes (Ralph Fiennes) and young daughter Penelope (Dakota Johnson). Harry has a professional and personal past with Marianne that’s will make life complicated for this quartet of castaways.

A Bigger Splash (no relation to the David Hockney painting or documentary) is a rethinking of the 1969 French film La Piscine, which starred Alain Delon, Romy Schneider, Maurice Ronet and a young Jane Birkin. It was set in the more accessible environs of St. Tropez. Where the earlier film was structured as a traditional thriller with an unsettling moral twist, filmmaker Luca Guadagnino thumbs his nose at genre conventions. He is a supreme stylist as evidenced by his international breakout with I Am Love. His command of cinematic language and picture-perfect compositions mesmerizes. Guadagnino like his Italian brethren Visconti and Antonioni is a master of setting a tone and creating a mood that envelops a story like an exquisitely tailored dress.

Harry is both clown and demon, recalling the more literally devilish Jack Nicholson of The Witches of Eastwick. His intent is to disrupt Marianne and Paul’s paradise, although the script comes up short at a convincing rationale for his actions. One can postulate that he is evil incarnate and therefore needs no other purpose but that’s largely undone by events that transpire late one night in the swimming pool.

Swinton, certainly one of contemporary cinema’s most fearless actors, transforms into a rock goddess on stage and off and raises the bar as her character only speaks in a whisper owing to strained vocal chords. Johnson seamlessly elevates the most obvious character with a disquieting mystery. But it’s Fiennes’ braggadocio that provides cohesion with an unfettered performance that careens from stark irritation to surprising charm. It’s ideally suited for the nature of the piece but few of his peers would have the courage to perch at the end of the limb and ignore the fates.

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||