The Hot Blog Archive for October, 2017

Friday Estimates by Boo! 42: A Box Office Horror Week

Friday Estimates 2017-10-21 at 10.03.52 AM

Well… this is a shit weekend.

There is no other way to describe it. None of the five openers is a great movie underperforming. Only The Brave, which is probably the best of the lot, found the most innocuous, bland, generic title possible for a movie about a real-life event with an ending guaranteed to keep audiences away. Everest at least had a mountain. Josh Brolin was very good in both… but seems drawn to this kind of box-office danger.

Geostorm is Dean Devlin trying to do Roland Emmerich from the director’s chair… to no great effect. Jerry Bruckheimer Films managed to be involved without getting Bruckheimer’s name dragged into it. The greatest lesson of Emmerich disaster films is to have a great commercial, if little else. Geostorm didn’t have that. Dean had one job. And a $120 million budget… that they are admitting to.

The Snowman looked like a thriller that might be good enough to be an awards contender. Universal hinted that it wasn’t by not doing anything to suggest that it was (festivals, etc). As noted before, 9% on Rotten Tomatoes is not an influencer, it is the sign of a movie that audiences can smell from a block away. Thing is, critics are often wrong and 9% suggests overkill. But I haven’t seen the film. Still, when the gentle Pete Howell of the Toronto Star writes, “what we get on the screen is like a snowcone made with horse urine.” it gives me pause (on so many levels).

There is nothing about Same Kind of Different as Me that would get me into a theater… but as many people as went to The Snowman went to the theater to see this Pure Flix release… which opened on almost half as many screens. So they failed better. But the economics of what might have been a direct-to-DVD/VOD movie doing $10 million or so in theaters, covering a small ad budget and up-valuing post-theatrical could actually be a win. But not by much.

Happy Death Day had the normal horror drop. Blade Runner 2049 won’t get to $90 million domestic.

Four is the magic number this weekend for The Killing of a Sacred Deer, Wonderstruck and Jane, all of which will top $10k per screen. The top grosser of the three is only for adults. The other two are great arthouse movies that you should take your kids to see.

Next weekend should have a $20 million launch in Jigsaw… at least, Lionsgate hopes. And the weekend after, Thor and the Bad Moms arrive to save the day.

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BYOB Let’s Just Talk About Movies

Geostorm32

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Weekend Estimates by Happy Harvey Exit Day Klady

Weekend Estimates 2017-10-15 at 10.41.51 AM

The Story of this weekend will not be box office, but the end of a box office master falling under the weight of his own cruelty. Happy Death Day indeed. Blumhouse’s remarkable 2017 run of originals continues. Jackie Chan’s first live-action wide release in seven years does reasonably well. Neither Marshall nor Professor Marston find a big crowd. But The Florida Project (expanding to 33 screens) and Human Flow (opening on three screens) each deliver more than $12k per screen.

It felt good to be chewing on some box office this morning. Normal work. But then I followed a link on the MCN front page to another Weinstein story… and another… and now I am back down the rabbit hole.

I don’t have much to add since yesterday. The expansion of The Florida Project went nicely. Victoria & Abdul is having a nice run. Tom of Finland opened well one for Kino. Goodbye Christopher Robin seems to be ready to say goodbye before anyone says hello.

Three of the five wide releases next weekend are strong niche plays that could surprise and Geostorm is just the kind of crap that occasionally (usually directed by Roland Emmerich) breaks out to the shock of everyone. Or maybe it will be four movies opening in the teens (although only one Madea has ever opened under $20m).

See you next Saturday.

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Friday Estimates by Happy Klady Day

Friday Estimates 2017-10-14 at 9.55.34 AM

Happy Death Day will open better than any film did last October (as BR49 did) and marks the third Blumhouse original to open well in 2017. It’s the best horror opening in October since 2014’s Annabelle (via Team Wan). Their only sequel is an Amityville at Dimension… we’ll see what the opening there looks like.

It’s worth pointing out that Universal has had a relatively low-key, but kick-ass 2017. The only loser was The Mummy, which did just over $400 million worldwide, making it a huge disappointment, stalling the Universal Monsters effort indefinitely, but still not losing a lot of money for the studio. The three Blumhouse pictures have performed better than anyone could have imagined. The two franchise movies, FF and Despicable, each passed $1 billion worldwide. And the “middle movies,” like Girl Trip, Fifty Shades Darker and A Dog’s Life were all money makers. The only other mark on the studio’s year was the release of The Great Wall, which was for all intents and purposes an output deal.

The Foreigner will be Jackie Chan’s best domestic opening on-camera since 2010’s The Karate Kid. It also has a good chance of being STX’s #3 all-time launch, though the company expects to beat this number twice as this year goes on, with Bad Moms 2 and Molly’s Game. Some might say I am looking at the glass half full, bit I would say the glass here is three-quarters full and people shouldn’t obsess on the empty quarter.

Marshall didn’t find a lot of takers,  heading to around $3,500 per screen for the weekend on 821 screens. Movies about history may be a bigger challenge than anyone expects in the exhausting Trump era, with endless fresh meat thrown into the news cycle.

Even weaker was the launch of Professor Marston and the Wonder Women, a title that can only be described as uninspiring. Bad titles are becoming an Annapurna distribution thing. I haven’t seen the movie. Would have. Fan of the director. Never happened. Nor did the interview that was pitched to me with the director. (Shrug) No idea what they were thinking with this date. Really odd screen count for a non-specialty movie. Feels like a dump, but would Annapurna be dumping its second release as a distributor? (shrug)

The 140-minute Ai Weiwei doc, Human Flow, was Friday’s box office winner in exclusive release, on three screens. Heading to $15k per for the weekend. Great, powerful movie. Just heart and truth and humanity.

Blade Runner 2049 didn’t fall off a cliff… but didn’t hang on the edge like it’s going pull itself back up, either.

Kingsman: The Golden Circle slowed faster after opening than expected. While I found Eggsy’s relationship charming, the lack of a love story probably hurt audience reaction. And the loss of Channing Tatum from the co-star level slot made the movie more complicated, and the lack of Tatum’s goofy charm was evident. Still, $300 million worldwide probably makes a threequel, with Tatum, inevitable.

American Made is another Tom Cruise movie that audiences seem to like more than they liked the ad campaign (aka opening day).

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BYO Legacy

Screen Shot 2017-10-14 at 3.31.07 PMWhat will Harvey Weinstein be remembered for?

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Weekend Estimates

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BYO Blade Runner 2049 Spoiler Space

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Conversation after the jump… for the protection of those who haven’t seen it…
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Friday Estimates

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Three new movies, but the only one anyone will remember being in theaters is Blade Runner 2049… and it will struggle to get to $40 million. With It shattering The a September record with an over $100m opening, it seems disappointing. It shouldn’t be. It is about what was expected. Thing is, Blade Runner, people forget, was a bit of a flop. Fourteenth best opening in 1982… not a great box office hold… a classic that wasn’t a hit 35 years – 2 generations – ago.

$35m-$40m is plenty to create a sample for word of mouth. And o e hopes for BR2049 that this is the beginning, not the traditional launch and steady drop.

I’m not a huge fan of the campaign for this film, but I don’t think there was a lot more opening weekend money as the result of a better campaign. Expect to see more of the women in 2nd weekend spots, focusing on what is in this movie instead of just the iconography plus Gosling.

In worse movies… Mountains Between Us is a bad movie, sadly. Great talent involved, in front of and behind the camera. But that script! And filmmakers forget, the harsh reality of making a movie in real weather only matters to audiences after they are fully engaged. It is not special in and of itself. Winslet and Elba are both cast against type, which would have been more interesting if they flipped characters. But instead, you get two actors you love who manage to be boring and generally sexless in what is, ultimately, a love story. Not easy to take the heat out of those two on camera. The whole crew really killed themselves to make this film on location. Could have been on a stage for all it matters in the end product. Only the dog will be well remembered. $9 million and out.

My Little Pony probably comes in at #2. The value of the franchise will out, even with a kinda dump.

In limited, The Florida Project will do over $30k per on 4. Strong. Not world beating. But it would be great to see the film build effectively on that. A24 will have to count on young people finding the film outside of the biggest markets.

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Trailering Steven Soderbergh’s MOSAIC

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Weekend Estimates: American IT

Weekend Estimates 2017-10-01 at 9.57.57 AM copy

Tom Cruise opened his movie, but It and Kingsman 2 apparently held too well for him to win the weekend in a tight three-way race, all three films estimating within $200k of one another. Only one film managed over $6000 per screen in the Top 25 for the weekend (Victoria & Abdul). Not pretty. All eyes now move to Blade Runner 2049, with solid tracking, but not at blockbuster level. Can that change with rave reviews?

And the ship keeps tossing in the bay.

Last year’s last-weekend-of-September openings, Miss Peregrine’s Home for Peculiar Children and Deepwater Horizon, wildly outpaced the American Made and Flatliners launches, $49 million to $24 million. The three big holdovers outpaced the ones last year, but not by a margin even close to the disparity in new opens.

Next weekend will slide the other way, with Blade Runner 2019 outdoing all three openers from last year and holdovers improving their position some.

But this constant measuring of one year vs the next is irrelevant. Yes, studios would love for everything to be up, Up, UP! But the endless hum of negativity is a load of crap. (If it bleeds, it leads.) But making the case for death and danger in the third weekend of a film that is already the biggest September grosser ever, but which will soon double the previous record, seems petulant.

There is nothing surprising about the mediocre openings for either American Made or Flatliners. Both were oddballs. Both a marketing hook that anyone, now or 5 years ago, might have found compelling. Miscasting in one. Working against type (Cruise in a wacky comedy that his character seems not to drive) in the other.

It’s pretty remarkable how much Kingsman 2 is moving like Kingsman, about a million off after two weekends. It should be about halfway to the original’s international result at the end of this weekend.

Lego Ninjago is as quiet a flop as it was an entry into the box office. But make no mistake, it is one of the most significant flops of the year… not because of how much it will lose, but because it continues and accelerates the franchise spiral.

Flipside… American Assassin may only gross $40m domestic, but that is a Top 5 film for CBS Films and the movie should be a moneymaker, all revenue streams considered.

Victoria & Abdul is the strongest player in limited right now and the only film on the entire chart to get over $10k per screen on more than a single screen. They are building a romance with a demo that means awards.

Battle of the Sexes is fading, with a nice weekend, but not a growth weekend.

Brad’s Status deserves better than it’s gotten. Not for everyone, but for more people than it’s found. Ben Stiller is having a career year as an actor, but now it’s up to the team behind The Meyerowitz Stories (New and Selected) to make sure someone sees either performance.

Dunkirk may be gone from the chart next week… $187 million domestic is a sensational number for that film.

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The Hot Blog

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“BATTLE OF THE SEXES: Politics and queerness as spectacle/spectacle as politics and queerness. Pretty delightful, lovely, erotic. A-

“Not since EASY A and CABARET have I seen Emma Stone give a real sense of her range. Here, she has pathos and interiority and desire. I love the cinematography and the ways in which the images of the tennis icons are refracted and manipulated via various surfaces/mediators. Also, wild how a haircut is one of the most erotic scenes in cinema this year. Spine tinglingly tactile that feels refreshing. Proof that *cough* you don’t need to be ~graphic/explicit~ to be erotic *cough*. Also, it made me want to get into tennis. Watching it, at least.

“There are interesting touches and intimations as to the cinematic nature of sports, & unpacking the formal approach of broadcasting sports.Also, I was here for Sarah Silverman smoking. And also, hi Mickey Sumner!! It’s a really interesting film about the ways in which public spectacle is never apolitical, and how spectacle is prone to assignation.

“There’s this one other scene from BATTLE OF THE SEXES that I love, and it’s the one in the bar. You see Billie looking after Marilyn as she dances. Through a crowd. There’s a paradoxical closeness and distance between them. In the purple light, and the kitschy decor, everything is distorted. But Billie catches a glance and you can feel the nervous swell inside.”
~ Kyle Turner

“Our business is complicated because intimacy is part and parcel of our profession; as actors we are paid to do very intimate things in public. That’s why someone can have the audacity to invite you to their home or hotel and you show up. Precisely because of this we must stay vigilant and ensure that the professional intimacy is not abused. I hope we are in a pivotal moment where a sisterhood — and brotherhood of allies — is being formed in our industry. I hope we can form a community where a woman can speak up about abuse and not suffer another abuse by not being believed and instead being ridiculed. That’s why we don’t speak up — for fear of suffering twice, and for fear of being labeled and characterized by our moment of powerlessness. Though we may have endured powerlessness at the hands of Harvey Weinstein, by speaking up, speaking out and speaking together, we regain that power. And we hopefully ensure that this kind of rampant predatory behavior as an accepted feature of our industry dies here and now. Now that we are speaking, let us never shut up about this kind of thing. I speak up to make certain that this is not the kind of misconduct that deserves a second chance. I speak up to contribute to the end of the conspiracy of silence.”
Lupita Nyong’o