TheWrapbox-office – TheWrap https://www.thewrap.com Covering Hollywood Thu, 21 Jun 2018 07:28:33 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.6 ‘Incredibles 2’ and ‘Jurassic World: Fallen Kingdom’ Face Off at Box Office This Weekend https://www.thewrap.com/incredibles-2-jurassic-world-fallen-kingdom-face-off-box-office-weekend/ https://www.thewrap.com/incredibles-2-jurassic-world-fallen-kingdom-face-off-box-office-weekend/#respond Tue, 19 Jun 2018 23:58:48 +0000 Jeremy Fuster https://www.thewrap.com/?p=1956117 Movie theater owners have to be licking their chops looking at the tracking numbers for this box office weekend. With “The Incredibles 2” coming off of the biggest opening in animation history, Pixar’s four-quadrant hit will go head-to-head against Universal’s big tentpole blockbuster, “Jurassic World: Fallen Kingdom.”

Both of these films made box office headlines in different parts of the world last weekend. In the U.S., “Incredibles 2” launched with $182.7 million, the eighth-highest opening weekend for any North American release and the third Disney film in 2018 to crack that top ten list. On Monday, the sequel had the highest opening Monday in animation history with an industry-estimated $29.6 million.

Meanwhile, “Fallen Kingdom” opened in China and improved on its predecessor’s launch with $112 million. Over 11 days, the film has grossed more than $370 million, putting the film on track to become Universal’s sixth billion-dollar hit.

But as it opens here in the U.S., “Fallen Kingdom” may face a bigger challenge than analysts had previously anticipated. It was expected that the audiences for “Fallen Kingdom” and “Incredibles 2” would have minimal overlap, as the Pixar film would be mostly aimed towards families.

But the 18-35 demographic that came out in droves to the first “Jurassic World” has shown rabid interest in “Incredibles 2,” and that could lead to some major competition. Universal is projecting an opening weekend of $130-140 million, but multiple analysts who spoke with TheWrap said that competition from “Incredibles 2” could weigh down those numbers, with an opening of $120-130 million more likely.

“There were a lot of younger moviegoers that were in theaters last week to see ‘Incredibles 2’ who saw trailers for upcoming movies, including ‘Jurassic World,'” said comScore’s Paul Dergarabedian. “But there’s no denying that there’s going to be quite a bit of competition between a live-action sequel to a film from three years ago and a sequel that a generation of moviegoers have been waiting for.” 

It’s a reverse case of what the movie industry saw in 2015, when “Jurassic World” came out a week after Pixar’s “Inside Out,” a film that had critical acclaim but didn’t have a pre-existing fanbase. “JW,” on the other hand, had the hype that comes with being the first “Jurassic Park” sequel in 14 years. Both movies did fine. “Inside Out” won an Oscar and took an $857.6 million global gross. But “Jurassic World” steamrolled all the summer competition and earned $1.67 billion, which stood as the record for summer blockbusters until “Avengers: Infinity War” broke it last month.

But now the tables have turned, as Pixar has the sequel 14 years in the making while “Fallen Kingdom” is asking audiences to come back for more of the spectacle that was on offer not too long ago. The critical and audience word-of-mouth is favoring “Incredibles 2,” which has a 94 percent Rotten Tomatoes score compared to 59 percent for “Fallen Kingdom.”

Ultimately, “Fallen Kingdom” is expected to have a great weekend regardless of Pixar’s presence. A $120-140 million start is around what the first “Jurassic World” was expected to make before it blew away expectations with a $208 million launch. But with a third “Jurassic World” already being planned, the opening performance for “Fallen Kingdom” may tell how many moviegoers have longterm interest in the “Jurassic” franchise.

“This is a franchise designed for international success, which Universal has been good at with the ‘Fast & Furious’ movies,” said Exhibitor Relations analyst Jeff Bock

“Incredibles 2,” meanwhile, may help give the box office charts not one but two $100 million-plus weekends this weekend. Over the past few years, Pixar films have had a second-weekend drop-off of around 45 percent. If “Incredibles 2” has that same drop, it would become the sixth film to gross over $100 million in its second weekend.

But Bock believes the sequel will perform more like a Marvel movie than a Pixar movie, meaning a drop-off of 50-55 percent that will push the weekend total below $100 million. Still, that would mean a Pixar-best $85-90 million.

“It’s hard seeing ‘Incredibles 2’ retaining all parts of its opening weekend audience enough to top $100 million, and ‘Fallen Kingdom’ will get most of the non-family business,” Bock said. “But it will be interesting to see if Universal reconsiders their future plans for the franchise if it does end up being neck-and-neck for the No. 1 spot.”

But Dergarabedian says that no matter which movie comes out on top, the theaters will win.

“These are the kind of weekends I love as an analyst, where there’s so much variety in theaters and we’re not entirely certain how things will pan out. We had a great May to kick off the summer season, and now June is looking like it will be just as big.”

Related stories from TheWrap:

'Incredibles 2' Film Review: Pixar's Superhero Family Is Back, Baby – and What a Baby

'Jurassic World: Fallen Kingdom' Film Review: Dinos Return in a Sequel Drained of Suspense

The Pixar Generation Just Helped 'Incredibles 2' Make Box Office History

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The Pixar Generation Just Helped ‘Incredibles 2’ Make Box Office History https://www.thewrap.com/pixar-generation-incredibles-2-millennials/ https://www.thewrap.com/pixar-generation-incredibles-2-millennials/#respond Tue, 19 Jun 2018 18:55:14 +0000 Jeremy Fuster https://www.thewrap.com/?p=1954793 Pixar movies have largely been surefire family hits for more than 20 years, but this past weekend “The Incredibles 2” took it even further with one of the top ten biggest movie openings of all time. And it’s all thanks to the generation that fawned over the first installment nearly 15 years ago.

“This weekend really shows that Pixar has entered the second generation in terms of its audience,” said BoxOffice analyst Shawn Robbins. “That long time gap in between sequels has made these films a must-see beyond the family crowd.”

Sure, the kids who just got out of school and their parents are still Pixar’s main moneymakers. (According to Disney’s demographic data, 40 percent of audiences who saw “Incredibles 2” this weekend were under the age of 17, with 26 percent ages 11 and under.) However, those aged 17-24 counted for a total audience share of 16 percent, higher than that of teens’ 14 percent.

Forty percent of moviegoers polled by comScore’s PosTrak were in the 18-24 age group, tying “Finding Dory” for the age group’s highest audience share for a Pixar film in the last five years. Within that age group, 87 percent of those surveyed said they would “definitely recommend” the film to their friends, compared to 88 percent for teens and around 72 percent for moviegoers age 25-44. Seventy two percent of those in the 18-24 group also gave the film an “Excellent” rating, higher than any other age group.

Whether you want to classify them as younger millennials or the first wave of Gen Z, these twenty-somethings that are raving about this movie were mostly in grammar school when “The Incredibles” came out in 2004.

Back then, Pixar had just started to spread its wings as the new titans of animation, having just come off of “Finding Nemo,” which dethroned “The Lion King” as the biggest animation hit in box office history with $940 million grossed worldwide. “The Incredibles” didn’t quite reach that level, but still did well with a $633 million global gross,  $261.4 million of which was made domestically. Its $70 million opening weekend would roughly equate to $103 million in today’s money.

But 14 years later, the kids who had fond memories of seeing “The Incredibles” are now grown up, and the novelty of seeing the likes of Elastigirl and Edna Mode again after more than a decade has been bigger than box office analysts could have ever anticipated, pushing the appeal of “Incredibles 2” beyond families and making it into a four-quadrant hit.

“It doesn’t matter if you have kids. For adults of a certain age, there’s now an emotional currency and nostalgia to these Pixar sequels that can’t be easily quantified in dollars and cents,” said comScore analyst Paul Dergarabedian.

And while this is the biggest example of the Pixar Generation’s bump of a long-awaited sequel, it isn’t the first. Back in 2010, “Toy Story 3” told the story of Woody and his pals coming to terms with a college-age Andy no longer needing his toys.

With an eleven-year gap from the previous “Toy Story” film, many college-age moviegoers had grown up with Andy, making the threequel extra poignant for them. It was the first film from Pixar that recognized how its audience had grown up, and the result was a new animation box office record with $415 million domestic.

Six years later, that record was broken again by another sequel with a decade-plus-long wait, “Finding Dory.” Released 13 years after “Finding Nemo,” the sequel focused on Ellen DeGeneres’ blue tang set a new opening weekend record for animated films with $135 million and a domestic record $486 million. Again, while a new generation of kids fell in love with Dory and Nemo, the ones who were learning long division when the first film came out returned as adults to bump up the film’s numbers.

Now, with the 18-35 demographic filled with moviegoers that have a childhood fondness for Pixar’s early works, “The Incredibles 2” has proven to be as powerful a presence at the box office as any live-action superhero film.

In just one weekend, “Incredibles 2” opened to $182.7 million, higher than the openings for every Marvel film outside of “Black Panther” and the three “Avengers” films. The film has also already eclipsed the entire domestic run of last year’s Pixar summer film, “Cars 3,” and posted the best opening Monday ever for an animated film with $29.6 million, pushing its domestic total to more than $211 million.

“Since the first ‘Incredibles’ came out, superhero films have taken over,” Dergarabedian added. “There’s a nostalgia for ‘The Incredibles’ that is just as strong as Spider-Man or any comic book hero, so the sequel is getting both that superhero movie appeal and the excitement of the return of a beloved Pixar family.”

Related stories from TheWrap:

'Incredibles 2' Joins Top 10 All-Time Box Office Openings With $180 Million

'Incredibles 2' and 33 Other Movie Sequels That Took Forever to Hit the Screen (Photos)

'Incredibles 2' Film Review: Pixar's Superhero Family Is Back, Baby – and What a Baby

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‘Incredibles 2’ Takes Aim at Animation’s Debut Weekend Record https://www.thewrap.com/incredibles-2-animation-box-office-record-opening-weekend-finding-dory/ https://www.thewrap.com/incredibles-2-animation-box-office-record-opening-weekend-finding-dory/#respond Tue, 12 Jun 2018 20:43:45 +0000 Jeremy Fuster https://www.thewrap.com/?p=1944448 After its box office winning streak was snapped with “Solo: A Star Wars Story” flopping, Disney is turning to Pixar and “The Incredibles 2” to get back to its record-breaking ways.

And some box office trackers think that new records may indeed be set, as the sequel to Brad Bird’s superhero film could post the best opening weekend for an animated film in movie history. Pixar currently holds that record with “Finding Dory,” which made $135 million two years ago. Trackers are split on whether “Incredibles 2” will beat that, with some having it come just short at $125-130 million while others expect the new record to be set at $145 million.

Disney is keeping its projections broad at $120-140 million as they release it on over 4,400 screens. But regardless of whether it tops “Finding Dory,” “Incredibles 2” is widely expected to become only the seventh animated film — and third by Pixar — to earn an opening weekend of more than $100 million. The first “Incredibles” opened to $70 million in 2004, and “Incredibles 2” will still have a higher opening than its predecessor even after inflation adjustments are made.

Taking place right after the end of the first film, “The Incredibles 2” sees the Parr family face a new family dynamic after Elastigirl is recruited for a campaign to help bring superheroes back. While she fights the bad guys, Mr. Incredible is left to take care of his three kids, including the infant Jak-Jak, who begins to develop his own powers.

Brad Bird returns to write and direct, as well as provide the voice for fan favorite Edna Mode. Craig T. Nelson, Helen Hunt, and Samuel L. Jackson also return to the cast, being joined by “Better Call Saul” stars Bob Odenkirk and Jonathan Banks. Critics have nearly unanimously praised the film, giving it a current Rotten Tomatoes score of 97 percent.

Also being released this weekend is Warner Bros./New Line’s ensemble comedy “Tag,” which is based on the true story of a lifelong group of friends who played a game of tag for 23 years. This comedy comes four months after New Line’s last comedy, “Game Night,” opened to $17 million and went on to gross a very solid $117 million worldwide against a $37 million budget.

“Tag” is expected to open slightly below that at $13-15 million against a budget in the upper $20 million range. The film will open for Thursday previews on 2,900 screens and expand to just under 3,400 screens on Friday.

The film stars Ed Helms, Jeremy Renner, Jon Hamm, Hannibal Burress, and Jake Johnson as the crew of friends, with the cast completed by Rashida Jones, Isla Fisher, Annabelle Wallis, Leslie Bibb, Brian Dennehy, and Lil Rel Howrey. Jeff Tomsic directed from a script by Rob McKittrick and Mark Steilen.

Finally, there’s Sony/Silver Pictures’ remake of the famed 70s blaxploitation drama “Superfly,” which holds a Rotten Tomatoes score of 67 percent and will open on Wednesday without previews. Trackers expect the film to make $7-12 million over five days, with the film sporting a reported budget of $16 million.

“Superfly” stars Trevor Jackson as Youngblood Priest, a career criminal who wants out of the Atlanta drug business, only to get dragged into even deeper trouble after one bad deal. Jason Mitchell, Michael Kenneth Williams, Lex Scott Davis, and Jennifer Morrison also star, with Director X helming the film. “Watchmen” co-writer Alex Tse penned the script, with Joel Silver producing with Atlanta rapper Future.

Related stories from TheWrap:

'Incredibles 2' Film Review: Pixar's Superhero Family Is Back, Baby – and What a Baby

'Superfly' Film Review: Remake Updates Blaxploitation Genre With Wit and Resonance

'Avengers: Infinity War': Every Box Office Record It Broke on the Road to $2 Billion (Photos)

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‘Avengers: Infinity War': Every Box Office Record It Broke on the Road to $2 Billion (Photos) https://www.thewrap.com/avengers-infinity-war-box-office-recrods-its-broken-so-far-updating/ https://www.thewrap.com/avengers-infinity-war-box-office-recrods-its-broken-so-far-updating/#respond Tue, 12 Jun 2018 19:18:05 +0000 Jeremy Fuster https://www.thewrap.com/?p=1878541 Marvel has kicked off the summer movie season with a bang many times over the years, but no bang has been bigger than the one set off by Thanos and “Avengers: Infinity War,” which is now the first summer film to gross $2 billion worldwide. Here are all the records it broke on the way there

Biggest domestic opening weekend of all-time: Since its release in December 2015: “Star Wars: The Force Awakens” has held many of the top domestic records. “Infinity War” has taken many of those records, starting with its opening weekend haul. The film earned $257.6 million in its North American launch, topping the $247.9 million made by J.J. Abrams’ film.

Biggest global opening weekend of all-time: “Infinity War” raked in an amazing $380 million overseas for a global total of $640.5 during its late-April first weekend, beating the record set by “Fate of the Furious” by nearly $100 million. And it did this despite the fact the film didn’t launch in China until exactly two weeks later. The U.K. led the way with $42 million, closely followed by Korea with $39 million and Mexico with $25 million.

Biggest domestic opening Saturday: Avengers earned $83 million on its first Saturday, shattering the previous record of $69.5 million made by “Jurassic World” in 2015.

Biggest global superhero movie opening: It’s not even a contest. The $640 million global start for “Infinity War” was 49 percent higher than the previous global launch record for a superhero film, which belonged to “Batman v Superman” with $422.5 million. It’s also only $17 million less than the total worldwide box office made by “Justice League” in 2017.

Sixth film with a $200 million-plus opening: The MCU now owns half of the six members of the $200 million club, with “Infinity War” joining its fellow 2018 sensation, “Black Panther” and the first “Avengers.” “The Force Awakens,” “Jurassic World,” and “Star Wars: The Last Jedi” complete the group. MCU films now also make six of the top ten biggest domestic openings ever.

Fastest film to $1 billion worldwide: “Infinity War” became the 34th film to hit the ten-digit mark in just 11 days, one day faster than “The Force Awakens”

Biggest global summer release: After four weeks in global theaters, “Infinity War” passed the $1.67 billion made by “Jurassic World” three years ago.

Seventh film to gross over $1 billion outside North America: The $1.34 billion international total for “Infinity War” sits third among all releases and is higher than the global total for recent megahits like “Black Panther” and “Star Wars: The Last Jedi.” Other films that have grossed over $1 billion overseas include the last two “Fast & Furious” movies.

Highest opening weekend in China: (U.S. Dollars): The $2 billion milestone became a fait accompli after “Infinity War” blew by all expectations for its opening weekend in China. The $200 million it made in its Middle Kingdom opener is the highest in Chinese box office history in U.S. dollars, and second in yuan behind “The Fate of the Furious,” according to currency exchange rates.

Top 5 highest grossing domestic releases: Shortly before hitting $2 billion worldwide, “Infinity War” passed “Jurassic World” to enter the top five all-time domestic list with over $654 million.

Fourth film to gross $2 billion worldwide: Only three films before “Avengers: Infinity War” — “Titanic,” “Avatar,” and “The Force Awakens” — have hit this milestone in movie history. One of them needed two re-releases to do it, and all three were released in December. “Avengers: Infinity War,” at the start of the busiest period on the blockbuster calendar, has now joined them.

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https://www.thewrap.com/avengers-infinity-war-box-office-recrods-its-broken-so-far-updating/feed/ 0 Marvel has kicked off the summer movie season with a bang many times over the years, but no bang has been bigger than the one set off by Thanos and "Avengers: Infinity War." Here are all the records the climactic film has set so far, with many more likely to come. 

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Marvel has kicked off the summer movie season with a bang many times over the years, but no bang has been bigger than the one set off by Thanos and "Avengers: Infinity War." Here are all the records the climactic film has set so far, with many more likely to come. 

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Biggest domestic opening weekend of all-time: 
Since its release in December 2015: "Star Wars: The Force Awakens" has held many of the top domestic records. "Infinity War" has taken many of those records, starting with its opening weekend haul. The film earned $257.6 million in its North American launch, topping the $247.9 million made by J.J. Abrams' film. 
Date of record: April 29

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Biggest domestic opening weekend of all-time: 
Since its release in December 2015: "Star Wars: The Force Awakens" has held many of the top domestic records. "Infinity War" has taken many of those records, starting with its opening weekend haul. The film earned $257.6 million in its North American launch, topping the $247.9 million made by J.J. Abrams' film. 
Date of record: April 29

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Biggest global opening weekend of all-time: 
"Infinity War" raked in an amazing $380 million overseas for a global total of $640.5 during its late-April first weekend, beating the record set by "Fate of the Furious" by nearly $100 million. And it did this despite the fact the film didn't launch in China until exactly two weeks later. The U.K. led the way with $42 million, closely followed by Korea with $39 million and Mexico with $25 million. 
Date of record: April 29

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Biggest global opening weekend of all-time: 
"Infinity War" raked in an amazing $380 million overseas for a global total of $640.5 during its late-April first weekend, beating the record set by "Fate of the Furious" by nearly $100 million. And it did this despite the fact the film didn't launch in China until exactly two weeks later. The U.K. led the way with $42 million, closely followed by Korea with $39 million and Mexico with $25 million. 
Date of record: April 29

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Biggest domestic opening Saturday: 
Avengers earned $83 million on its first Saturday, shattering the previous record of $69.5 million made by "Jurassic World" in 2015. 
Date of record: April 28

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Biggest domestic opening Saturday: 
Avengers earned $83 million on its first Saturday, shattering the previous record of $69.5 million made by "Jurassic World" in 2015. 
Date of record: April 28

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Biggest global superhero movie opening: 
It's not even a contest. The $640 million global start for "Infinity War" was 49 percent higher than the previous global launch record for a superhero film, which belonged to "Batman v Superman" with $422.5 million. It's also only $17 million less than the total worldwide box office made by "Justice League" in 2017. 
Date of record: April 29

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Biggest global superhero movie opening: 
It's not even a contest. The $640 million global start for "Infinity War" was 49 percent higher than the previous global launch record for a superhero film, which belonged to "Batman v Superman" with $422.5 million. It's also only $17 million less than the total worldwide box office made by "Justice League" in 2017. 
Date of record: April 29

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Sixth film with a $200 million-plus opening: 
The MCU now owns half of the six members of the $200 million club, with "Infinity War" joining its fellow 2018 sensation, "Black Panther" and the first "Avengers." "The Force Awakens," "Jurassic World," and "Star Wars: The Last Jedi" complete the group. MCU films now also make six of the top ten biggest domestic openings ever. Date of record: April 29

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Sixth film with a $200 million-plus opening: 
The MCU now owns half of the six members of the $200 million club, with "Infinity War" joining its fellow 2018 sensation, "Black Panther" and the first "Avengers." "The Force Awakens," "Jurassic World," and "Star Wars: The Last Jedi" complete the group. MCU films now also make six of the top ten biggest domestic openings ever. Date of record: April 29

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Fastest film to $1 billion worldwide: "Infinity War" became the 34th film to hit the ten-digit mark in just 11 days, one day faster than "The Force Awakens." 
Date of record: May 5

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Fastest film to $1 billion worldwide: "Infinity War" became the 34th film to hit the ten-digit mark in just 11 days, one day faster than "The Force Awakens." 
Date of record: May 5

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Biggest global summer release: After four weeks in global theaters, "Infinity War" passed the $1.67 billion made by "Jurassic World" three years ago. 
Date of record: May 13

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Biggest global summer release: After four weeks in global theaters, "Infinity War" passed the $1.67 billion made by "Jurassic World" three years ago. 
Date of record: May 13

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Seventh film to gross over $1 billion outside North America: The $1.34 billion international total for "Infinity War" sits third among all releases and is higher than the global total for recent megahits like "Black Panther" and "Star Wars: The Last Jedi." Other films that have grossed over $1 billion overseas include the last two "Fast & Furious" movies.  Date of record: May 13

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Seventh film to gross over $1 billion outside North America: The $1.34 billion international total for "Infinity War" sits third among all releases and is higher than the global total for recent megahits like "Black Panther" and "Star Wars: The Last Jedi." Other films that have grossed over $1 billion overseas include the last two "Fast & Furious" movies.  Date of record: May 13

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Highest opening weekend in China (U.S. Dollars): 
The $2 billion milestone became a fait accompli after "Infinity War" blew by all expectations for its opening weekend in China. The $200 million it made in its Middle Kingdom opener is the highest in Chinese box office history in U.S. dollars, and second in yuan behind "The Fate of the Furious," according to currency exchange rates.
Date of record: May 13

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Highest opening weekend in China (U.S. Dollars): 
The $2 billion milestone became a fait accompli after "Infinity War" blew by all expectations for its opening weekend in China. The $200 million it made in its Middle Kingdom opener is the highest in Chinese box office history in U.S. dollars, and second in yuan behind "The Fate of the Furious," according to currency exchange rates.
Date of record: May 13

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Top 5 highest grossing domestic releases: Shortly before hitting $2 billion worldwide, "Infinity War" passed "Jurassic World" to enter the top five all-time domestic list with over $654 million.
Date of record: June 10

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Top 5 highest grossing domestic releases: Shortly before hitting $2 billion worldwide, "Infinity War" passed "Jurassic World" to enter the top five all-time domestic list with over $654 million.
Date of record: June 10

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Fourth film to gross $2 billion worldwide: Only three films before "Avengers: Infinity War" -- "Titanic," "Avatar," and "The Force Awakens" -- have hit this milestone in movie history. One of them needed two re-releases to do it, and all three were released in December. "Avengers: Infinity War," at the start of the busiest period on the blockbuster calendar, has now joined them. 
Date of record: June 12

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Fourth film to gross $2 billion worldwide: Only three films before "Avengers: Infinity War" -- "Titanic," "Avatar," and "The Force Awakens" -- have hit this milestone in movie history. One of them needed two re-releases to do it, and all three were released in December. "Avengers: Infinity War," at the start of the busiest period on the blockbuster calendar, has now joined them. 
Date of record: June 12

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How Summer Blockbusters Are Dribbling Around the World Cup Schedule https://www.thewrap.com/how-summer-blockbusters-ant-man-jurrassic-world-avoid-world-cup-schedule/ https://www.thewrap.com/how-summer-blockbusters-ant-man-jurrassic-world-avoid-world-cup-schedule/#respond Thu, 07 Jun 2018 22:54:17 +0000 Jeremy Fuster https://www.thewrap.com/?p=1929819 Next week, the FIFA World Cup will kick off in Russia and, inevitably, monopolize the attention of countless millions of soccer fans worldwide. So if you’re a Hollywood studio with a major summer blockbuster coming out over the next four weekends, how do you work around the biggest single-event sports competition in the world?

Universal and Disney have adopted differing release strategies for their respective “Jurassic World: Fallen Kingdom” and “Ant-Man and The Wasp” to deal with the singular World Cup challenge. Particularly in Europe, where several major markets have teams expected to make runs deep into the tournament. For Universal, that’s a large reason why “Fallen Kingdom” is being released this week in 48 countries, well before American audiences get to see it.

Duncan Clark, Universal’s head of international distribution, says Europe will get “Fallen Kingdom” two weeks ahead of the U.S. in order to give the film eight days in theaters before the World Cup kicks off. Eight of the countries in this first release wave will have teams competing in the Cup’s opening weekend, including defending champion Germany.

“The first couple of weeks there are games every day, but once you get to the playoff rounds the matches happen every three days or so,” he said. “Sometimes you have a matchup at that point between two major teams, but on the flipside you could have a top country in a match that isn’t a must-win or is against a nominal opponent.”

One territory that studios won’t have to worry about is South America. Even though Argentina and Brazil are perennial World Cup contenders, the time zone difference — the farthest-west part of Russia is 6 hours ahead of Brazil — means that those countries will be watching Neymar and Messi compete in the morning, well before primetime for movie theaters.

Disney, meanwhile, has two films that will be competing against the World Cup: “The Incredibles 2” and “Ant-Man and The Wasp.” For the Mouse House, working their release dates around Europe’s passion for footy is a simple repeat of the release strategy it used three years ago when the first “Ant-Man” hit theaters in July.

Back then, “Ant-Man” came out in the U.S. three weeks after Pixar’s “Inside Out,” a film that grossed $857 million worldwide. Disney always puts out summer Pixar films during weekends that coincide with kids in different countries being out on school break.

This meant that for “Ant-Man,” Disney had to treat the film differently than they do for most Marvel movies, where release dates are kept close together — in part to mitigate spoilers — and the film is released in the U.S. after a large suit of other countries. Instead, the U.S. was part of the first wave of release in mid-July, with 25 other countries getting “Ant-Man” in the following weeks.

So for “Ant-Man and The Wasp,” which will come out in the U.S. on the same weekend as the World Cup quarterfinals, Disney will stretch out the overseas dates to give Scott Lang some distance from “Incredibles 2.” Most notably, major soccer nations like France, Netherlands, Germany, the U.K., Spain, and Portugal will get the film after the World Cup final takes place on July 15.

Clark says that while the World Cup is always something that can’t be ignored when releasing summer flicks, the rapid popularity growth of sports over the past decade has given him and his peers plenty of experience dealing with it.

“For a long time now, we’ve been used to competing with sports events  as the broadcasting deals for the World Cup and the Olympics and other big sports have gotten bigger and bigger,” he said. “Two years ago, we were scheduling our films around the Olympics and the Euro Cup, and we did well with ‘The Secret Life of Pets.'”

“Sports have become so pervasive year-round, but they have a pretty fixed schedule and we know how to handle them.”

Related stories from TheWrap:

'Jurassic World: Fallen Kingdom' Film Review: Dinos Return in a Sequel Drained of Suspense

'Jurassic World: Fallen Kingdom' Ready to Finish Off 'Solo'

'Jurassic World: Fallen Kingdom' Ready to Devour $130 Million on Opening Weekend

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Can ‘Ocean’s 8’ Steal a Huge Box Office Haul Like ‘Ocean’s Eleven’ Did? https://www.thewrap.com/can-oceans-8-steal-huge-box-office-haul-like-oceans-eleven/ https://www.thewrap.com/can-oceans-8-steal-huge-box-office-haul-like-oceans-eleven/#respond Wed, 06 Jun 2018 19:29:45 +0000 Jeremy Fuster https://www.thewrap.com/?p=1928922 A year after Warner Bros. rode female power all the way to the bank with the box office success of “Wonder Woman,” it is sending in Danny Ocean’s sister to steal away a big pay day at movie theaters with Village Roadshow’s “Ocean’s 8.”

This spinoff of Steven Soderbergh’s “Ocean’s” trilogy is expected to nab the No. 1 spot this weekend from the plummeting “Solo,” taking an opening weekend total of $35-40 million from 4,000 screens. WB is projecting slightly lower with $33-38 million and is reporting the budget at $70 million.

By comparison, “Ocean’s Eleven” was made on an $85 million budget and opened domestically to $38.1 million. While that figure is not an apples-to-apples comparison because “Eleven” was released in 2001, consider that the George Clooney-fronted heist classic went on to have incredible legs with a $183 million domestic total and $450 million made worldwide.

“Ocean’s 8” will try to show similar endurance at the box office, quietly drawing in female moviegoers, while “Incredibles 2” attracts family audiences and “Jurassic World: Fallen Kingdom” offers traditional summer spectacle in the coming weeks. Exhibitor Relations analyst Jeff Bock thinks the film can get there.

“If you look at the calendar, there isn’t a film specifically aimed for women until ‘Mamma Mia 2’ comes out in late July, and there’s a lot of potential for it to pick up word of mouth,” Bock said. “The June slate is a lot more diverse than what we saw last month, so ‘Ocean’s 8’ shouldn’t have to compete with the films it’s going to be sharing theaters with.”

“Ocean’s 8” follows Danny Ocean’s estranged sister, Debbie (Sandra Bullock) as she organizes an elaborate heist to steal a priceless $150 million necklace from the Met Gala. The film’s ensemble cast includes Cate Blanchett, Anne Hathaway, Mindy Kaling, Sarah Paulson, Awkwafina, Rihanna, Helena Bonham Carter, James Corden and Dakota Fanning. Gary Ross directed from a script he co-wrote with Olivia Milch, with Soderbergh producing with Susan Ekins. The film currently has a 78 percent score on Rotten Tomatoes.

Also coming out in wide release but with smaller screen counts are A24’s terrifying horror film “Hereditary” and Global Road’s stylish action thriller “Hotel Artemis.” Both films are projected to open to $6-8 million this weekend, with “Hereditary” getting released on 2,800 screens while “Hotel Artemis” will roll out on 2,340.

“Hereditary,” which was made for less than $10 million, is expected to top the $6 million opening of A24’s last summer horror release, “It Comes at Night,” though it will try to also top the $8.8 million made by “The Witch” in February 2016. Written and directed by Ari Aster, the horror tale stars Toni Collette as Annie Graham, a woman whose family discovers a horrifying secret about their heritage after the family matriarch passes away. The film has received critical acclaim since its premiere at Sundance, earning a 93 percent RT score.

“Hotel Artemis” stars Jodie Foster as The Nurse, a mysterious woman who runs a members-only hospital for criminals in a dystopian, near-future Los Angeles. Written and directed by Drew Pearce, the thriller also stars Sterling K. Brown, Sofia Boutella, Jeff Goldblum, Brian Tyree Henry, Jenny Slate, Zachary Quinto, Charlie Day, and Dave Bautista. It currently has a 68 percent RT score.

Finally, in limited release, Focus Features will put out “Won’t You Be My Neighbor?” Directed by Morgan Neville, who won an Oscar for his documentary “20 Feet From Stardom,” the film looks at the life and career of Fred Rogers, the famed creator of the children’s PBS series “Mister Rogers’ Neighborhood.” Releasing in Los Angeles and New York this weekend, the film has been wildly praised since its Sundance premiere, earning a 98 percent score on Rotten Tomatoes.

Related stories from TheWrap:

'Ocean's 8' Stars Reveal What They've Stolen in Real Life

'Ocean's 8' Is a 'Joyous Crime Caper' That Doesn't Live Up to Its Predecessors, Critics Say

'Ocean's 8' Film Review: Sandra Bullock and Her Female Crew Idle Amiably in Heist Farce

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‘Jurassic World: Fallen Kingdom’ Ready to Finish Off ‘Solo’ https://www.thewrap.com/jurassic-world-fallen-kingdom-ready-finish-off-solo/ https://www.thewrap.com/jurassic-world-fallen-kingdom-ready-finish-off-solo/#respond Mon, 04 Jun 2018 23:49:37 +0000 Jeremy Fuster https://www.thewrap.com/?p=1926340 After ten days in theaters, “Solo: A Star Wars Story” has made less at the global box office than “Rogue One” made in its opening weekend. And its window to cash in overseas is closing, because “Jurassic World: Fallen Kingdom” crashes into global theaters this week.

While American cinemas won’t get the film until June 22, Universal is releasing the “Jurassic World” sequel in 47 international markets this week, starting on Wednesday with Belgium, France, Germany, Indonesia, Korea, Philippines, and Switzerland. The early rollout will cover all major European countries. Universal hopes to give the film a week or so in theaters before the FIFA World Cup — which will occupy fans worldwide — begins on June 14.

In total, “Fallen Kingdom” is expected to make around $135 million from this first wave of markets this weekend, which would be more than the $115 million “Solo” has made so far in its international run. Along with its struggles in the U.S., “Solo” fell to No. 2 on the overseas charts this past weekend, getting outgrossed by “Deadpool 2,” which was in its third weekend. The Marvel sequel, which just opened in Japan, grossed $41.6 million this weekend, compared to $30.3 million for “Solo.”

“Solo” was down 47 percent down from what it earned in its opening weekend, but that was with no new competition in theaters. With “Fallen Kingdom” coming to Europe and parts of Asia, “Solo” could be in for a harder fall.

Universal hopes the “Jurassic World” sequel, meanwhile, will be its tentpole release for 2018. The film isn’t expected to reach the $1.67 billion global heights made by “Jurassic World” in 2015, but “Fallen Kingdom” will still be aiming for the billion dollar mark.

Domestically, “Fallen Kingdom” is projected for an opening weekend of $130-150 million, which would put it roughly 30-40 percent down from the surprising $208 million launch that “Jurassic World” earned three years ago. “Fallen Kingdom” will open in China on June 15, hoping to match the $228 million made by its predecessor in that country.

Related stories from TheWrap:

'Solo' Limps to $148 Million in 10 Days – Less Than 'Rogue One' Opening Weekend

5 Reasons Why 'Solo: A Star Wars Story' Crumbled at the Box Office

'Jurassic World: Fallen Kingdom' Ready to Devour $130 Million on Opening Weekend

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Things Are About to Get Worse for ‘Solo’ https://www.thewrap.com/things-will-get-worse-solo-box-office/ https://www.thewrap.com/things-will-get-worse-solo-box-office/#respond Tue, 29 May 2018 22:18:11 +0000 Jeremy Fuster https://www.thewrap.com/?p=1914762 After posting a worse opening weekend than “Justice League” and nearly every “Star Wars” film released since the turn of the century, things are about to get even worse for “Solo: A Star Wars Story” as it faces its second weekend in theaters.

The spinoff made just $143 million worldwide on its opening weekend, less than half of the $290 million global opening made by the last “Star Wars” anthology film, “Rogue One.” The overseas markets that pushed the last three “Star Wars” releases to more than $1 billion worldwide are simply not showing up to this Han Solo origin story, and that means the film might not even reach the half-billion mark.

Analysts who spoke to TheWrap said the current estimated range for “Solo”‘s final global total sits at just $400-450 million. That is easily the lowest total for any “Star Wars” film, including the Original Trilogy when inflation is taken into account. Given the film’s pricey production budget of $250 million after reshoots, it’s possible “Solo” may need home release and other ancillary revenue to even make back its marketing expenses and turn a profit.

A bad bellwether coloring those predictions: “Solo” is expected to make less than $40 million domestically this coming weekend. That’s a steep drop-off of at least 53 percent from its already anemic $84.7 million three-day debut.

“We’re still waiting for mid-week numbers to really get an idea of what the second weekend will look like,” said Boxoffice analyst Shawn Robbins. “But right now I think we’re looking at $30-40 million.”

That’s not what movie theaters want to see on a second weekend studios steered clear of, expecting that “Solo” was going to dominate moviegoers’ attention to the exclusion of other titles. Neither of this week’s main releases, Paramount’s “Action Point” and STX’s “Adrift,” are expected to make more than $15 million each. It will be a slow going for the box office for the next two weekends until Pixar gets things going again with “The Incredibles 2,” which is projected to make $120 million. (That’s a big leap from the $70 million the first “Incredibles” made in 2004.)

Fortunately theaters can afford to take the hit after box office revenue went soaring in the last month with “Avengers: Infinity War” — which is on the cusp of surpassing the rare feat of $2 billion worldwide.

Currently, the year-to-date combined domestic box office grosses sit at $4.86 billion, up a staggering 8 percent from this point last year — so theater revenue should still stay ahead of last year’s pace by the time “Incredibles 2” and “Jurassic World: Fallen Kingdom” arrive to kick the charts back into high gear again.

For now, moviegoers can look forward to “Action Point,” which features MTV “Jackass” alums Johnny Knoxville and Chris Pontius in a raunchy slapstick comedy inspired by the true story of New Jersey’s Action Park, one of the most unsafe amusement parks ever built. Directed by Tim Kirkby in his feature film debut, the film is projected to make $6-9 million from 2,000 locations this weekend, with Paramount projecting a $4-7 million start for this $19 million film.

“Adrift,” meanwhile, stars Shailene Woodley and Sam Claflin in a romance drama based loosely on the true story of Tami Oldham and Richard Sharp, two sailors in love who voyaged into a hurricane in 1983. Directed by Icelandic filmmaker Baltasar Kormákur, “Adrift” will sail into 2,800 locations this weekend and is projected to open in the low-teens. Along with distributing the film, STX co-financed the film’s $35 million budget with Lakeshore Entertainment, Huayi Brothers and Ingenious.

Though the wind behind “Solo”‘s sails is weaker than everyone had initially predicted, both new titles pose little threat to the Star Wars movie this coming weekend. Still, lack of competition isn’t enough to let “Solo” thrive in theaters.

UPDATE 4:00 PM PT: Updated with studio projections for “Action Point” and “Adrift” 

Related stories from TheWrap:

Disney Shares Drop 2.4 Percent Following Poor 'Solo' Box Office, 'Roseanne' Cancellation

5 Reasons Why 'Solo: A Star Wars Story' Crumbled at the Box Office

'Solo' Crash-Lands With $103 Million 4-Day Holiday Opening

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‘The Gospel According to Andre’ Posts Solid Opening at Indie Box Office https://www.thewrap.com/the-gospel-according-to-andre-posts-solid-opening-at-indie-box-office/ https://www.thewrap.com/the-gospel-according-to-andre-posts-solid-opening-at-indie-box-office/#respond Sun, 27 May 2018 18:09:37 +0000 Jeremy Fuster https://www.thewrap.com/?p=1911489 Magnolia Pictures’ documentary “The Gospel According to Andre” has found a solid start from its four-screen release in an otherwise quiet Memorial Day weekend for the indie box office.

Directed by Kate Novack, the documentary explores the life and creative vision of fashion writer Andre Leon Talley, who is most famous for serving as the editor-at-large at Vogue. It is estimated to have a three-day opening of around $44,500 for a per screen average of $11,125. Reviews have been positive with an 84 percent score on Rotten Tomatoes.

Just below “Gospel” on the per screen average charts is the Chinese import “How Long Will I Love U,” a sci-fi romantic comedy about a man and woman who live in the same apartment 20 years apart, only to discover that their timelines have merged and forced them to live together. Distributed on 23 screens this weekend by Well Go USA, the film made $210,000 this weekend for a per screen average of $9,130.

Performing less impressively is IFC’s “Mary Shelley,” a biopic starring Elle Fanning as the titular famed author of “Frankenstein.” Released on two screens, the film only grossed $12,016 and has been negatively reviewed by critics with a 31 percent Rotten Tomatoes score.

On holdovers, Magnolia/Participant Media’s “RBG” continues to post solid numbers, adding another $1.1 million in its fourth weekend to bring its total to $5.6 million. Despite a very competitive May, the documentary about Supreme Court Justice Ruth Bader Ginsburg has stayed in the top 10 for all four weekends of its run. Another May documentary, “Pope Francis: A Man of His Word,” added $290,000 from 385 screens in its second weekend to bring its total to $1.1 million.

Finally, Bleecker Street’s “Disobedience” hit the $2.5 million mark in its fifth weekend after adding $368,554 from 224 screens, while Fox Searchlight’s “Isle of Dogs” crossed $31 million after making $245,000 in its tenth weekend.

Related stories from TheWrap:

'Solo' Struggles at Box Office, to Open at $101 Million for 4-Day Holiday Weekend

'First Reformed' and '2001: A Space Odyssey' Anniversary Blast Off at Indie Box Office

'Deadpool 2' Dives Into Box Office With $125 Million Opening

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‘Ocean’s 8,’ One of This Summer’s Big Gambles, Plots to Steal $30 Million on Opening Weekend https://www.thewrap.com/oceans-8-one-summers-big-gambles-plots-steal-30-million-opening-weekend/ https://www.thewrap.com/oceans-8-one-summers-big-gambles-plots-steal-30-million-opening-weekend/#respond Thu, 17 May 2018 19:46:16 +0000 Jeremy Fuster https://www.thewrap.com/?p=1896628 After a May loaded with Marvel and Star Wars, June will see some different potential summer blockbusters storm theaters, aiming to give moviegoers a change of pace. Leading them is Warner Bros./Village Roadshow’s “Ocean’s 8,” an all-female spin-off of Steven Soderbergh’s “Ocean’s Trilogy” that is considered one of the riskier wide releases coming out this summer.

This is the second straight year Warner Bros turned to women to bring in big summer bucks. Last year, the studio had the movie of the summer, Patty Jenkins and Gal Gadot’s “Wonder Woman,” which grossed $412.5 million during its domestic run and became the flag-bearer in the push for more major films that prominently feature women in the cast and crew.

“Ocean’s 8,” a decidedly different movie, isn’t expected to make nearly as much — as early tracking has its opening weekend set at roughly $30 million against a production budget of $70 million. It was made for much cheaper than “Wonder Woman” — which was produced with more than double the “Ocean’s” budget at $149 million.

Still, a $30 million opening is likely a lower figure than the studio wants (all films in the franchise, starting with 2001’s “Ocean’s Eleven,” topped that number on their respective debuts). WB is probably hoping that tracking trends upwards as the film’s release nears and that moviegoers who have demanded more films with women in typically male roles will turn out for this gender-flipped spinoff of a series known for suave dudes planning heists in exotic locales.

“Ocean’s 8” will have some distance between it and the big blockbusters that come before and after, going against a third-weekend “Solo” on its release, with two weeks until “Jurassic World: Fallen Kingdom” hits theaters, signaling the return of triple-A blockbusters to movie theaters. In between “Ocean’s 8” and “Fallen Kingdom,” Disney will send in the Pixar sequel “Incredibles 2,” which may pull away female audiences depending on the word of mouth, and critical response, for this heist film.

In the place of George Clooney, Brad Pitt, and Matt Damon is a murderer’s row of actresses led by Sandra Bullock, who plays master thief Debbie Ocean. Debbie is the estranged sister of “Ocean’s Eleven” protagonist Danny Ocean, and apparently shares his penchant for stealing untold millions in ridiculous, risky thefts. But while Danny targeted Vegas casinos, Debbie stages a plot to steal a necklace worth over $100 million during the star-studded Met Gala in New York.

Joining Bullock on the cast as Debbie’s crew are Cate Blanchett, Sarah Paulson, Mindy Kaling, Awkwafina, Rihanna, and Helena Bonham Carter. Anne Hathaway, meanwhile, plays Debbie’s target: a starlet named Daphne Kluger who will be wearing the priceless necklace to the gala.

Gary Ross is directing the film from a script he co-wrote with Olivia Milch. Soderbergh is producing the film with Susan Ekins. Watch the trailer below.

Related stories from TheWrap:

9 Riskiest, Priciest Summer Movie Gambles, From 'Ocean's 8' to 'Solo: A Star Wars Story'

Sandra Bullock Says Sarah Paulson Tried Singing Like Rihanna on the Set of 'Ocean's 8' (Video)

'Breaking In' Signals the Rise of Gabrielle Union as a Box Office Star

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‘Avengers: Infinity War’ to Blast Past ‘Jurassic World’ as Summer’s Biggest Box Office Hit Ever https://www.thewrap.com/avengers-infinity-war-to-pass-jurassic-world-as-summers-biggest-box-office-hit/ https://www.thewrap.com/avengers-infinity-war-to-pass-jurassic-world-as-summers-biggest-box-office-hit/#respond Wed, 16 May 2018 20:09:38 +0000 Jeremy Fuster https://www.thewrap.com/?p=1895357 “Avengers: Infinity War” is hauling in box office records the way Thanos hauls in Infinity Stones.

On Wednesday, after just over three weeks in theaters worldwide, the Marvel crossover film will pass the $1.67 billion global theatrical run of “Jurassic World,” making it the fourth-highest grossing movie of all time (without inflation adjustment) to become the biggest summer blockbuster in box office history.

On Tuesday, “Avengers” added just under $27 million to its global total, with half of that revenue coming from China, where the film is coming off of an astounding $200 million opening weekend. “Infinity War” currently has a global total of $1.665 billion, about $6 million shy of “Jurassic World’s” global mark. Overseas, the film has grossed $1.1 billion, becoming only the seventh film ever to gross over $1 billion outside North America.

The other films that have reached that mark are “Avatar” ($2 billion); “Titanic” ($1.5 billion), “Furious 7” ($1.165 billion); “Star Wars: The Force Awakens” ($1.131 billion); “Jurassic World” ($1.019 billion); and “The Fate of the Furious” ($1.009 billion).

“Infinity War” is also now expected to become only the fourth film in box office history — and the first to do so with a release outside of December — to gross $2 billion worldwide. If and when it does so, it will join “Avatar,” “The Force Awakens,” and “Titanic” — the latter of which passed $2 billion after two anniversary re-releases — in the most exclusive of all box office clubs.

Prior to the film’s Chinese release, it was uncertain whether “Infinity War” would have the legs to reach $2 billion, especially considering that its box office performance will start tailing off significantly as “Deadpool 2” arrives in theaters this weekend followed by “Solo: A Star Wars Story” the weekend after. Jeff Bock, analyst for Exhibitor Relations, told TheWrap that $2 billion could be possible if the film grosses over $350 million in China.

With $230 million already contributed from China after five days in theaters, it looks like that will be reached. While Hollywood films are notorious for making most of their Chinese revenue on their opening weekend and falling off quickly after, “Infinity War” will still be the blockbuster of choice in that country for the next few weekends as “Deadpool 2” does not have a Chinese release date and “Star Wars” is not nearly as popular in the Middle Kingdom as the rest of the world.

Until “Jurassic World: Fallen Kingdom” comes out in mid-June, “Avengers” will face little competition in China’s cineplexes, and combined with the latter-stage revenue from the rest of the world, that should be enough to help “Avengers: Infinity War” reach a milestone no summer tentpole has ever reached before.

Related stories from TheWrap:

'Avengers: Infinity War' Posts Huge $200 Million Opening in China

'Avengers: Infinity War' Hits $1.6 Billion Globally to Become Top-Grossing Superhero Movie in History

'Avengers: Infinity War' Crosses $500 Million Domestic

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‘Deadpool 2’ Will Continue Marvel’s – and Josh Brolin’s – Death Grip on Box Office https://www.thewrap.com/deadpool-2-will-continue-marvels-and-josh-brolins-death-grip-on-box-office/ https://www.thewrap.com/deadpool-2-will-continue-marvels-and-josh-brolins-death-grip-on-box-office/#respond Tue, 15 May 2018 22:14:29 +0000 Jeremy Fuster https://www.thewrap.com/?p=1893794 For the last three weeks, “Avengers: Infinity War” has reigned over the box office, sucking in cash and putting itself on course to becoming the first summer blockbuster ever to gross $2 billion worldwide. That’s thanks in part to Josh Brolin, whose performance as the genocidal Thanos left Marvel fans raving.

Now Brolin’s going to help Marvel continue its domination of the 2018 box office this weekend as he takes up the role of Cable in Fox’s “Deadpool 2,” which is expected to take the No. 1 spot on the charts from the MCU mega-crossover.

So far this year, films based on Marvel characters — “Black Panther” and “Infinity War” — have combined to account for 29 percent of the $4.3 billion in total domestic box office revenue, and that percentage is expected to build over the next few weeks. Though “Deadpool 2” is an R-Rated film and not a Marvel Studios release, moviegoers are clearly just as excited to see Ryan Reynolds’ snarky masked mercenary do battle with time-traveling hunter Cable. Independent trackers expect the film to at least match the $132 million opening weekend scored by the first “Deadpool” in 2016, which was then a record for February releases.

A start of over $130 million would be higher than the openings for two recent MCU films, “Spider-Man: Homecoming” and “Thor: Ragnarok.” If “Deadpool 2” can push its launch above $146.5 million, it would outperform the opening weekend of “Guardians of the Galaxy: Vol. 2” last year. Fox plans to release the film on over 4,300 screens, the widest release for any Fox release or any R-Rated film.

“You’ve got to give credit to Ryan Reynolds and Fox for keeping Deadpool relevant over the past couple years,” said comScore analyst Paul Dergarabedian. “While we’re completely consumed by ‘Avengers,’ I think what they have done making ‘Deadpool 2’ a must-see movie with their great promotion and making the film the next step for moviegoers looking for that next big summer blockbuster experience.”

“Deadpool 2” sees the titular antihero start a new mutant team called X-Force to protect a young, surly mutant named Firefist (Julian Dennison) from falling into the clutches of Cable. In addition to starring as Deadpool, Ryan Reynolds shares writing credit with Rhett Reese and Paul Wernick, with David Leitch directing.  Morena Baccarin, Zazie Beetz, Brianna Hildebrand, and Jack Kesy also star. After early reviews, the film has an 84 percent Rotten Tomatoes score, nearly identical to the score earned by its predecessor.

But while superhero movies continue to roll in the dough, other films that might serve as counter-programming are looking at a much slower start. Take Paramount’s “Book Club,” which stars Diane Keaton, Jane Fonda, Candice Bergen, and Mary Steenburgen as a group of lifelong friends who decide to jumpstart their sluggish love lives after reading “Fifty Shades of Grey.” Tracking has the film only making $10-12 million from 2,800 locations, with Paramount projecting a $9 million start.

While analysts tell TheWrap a slightly higher opening in the mid-teens is possible, it’s still lower than might be expected for a comedy featuring these four seasoned actresses. Daniel Loria, managing editor for Boxoffice Pro, says that the low numbers are in part because the pre-release word of mouth has been relatively sparse, and that the film’s success or failure will be determined on how much positive feedback the film builds in its first few days of release.

“Tracking tends to be lower on these sorts of films because they cater to older audiences, so there’s less of a social media footprint,” said Loria. “I think we’ll have to wait until Memorial Day weekend to really determine how this film is going to do, especially considering that it’s going to have to work to hold a lot of screens with all these blockbusters in the marketplace.”

Paramount, which paid $10 million for the North America, U.K. and France distribution rights to this June Pictures production, will pin its hopes on solid returns in later weeks, as the older demographics that are this film’s target audience tend to see movies later in their theatrical run. Paramount bought the rights at the American Film Market in November, while the film was in post-production.

“Book Club” is directed by Bill Holderman in his directorial debut from a script he co-wrote with Erin Simms. Andy Garcia, Craig T. Nelson, Don Johnson, and Richard Dreyfuss also star. The film does not yet have a score on Rotten Tomatoes.

Finally, there’s Global Road’s “Show Dogs,” a kids’ action-comedy developed by Open Road Films prior to its acquisition by Tang Media Group. The film is expected to open to $7 million from 3,145 locations. The film stars Will Arnett as a human detective who must go undercover at a dog show with his canine partner (voiced by Ludacris). Raja Gosnell directed the film from a script by Max Botkin and Marc Hyman.

Related stories from TheWrap:

'Deadpool 2' Star Josh Brolin Roasts Ryan Reynolds Over 'Green Lantern' in Insult War (Video)

'Deadpool 2' Film Review: Ryan Reynolds Gives His All to a Joke Told the Second Time

Hugh Jackman Congratulates Frenemy Ryan Reynolds on 'Deadpool 2'

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‘Avengers: Infinity War’ Just Might Obliterate China’s Superhero Box Office Record https://www.thewrap.com/avengers-infinity-war-aims-for-superhero-movie-records-in-china/ https://www.thewrap.com/avengers-infinity-war-aims-for-superhero-movie-records-in-china/#respond Thu, 10 May 2018 21:22:27 +0000 Jeremy Fuster https://www.thewrap.com/?p=1888450 “Avengers: Infinity War” reached $1.25 billion at the global box office on Thursday, and this weekend the hit movies is expected to storm into the top ten highest-grossing films of all time. That’s in large part because the Marvel film is finally opening in China, where interest in it has hit highs never before reached by a superhero movie in the country.

Estimates for ticket presales for “Avengers” have reached approximately $50 million, topping the country’s presale record set by “Monster Hunt 2” earlier this year and doubling the best presale performance by a Hollywood import, which was last year’s “The Fate of the Furious” with $25 million.

That’s not a guarantee “Infinity War” will pass either of those films on China’s box office charts, but it does show there’s as much interest in Marvel in the country as there is anywhere else in the world — and certainly more than Disney’s other big IP, “Star Wars,” which hasn’t had the same impact in the Middle Kingdom as it has elsewhere. China Film Insider analyst Jonathan Papish told TheWrap that over the past several years, audiences have turned up for films that offer more than one superhero.

“Solo superhero films seemed to have hit a plateau. They don’t get far beyond $100 million,” said Papish of trends among moviegoers in China. “But ensemble films like ‘Avengers’ and, to a lesser extent, ‘Captain America: Civil War,’ have gathered more interest.”

Papish added that the third “Avengers” film likely won’t sell many tickets among general audiences and in smaller Chinese markets, so weekday numbers should be muted. But hardcore Marvel fans should give it strong numbers in the weekends ahead, especially considering that “Deadpool 2,” which will draw away the comic book movie crowd in other countries starting next weekend, doesn’t have a release date in China.

The only major Hollywood import coming for the next three weeks that might be a speed bump for “Avengers” is “A Quiet Place,” John Krasinski’s horror movie that has become Paramount’s biggest domestic hit in nearly three years. But other than that, “Avengers” is expected to be China’s main blockbuster offering until “Jurassic World: Fallen Kingdom” arrives on June 15.

This means that when all is said and done, “Infinity War” could set a new Chinese record for superhero movies, beating the $240 million made by “Avengers: Age of Ultron” three years ago. Between China’s opening and the holdover performance from the rest of the world (the film is expected to make $55-$60 million in its third weekend in the U.S.) “Infinity War” should make enough to become one of the top five highest grossing films of all-time and beat the all-time summer record set by 2015’s “Jurassic World” with $1.67 billion.

And if Thanos’ invasion especially over-performs in China, “Avengers” might have a chance of becoming only the third film ever — and first released in the summer — to gross $2 billion worldwide. It has already broken the global record as the film to fastest reach $1 billion.

“Whether or not the film hits $2 billion, I think the bigger story is how this film performs in a still-developing Chinese market,” said BoxOffice magazine managing editor Daniel Loria. “The Marvel Cinematic Universe has grown alongside the buying power of the Chinese box office, so it’s always difficult to directly compare how one superhero film does against another as more and more cineplexes and premium screens get added each year.”

“It will be interesting to see how an event film like this does in such a rapidly-growing market, and whether we see a big turn out at IMAX locations like we’ve seen in the rest of the world.”

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'Avengers: Infinity War': Gwyneth Paltrow Might Have Revealed Tony Stark Is Going to Be a Father

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Will 'Avengers: Infinity War' Become the First $2 Billion Summer Hit?

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Don’t Rule Out More ‘Avengers’ Movies After ‘Avengers 4,’ Says Disney CEO Bob Iger https://www.thewrap.com/disney-ceo-bob-iger-says-dont-rule-out-more-avengers-movies-after-avengers-4/ https://www.thewrap.com/disney-ceo-bob-iger-says-dont-rule-out-more-avengers-movies-after-avengers-4/#respond Tue, 08 May 2018 22:26:43 +0000 Trey Williams https://www.thewrap.com/?p=1885990 The untitled “Avengers 4” film, due out next year, is suppose to mark the definitive end to the “Avengers” franchise. That was until “Avengers: Infinity War” set out to break nearly every box office record imaginable in its first couple of weeks.

During Disney’s quarterly conference call with investors on Tuesday, CEO Bob Iger said that people shouldn’t rule out another “Avengers” movie after the scheduled May 2019 release “Avengers 4.”

The next “Avengers” film was initially planned to mark the end of the “Avengers” franchise that Marvel, a Disney subsidiary, set in motion in 2008.

“Given the popularity of the characters and the popularity of this film I don’t think people should conclude there will never be another ‘Avengers’ movie,” Iger said during the conference call.

“Avengers: Infinity War” became the fastest film to reach $1 billion worldwide at the box office last weekend, after pulling in a record-setting $250 million opening weekend.

Of course “Avengers: Infinity War” was helped by combining nearly all the heroes the 18 films before it had introduced. “Avengers: Infinity War” was the biggest of event movies.

Beyond “Avengers” and the current slate of Marvel films, Iger said that he sat down with the studio to plot out Marvel movies “well into the next decade.” He said he is confident the studio has more than enough material to draw from, and that there is also a plan for another franchise outside of “Avengers.”

“There are certainly a lot more stories to tell and many more characters to mine from,” Iger said.

The depth of that mine could get deeper too, pending the company’s proposed $52 billion bid to acquire the majority of Fox’s assets, including “The X-Men.”

Related stories from TheWrap:

How Marvel Studios Rose as Movie Stars Fell

Summer Box Office Preview: Will Marvel Mania Be Enough to Boost Hollywood's Fortunes?

How Marvel Bounced Back From Bankruptcy to Become Hollywood's Biggest Brand

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Will ‘Avengers: Infinity War’ Become the First $2 Billion Summer Hit? https://www.thewrap.com/will-avengers-infinity-war-become-first-2-billion-summer-hit/ https://www.thewrap.com/will-avengers-infinity-war-become-first-2-billion-summer-hit/#respond Tue, 08 May 2018 21:34:25 +0000 Jeremy Fuster https://www.thewrap.com/?p=1885052 “Avengers: Infinity War” has only been in theaters for two weeks and has already grossed nearly $1.2 billion worldwide, becoming the fastest film to hit the $1 billion mark in box office history. Now the question is, can it become the first summer movie ever to reach $2 billion worldwide?

It’s a box office mark that has only been reached by two films on their initial theatrical runs: “Avatar” with $2.7 billion and “Star Wars: The Force Awakens” with $2.06 billion. “Titanic” grossed $1.8 billion in its original run and crossed the $2 billion mark after re-releases in 2012 and 2017. What all three of these films have in common is that they were released in December, allowing the film to run through January and February with little box office competition.

While there are many summer blockbusters that have grossed more than $1 billion, none have reached the level of “Avatar” simply because there are so many blockbusters in theaters during the season that no single one can keep audiences’ attention long enough to hit that impossible mark.

But by moving up the domestic release date for “Infinity War” to April 27 (it was originally set to come out on May 4), Disney has allowed the Marvel film to stretch out the time it will be the only blockbuster in theaters before “Deadpool” hits on May 18. The result? $1.16 billion grossed after just 12 days in global release, with another weekend alone in theaters as it opens in China.

“There are few films that can so radically change the look of the box office with just a one-week release-date move,” said comScore’s Paul Dergarabedian.

“Infinity War” changed how the industry looks at the first weekend of May as the “start of the summer,” added the box office analyst. “The second-weekend totals were less than the opening weekends of films like ‘Captain America: Civil War,’ which released at the start of May [in 2016]. But that hardly matters because of how ‘Infinity War’ had such an astronomic start the week before,” said Dergarabedian.

Using the performance of some past Marvel films and some back-of-the-napkin math to estimate how far “Avengers” could go — starting the count with the $1.18 billion it has grossed globally to date — “Infinity War” is expected to finish with a domestic cume of at least $700 million. (It has grossed $453 million domestically so far.) That should be about it as “Deadpool 2” is expected to open to $130-140 million when it bows on May 18, according to early tracking figures, and take the wind out of “Infinity War”‘s sails.

Over in China, the record for the highest-grossing Marvel movie in that country is “Avengers: Age of Ultron” with $240 million, a mark that “Infinity War” is expected to clear.

That means “Infinity War” should gross at least $500 million more in the U.S. and China during the remainder of its theatrical run.

Analysts who spoke to TheWrap also say they expect at least another $125-$150 million to be grossed by other overseas territories. That puts “Infinity War” at a global total of $1.8-$1.85 billion and needing about and extra $150 million to hit that $2 billion target.

Exhibitor Relations analyst Jeff Bock thinks that extra money could come from China, if the anticipation that has been built by the last two weeks worth of global audience reactions is big enough.

“We’re talking nickels and dimes here obviously because it’s going to make so much, but domestically it’s not going to earn enough to get that last push to $2 billion,” Bock said. “It’s going to come down to China and how it holds internationally. ‘Infinity War’ has already overperformed compared to ‘Age of Ultron,’ so if it does that in China’s massive market and makes $350 million in China, then yeah, it could hit $2 billion.”

It’s always tough for a film to reach that final milestone in the last weeks of its theatrical run. “Black Panther,” for example, is just $7 million away from becoming the third film ever to gross $700 million domestically. But with its digital home release coming this week, it may end up falling just short of that mark, though it has already exceeded everyone’s wildest expectations with a $693 million domestic run and a global total just above the $1.33 billion made by “Star Wars: The Last Jedi.”

And even if “Avengers” also falls short of the most exclusive of all box office clubs, it is still widely expected to pass “Jurassic World” and its global total of $1.67 billion, becoming the biggest summer release of all-time.

“The analogy I like to use is Chuck Yeager trying to reach the speed of sound,” said Dergarabedian. “His plane was already going really fast but the hardest part was just getting that extra bit more to break the sound barrier. That would be the case with ‘Infinity War.’ The hardest part would be that final bit needed to reach the $2 billion mark, and it would have to make that money at a time when a lot of other big movies are going to be fresh in theaters.”

Related stories from TheWrap:

'Avengers: Infinity War' Almost Included a Single Frame of a Single Word at a Crucial Moment

Here's What 'Avengers: Infinity War' Could Mean for the Hulk's Future

'Avengers: Infinity War' Hauls in $112 Million in 2nd Weekend Box Office Win

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34 Movies That Have Grossed $1 Billion Worldwide (Photos) https://www.thewrap.com/movies-billion-dollar-box-office-club-worldwide/ https://www.thewrap.com/movies-billion-dollar-box-office-club-worldwide/#respond Sat, 05 May 2018 17:20:22 +0000 Meriah Doty https://www.thewrap.com/?p=1025570 Films That Topped $1 Billion (Photos)

The coveted billion-dollar club continues to grow with films like “Jurassic World,” “Star Wars: The Force Awakens” and more surpassing $1 billion at the box office.

In the so-called club are older films, too, like “Avatar” and “Titanic” — both directed by James Cameron — along with 1993’s “Jurassic Park,” 2011’s “Harry Potter and the Deathly Hallows Part 2” and 2003’s “The Lord of the Rings: The Return of the King.”

Other films to join the ranks of features that have topped $1 billion globally are Marvel movies, distributed by Disney: “Marvel’s The Avengers,” “Avengers: Age of Ultron,” and “Iron Man 3.”

Both “Dark Knight” films directed by Christopher Nolan broke a billion.

“Avatar” — $2.79B (20th Century Fox, 2009)

“Titanic” — $2.19B (Paramount, 1997)

“Star Wars: The Force Awakens” — $2.07B (Disney, 2015)

“Jurassic World” — $1.67B (Universal, 2015)

“Finding Dory” — $1.00B (Disney-Pixar, 2016)

“The Dark Knight” — $1.00B (Warner Bros., 2008)

“Marvel’s The Avengers” — $1.52B (Disney, 2012)

“Furious 7” — $1.52 billion (Universal, 2015)

After five weekends at the box office, “Rogue One” hit the $1 billion benchmark globally.

Having now earned $485 million domestically and $517 million overseas, Disney-Pixar’s “Finding Dory” crossed $1 billion globally.

The animated feature is Pixar’s second billion-dollar title, along with “Toy Story 3,” and The Walt Disney Studios’ fourth billion-dollar film in the past year.

“Dory” is now the fifth highest grossing animated film of all time globally.

The film was among only three of this summer’s many sequels — also Universal-Blumhouse-Platinum Dune’s “The Purge: Election Year” and Disney-Marvel’s “Captain America: Civil War” — to outperform their predecessors at the box office.

But being a blockbuster doesn’t guarantee a follow-up. A source close to Disney told TheWrap previously that there are absolutely no immediate plans in motion to make sequels to “Finding Dory” or “Captain America.” A “Dory” followup wouldn’t conceivably come for at least another six years given the fact that Pixar is hitting a hard pause button on sequels until roughly 2022.

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https://www.thewrap.com/movies-billion-dollar-box-office-club-worldwide/feed/ 0 Billion-dollar movies aren't as rare as they used to be. Still, there aren't that many of them. See them all here: 

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Billion-dollar movies aren't as rare as they used to be. Still, there aren't that many of them. See them all here: 

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"Avengers: Infinity War" -- $1 billion (Disney/Marvel Studios, 2018)

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"Avengers: Infinity War" -- $1 billion (Disney/Marvel Studios, 2018)

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"Finding Dory" -- $1.00 billion (Disney-Pixar, 2016)

 

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"Finding Dory" -- $1.00 billion (Disney-Pixar, 2016)

 

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"The Dark Knight" -- $1.00 billion (Warner Bros., 2008)

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"The Dark Knight" -- $1.00 billion (Warner Bros., 2008)

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"The Hobbit: An Unexpected Journey" -- $1.02 billion (Warner Bros., 2012)

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"The Hobbit: An Unexpected Journey" -- $1.02 billion (Warner Bros., 2012)

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"Zootopia" -- $1.02 billion (Disney, 2016)

 

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"Zootopia" -- $1.02 billion (Disney, 2016)

 

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"Alice in Wonderland" -- $1.03 billion (Disney, 2010)

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"Alice in Wonderland" -- $1.03 billion (Disney, 2010)

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"Despicable Me 3" -- $1.03 billion (Universal, 2017)

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"Despicable Me 3" -- $1.03 billion (Universal, 2017)

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"Star Wars: Episode I -- The Phantom Menace" -- $1.03 billion (20th Century Fox)

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"Star Wars: Episode I -- The Phantom Menace" -- $1.03 billion (20th Century Fox)

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"Jurassic Park" -- $1.03 billion (Universal, 1993)

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"Jurassic Park" -- $1.03 billion (Universal, 1993)

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"Pirates of the Caribbean: On Stranger Tides" -- $1.05 billion (Disney, 2011)

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"Pirates of the Caribbean: On Stranger Tides" -- $1.05 billion (Disney, 2011)

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"Rogue One: A Star Wars Story" -- $1.05 billion (Disney/Lucasfilm, 2016)

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"Rogue One: A Star Wars Story" -- $1.05 billion (Disney/Lucasfilm, 2016)

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"Toy Story 3" -- $1.06 billion (Disney, 2010)

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"Toy Story 3" -- $1.06 billion (Disney, 2010)

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"Pirates of the Caribbean: Dead Man's Chest" -- $1.07 billion (Disney, 2006)

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"Pirates of the Caribbean: Dead Man's Chest" -- $1.07 billion (Disney, 2006)

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"The Dark Knight Rises" -- $1.08 billion (Warner Bros., 2012)

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"The Dark Knight Rises" -- $1.08 billion (Warner Bros., 2012)

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"Transformers: Age of Extinction" -- $1.10 billion (Paramount, 2014)

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"Transformers: Age of Extinction" -- $1.10 billion (Paramount, 2014)

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"Skyfall" -- $1.11 billion (Sony, 2012)

 

 

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"Skyfall" -- $1.11 billion (Sony, 2012)

 

 

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"Lord of the Rings: The Return of the King" -- $1.12 billion (New Line, 2003) 

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"Lord of the Rings: The Return of the King" -- $1.12 billion (New Line, 2003) 

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"Transformers: Dark of the Moon" -- $1.12 billion (Paramount, 2011)

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"Transformers: Dark of the Moon" -- $1.12 billion (Paramount, 2011)

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"Captain America: Civil War" -- $1.15 billion (Disney, 2016)

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"Captain America: Civil War" -- $1.15 billion (Disney, 2016)

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"Minions" -- $1.16 billion (Universal, 2015)

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"Minions" -- $1.16 billion (Universal, 2015)

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"Iron Man 3" -- $1.22 billion (Disney, 2013)

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"Iron Man 3" -- $1.22 billion (Disney, 2013)

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"Beauty and the Beast" -- $1.26 billion (Disney, 2017)

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"Beauty and the Beast" -- $1.26 billion (Disney, 2017)

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"The Fate of the Furious" -- $1.26 billion (Universal, 2017)

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"The Fate of the Furious" -- $1.26 billion (Universal, 2017)

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"Frozen" -- $1.28 billion (Disney, 2013)

 

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"Frozen" -- $1.28 billion (Disney, 2013)

 

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"Star Wars: The Last Jedi" -- $1.33 billion (Disney/Lucasfilm, 2017)

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"Star Wars: The Last Jedi" -- $1.33 billion (Disney/Lucasfilm, 2017)

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"Black Panther" -- $1.33 billion (Disney/Marvel Studios, 2018)

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"Black Panther" -- $1.33 billion (Disney/Marvel Studios, 2018)

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"Harry Potter and the Deathly Hallows Part 2" -- $1.34 billion (Warner Bros., 2011)

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"Harry Potter and the Deathly Hallows Part 2" -- $1.34 billion (Warner Bros., 2011)

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"Avengers: Age of Ultron" -- $1.41 billion (Disney/Marvel Studios, 2015)

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"Avengers: Age of Ultron" -- $1.41 billion (Disney/Marvel Studios, 2015)

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"Furious 7" -- $1.52 billion (Universal, 2015)

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"Furious 7" -- $1.52 billion (Universal, 2015)

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"Marvel's The Avengers" -- $1.52 billion (Disney/Marvel Studios, 2012)

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"Marvel's The Avengers" -- $1.52 billion (Disney/Marvel Studios, 2012)

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"Jurassic World" -- $1.67 billion (Universal, 2015)

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"Jurassic World" -- $1.67 billion (Universal, 2015)

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"Star Wars: The Force Awakens" -- $2.07 billion (Disney, 2015)

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"Star Wars: The Force Awakens" -- $2.07 billion (Disney, 2015)

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"Titanic" -- $2.19 billion (Paramount, 1997)

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"Titanic" -- $2.19 billion (Paramount, 1997)

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"Avatar" -- $2.79 billion (20th Century Fox, 2009)

 

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"Avatar" -- $2.79 billion (20th Century Fox, 2009)

 

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9 Riskiest, Priciest Summer Movie Gambles, From ‘Ocean’s 8’ to ‘Solo: A Star Wars Story’ https://www.thewrap.com/summer-movie-gambles-oceans-8-solo-star-wars/ https://www.thewrap.com/summer-movie-gambles-oceans-8-solo-star-wars/#respond Thu, 03 May 2018 22:33:06 +0000 Trey Williams and Matt Donnelly https://www.thewrap.com/?p=1881578 The summer movie season is crucial for Hollywood. The four-month period typically accounts for roughly 40 percent of the yearly box office, goosed by out-of-school kids and the lure of both air conditioning and youth-friendly blockbusters.

Studios have even more on the line this year, to make up for last year’s abysmal box office from May through the end of August. The season brought in $3.8 billion, down 15 percent from 2016 and the worst box office in more than a decade.

While there were a handful of pay-offs and surprise hits — such as Warner Bros.’ “Wonder Woman,” Sony’s “Spider-Man: Homecoming” and Universal’s “Girls Trip” — last year’s summer season was wrecked by big-budget underperformers, including Disney’s “Pirates of the Caribbean: Dead Men Tell No Tales,” Universal’s “The Mummy” and Paramount’s “Transformers: The Last Knight” and “Baywatch.”

Surely Hollywood doesn’t want a repeat of last year. Here’s some of our picks for riskiest bets, that studios are likely praying pay off:

“Overboard” (Pantelion, May 4)

Even for the beloved Anna Faris, the filmography of Goldie Hawn is sacrosanct and an inherent risk to reboot — to say nothing of the fact that this reverse-Pygmalion has also reversed its gender roles.

Faris plays a blue collar single mom down on her luck. Eugenio Derbez (“How to Be a Latin Lover”) plays a spoiled playboy whose permanent residence is a yacht — a version of Hawn’s character from the original 1987 comedy. Rough seas and a case of amnesia let Faris manipulate Derbez into believing he’s her husband, and he must support her misbehaved family.

When a trailer launched for the Pantelion comedy, social media did not take well to the optics of a white woman forcing a rich Latino male into lower-middle-class grunt work.

However, the film’s relatively low budget and winning stars — plus a rare film crossover for TV veteran Eva Longoria — has us curious to see if this ship will sail.

“Solo: A Star Wars Story” (Disney/Lucasfilm, May 25)

The production of Disney’s highly anticipated continuation in its Star Wars extended universe has been wracked with turbulence. The original directors for “Solo: A Star Wars Story,” Phil Lord and Chris Miller (“The Lego Movie”), were pushed off the project over creative differences with the studio — replaced by Ron Howard in mid-shoot.

There have been reports of questions about tone and Alden Ehrenreich’s performance in the role that Harrison Ford made famous. As if that weren’t enough, the stakes are higher  — for often prickly “Star Wars” fans — given that this is the first of Lucasfilm’s post-Disney movies that revisits one of its most iconic characters (unlike the previous prequel “Rogue One,” which centered on mostly new characters).

The production budget for the film hasn’t been reported, but it’s probably a safe bet to say it’s in the same ballpark as “Rogue One” ($200 million) and “The Force Awakens'” ($245 million) — perhaps a bit more, given the additional shooting. Luckily, “Solo” appears to have a star performance from “Atlanta” creator Donald Glover, and it’s got that little known brand “Star Wars” behind it too, for what it’s worth.

“Ocean’s 8” (Warner Bros., June 8)

Like most franchises not named Marvel, the “Ocean’s” trilogy saw diminishing returns when George Clooney, Brad Pitt and the crew got together one last time in 2007. But Warner Bros. and writer-director Gary Ross (“The Hunger Games”) will try to breathe new life into the heist team-up with an all-female cast led by Sandra Bullock and Cate Blanchett.

There are two big challenges here: reigniting a franchise after more than a decade and rebooting a familiar property with female leads (especially after Paul Feig’s “Ghostbusters” disappointment two years ago).

The studio is hedging its bets, though. Despite an A-list cast that also includes Mindy Kaling, Anne Hathaway, Helena Bonham Carter, Sarah Paulson, Awkwafina and Rihanna, the film’s $70 million production budget is just under the $85 million budgets of “Ocean’s 13” and “Ocean’s 11” — and a bargain compared to the middle installment’s $110 million cost.

Disney/Pixar

“The Incredibles 2” (Disney/Pixar, June 15)

What’s most incredible about this animated property is that it took Walt Disney Pictures 14 years to make a sequel. The monolithic film company does not usually let intellectual property with this kind of four-quadrant popularity sit still for long.

Brad Bird returns to direct the sequel with original voice stars Holly Hunter, Craig T. Nelson and Samuel L. Jackson — about a family or superheroes in a city where sacking the day results in collateral damage like, you know, dismantled skyscrapers and injured bystanders. Forced into hiding by legislation that make it illegal for them to use their special gifts, the family can’t seen to help saving the day when they’re called.

Millennials who watched the film in pajamas may be too old to rekindle significant box office numbers — but the enduring cultural relevance of the film (mostly thanks to a still-referenced character modeled after Vogue editor Anna Wintour) might make this gamble worth it for the mouse house.

“Sicario: Day of the Soldado” (Sony/Columbia, June 29)

Why exactly are we getting a sequel to 2016’s “Sicario”? Did anyone actually ask for this? Denis Villeneuve’s 2015 action thriller grossed $46.9 million domestically on a production budget of $30 million — not the kind of numbers that would ordinarily justify a follow-up.

Riskier still, original star Emily Blunt sits out the sequel — though Benicio del Toro and Josh Brolin return for a run-in along the U.S.-Mexico border that may end more happily than their encounter in “Avengers: Infinity War.”

Marvel Studios

“Ant-Man and the Wasp” (Disney/Marvel, July 6)

We should say up top that this movie will likely be fine. There’s probably little to worry about, it being Marvel product and all.

The fact that the studio was even able to make one film based on this third-tier character, and survive its own director upheaval back in 2015 is a testament to Marvel Studios and the Marvel brand.

However, “Ant-Man and the Wasp’s” predecessor is one of Marvel’s worst performing films in the MCU. The first “Ant-Man” pulled in a little more than $180 million domestically on a budget of $130 million. The only films in the MCU with lower performing domestic totals are “Captain America: The First Avenger” ($176.7 million) and “The Incredible Hulk” ($134.8 million), which people oft forget is even part of the MCU.

“Ant-Man and the Wasp” is coming just a little more than a month after the Herculean debut of “Avengers: Infinity War,” though. It seems pretty clear that superhero fatigue isn’t really a thing, and Marvel has already begun marketing the film with an “Infinity War” tie-in.

Disney

“Christopher Robin” (Disney, Aug. 3)

Didn’t we see this movie last year? No? It was a different film? After last year’s Fox Searchlight biographical drama “Goodbye Christopher Robin” about Winnie-the-Pooh creator A. A. Milne, Disney will release a fantasy comedic drama, “Christopher Robin,” about a grown up Christopher Robin (played by Ewan McGregor) who’s lost all sense of imagination.

Disney did not spend Marvel bucks on this film, but the studio has not had a great track record when it comes to live-action films that aren’t from Marvel, Lucasfilm or direct adaptations of its vault of animated classics.

“Crazy Rich Asians” (Warner Bros., Aug. 17)

Everything about “Crazy Rich Asians” is decadent summer fun, which makes the adaptation of Kevin Kwan’s best-selling novel perfect for the dog days of August. The risk here would be the same statistic that makes “CRA” so special — it’s the only studio film to feature an entirely-Asian cast in 25 years (last time was the tearjerker “The Joy Luck Club”).

Constance Wu and the hunky Henry Golding play a humble pair of engaged NYU professors, but as wedding plans ratchet up, Wu’s character starts pressuring her beau to meet his parents. Turns out he’s got the same social standing as Prince William in Singapore — and a bank account to match.

If it works, it will be a watershed inclusion moment. If it doesn’t, lagging Hollywood might be hesitant to greenlight anything similar. That can’t wait another 25 years.

“Happytime Murders” (STX Entertainment, Aug. 17)

What’s risky about a film starring Melissa McCarthy as an alcoholic, world-weary detective in an raunchy R-rated comedy thriller? Well, this time she’s in the buddy of a bright, blue puppet.

Brian Henson, son of Muppets creator Jim Henson, directs the satire of gruesome murder mysteries — which garnered much attention at last month’s CinemaCon for footage of felt puppet hookers snorting ecstasy and engaging in silly-string orgasms.

As long as minors don’t wander into the theater unattended, we don’t see this one losing.

Related stories from TheWrap:

Summer Box Office Preview: Will Marvel Mania Be Enough to Boost Hollywood's Fortunes?

Can MoviePass Afford to Survive the Blockbuster-Loaded Summer?

Timothée Chalamet Returns to the '80s in 'Hot Summer Nights' Trailer (Video)

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‘Avengers: Infinity War’ Expected to Assemble $100 Million During 2nd Weekend https://www.thewrap.com/avengers-infinity-war-box-office-second-weekend/ https://www.thewrap.com/avengers-infinity-war-box-office-second-weekend/#respond Wed, 02 May 2018 19:50:38 +0000 Jeremy Fuster https://www.thewrap.com/?p=1881609 After setting the new record for the biggest opening weekend of all time, the next two weekends will bring almost no competition for “Avengers: Infinity War.” On Friday, it is expected to become the fastest film ever to gross $1 billion worldwide, and it could reach the $1.5 billion made by the first “Avengers” when it gets released in China a week later.

As for this weekend, the film could also set a new record for the best domestic second weekend in box office history, though it may be a challenge. Three years ago, “Star Wars: The Force Awakens” made an enormous $149 million in its second weekend, down just 40 percent from its then-record $247.9 million opening. That huge haul was in part due to Christmas falling on a Friday that year, making the first “Star Wars” film in a decade an enticing way for families to spend the holiday weekend.

We’ll see how much of a grip Thanos has on the hearts of Marvel fans in spite of the shocker ending of “Infinity War.” To break the second weekend record, “Avengers” will need to keep its drop-off below 45 percent. Three months ago, “Black Panther,” which opened to $201 million, had the second-best second weekend of all time with $111.6 million, a 45 percent drop. “Avengers” is expected to beat that amount with a second-weekend total of at least $115 million.

Meanwhile, as studios limit their screen counts in Marvel’s wake none of this weekend’s new releases are expected to score an opening of more than $15 million. Foremost among them is MGM/Pantelion’s remake of the 80s romantic comedy “Overboard.” The film is looking at a targeted release of around 1,600 screens with an opening of $11-13 million against a low-teens production budget. That would be in the same range as lead star Eugenio Derbez’s last film, “How to Be A Latin Lover,” which opened to $12.2 million.

Directed by Rob Greenberg, “Overboard” stars Derbez as Leonardo, a spoiled billionaire who mistreats Kate (Anna Faris), the single mother hired to clean his yacht. When Leonardo accidentally falls overboard, he suffers amnesia and is taken in by Kate as part of a scheme to get back at him. Forced into Kate’s working class struggles, Leonardo is miserable at first but eventually develops a sense of work ethic…and much more.

Also coming out in 1,300 screens this weekend is Focus Features’ “Tully,” the latest film from the director-writer team that made “Juno,” Jason Reitman and Diablo Cody. The film reunites Cody and Reitman with Charlize Theron who stars as Marlo, an overworked mother of three who gets an unexpected gift from her brother: a night nanny named Tully (Mackenzie Davis). At first hesistant, Marlo soon develops a deep relationship with Tully that challenges her notions of motherhood. The film has received rave reviews from critics with a 95 percent score on Rotten Tomatoes.

Related stories from TheWrap:

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After 'Avengers: Infinity War,' What in the Hell Happens Now?

'Avengers: Infinity War' — Here's What Happened Next in the Comic Book Version of the Story

Where the Hell Was Ant-Man in 'Avengers: Infinity War'?

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Summer Box Office Preview: Will Marvel Mania Be Enough to Boost Hollywood’s Fortunes? https://www.thewrap.com/summer-box-office-preview-2018-marvel/ https://www.thewrap.com/summer-box-office-preview-2018-marvel/#respond Tue, 01 May 2018 22:28:29 +0000 Jeremy Fuster https://www.thewrap.com/?p=1863934 Hollywood is hoping that three Marvel movies and Disney’s first non-holiday “Star Wars” release will drive summer box office to a recovery from last year’s dismal results, which produced the worst May-August domestic ticket revenues since the turn of the century.

The superhero cavalry could not come soon enough: Domestic ticket sales so far this year stand at $3.85 million, up only 3 percent from this time last year — thanks almost entirely to last weekend’s just-before-summer release of Disney/Marvel’s “Avengers: Infinity War.”

Analysts and distribution execs project an improvement over last summer, but once again see few surefire hits outside of three based on characters from Stan Lee’s comics universe: Disney/Marvel’s “Ant-Man and The Wasp,” Fox’s “Deadpool 2” and the just-released “Avengers: Infinity War.”

“It’s no longer about directors and actors when it comes to drawing in audiences. It’s about brands and concepts,” comScore analyst Paul Dergarabedian told TheWrap. “And there’s no brand bigger in movies right now than Marvel. Even Marvel characters that don’t belong to Disney, like Deadpool, are just clicking with audiences.”

Already this year, Disney/Marvel’s February blockbuster “Black Panther” has accounted for nearly a quarter of all domestic box office revenue. By the end of July, Marvel films could still make up one quarter of 2018’s receipts, even after that total passes $7 billion.

Three weeks after “Avengers: Infinity War” is “Deadpool 2,” the sequel to a film that made $363 million in 2016, the second-highest domestic total ever for an R-rated film. “Ant-Man and The Wasp” likely won’t reach that level, as the first “Ant-Man” made $180 million domestically, but it should provide another solid boost in a July that doesn’t have another likely big moneymaker aside from Paramount’s “Mission Impossible: Fallout.”

Outside of Marvel, there’s another small group of sequels and spin-offs that will go for big numbers this summer and will be crucial to keeping turnstiles moving in June. First among them is Disney/Lucasfilm’s “Solo: A Star Wars Story,” which will arrive Memorial Day Weekend a year after “Baywatch” and a fifth “Pirates of the Caribbean” movie dropped that weekend’s totals to their lowest in nearly 20 years.

A Memorial Day hit would be a welcome turnaround from summer 2017, which failed to top $4 billion in ticket sales for the first time since 2006. The chief culprit? Disappointing returns for franchise films like Disney’s “Pirates of the Caribbean: Dead Men Tell No Tales,” Paramount’s “Transformers: The Last Knight” and Universal’s Tom Cruise-led reboot of “The Mummy.”

“Last summer was a big disappointment because a lot of franchises that were on the slate were no longer as interesting to audiences as a lot of people in the industry had hoped,” Dergarabedian said. “We could really use a turnaround on that front in 2018.”

In addition to “Solo,” exhibitors have high hopes for Universal’s “Jurassic World: Fallen Kingdom,” the follow-up to a film that made a whopping $652 million three years ago, good for fifth on the all-time domestic charts. If “Fallen Kingdom” could even make half of that when it comes out June 22, it would go a long way to sustaining the high numbers that are expected to come in during the first half of the summer season.

On the animated side, there is Pixar’s “The Incredibles 2,” a family offering that has been slowly gaining interest since its first trailer debuted during the Winter Olympics in February. The first “Incredibles” made $261 million domestically in 2004, which equates to $385 million today.

While a $300 million-plus domestic run would be a tough goal, “Incredibles 2” should post a better domestic return than last year’s Pixar summer film “Cars 3,” which made $153 million.

Finally, there are the films that are looking to surprise the Hollywood bean counters, entering midway through the season as counter-programming to the major tentpole releases.

Foremost among them is Warner Bros.’ “Ocean’s 8,” the all-female take on the “Ocean’s Eleven” franchise. That film comes out on June 8, as does A24’s horror film “Hereditary,” which has earned near unanimous acclaim since its premiere at Sundance as one of the scariest films ever to screen at the indie film festival.

But there’s still concern over whether the films coming out in July and August can put up solid numbers. Along with “Ant-Man” and “Mission: Impossible,” the slate for the second half of the summer includes Disney’s “Christopher Robin,” Sony’s “Sicario: Day of the Soldado,” Universal’s “Skyscraper” and “The First Purge,” and Lionsgate’s Kate McKinnon-Mila Kunis comedy “The Spy Who Dumped Me.”

“We’re still seeing Hollywood’s reliance on sequels this summer, but at least these are more potent sequels that audiences really want to see,” Exhibitor Relations analyst Jeff Bock told TheWrap. “But for whatever reason, even though ‘Guardians of the Galaxy’ proved you can have a hit film in August, studios have just decided to not put out any major films that month in the last couple of years.”

Related stories from TheWrap:

25 Summer Movies We're Dying to See, From 'Deadpool 2' to 'Ocean's 8' (Photos)

Can MoviePass Afford to Survive the Blockbuster-Loaded Summer?

'Avengers: Infinity War:' Kevin Feige Tells Us All About That Shocking Opening Death (Exclusive)

'Avengers: Infinity War' Passes 'Justice League' at Global Box Office in 6 Days

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‘Black Panther,’ Record February Boost IMAX’s First Quarter Earnings https://www.thewrap.com/strong-box-office-boosts-imax-first-quarter-earnings/ https://www.thewrap.com/strong-box-office-boosts-imax-first-quarter-earnings/#respond Tue, 01 May 2018 12:40:37 +0000 Tim Baysinger https://www.thewrap.com/?p=1879839 The box office performance of Marvel’s “Black Panther,” which drove IMAX to a record February, helped the theater chain beat its earnings estimates for the first quarter of 2018.

On Tuesday, IMAX reported $85 million in revenue, and adjusted earnings per share of 21 cents, passing analyst estimates of $81.06 million in sales and earnings of 11 cents per share.

The giant-screen chain pulled in $246.9 million at the global box office, including a $53 million take in February. IMAX released 22 films during the quarter, compared to 18 in the same time frame in 2017. In China, IMAX saw a 27 percent increase, largely thanks to the release of three local-language films over the Chinese New Year.

Even though it wasn’t part of IMAX’s first quarter, the movie theater company touted the performance of Marvel’s latest blockbuster, “Avengers: Infinity War,” which stormed to a record $41.5 million opening at the IMAX box office over the weekend. This doesn’t include China, where the film opens this weekend, but IMAX CEO Richard L. Gelfond mentioned during the earnings call that pre-sales have hit $4 million, the strongest in the company’s history.

“Our first quarter results were strong from both a financial and strategic standpoint. We modified our programming strategy, demonstrated operating leverage and set the table for the successful launch of IMAX with Laser, which was bolstered by over 150 signings to date,” said Richard L. Gelfond, IMAX CEO, in a statement accompanying the earnings results.

“In addition to benefitting from the revenue and cost initiatives we implemented last year–which helped drive Adjusted EBITDA growth of 70 percent, compared to Q1 last year–our recent performance also reflects IMAX’s growing value proposition to content-creators and moviegoers alike,” Gelfond continued. “As content-creators emphasize blockbuster-type content and as consumers seek differentiated moviegoing experiences, The IMAX Experience is becoming an increasingly important platform to launch and experience global franchise content.”

Gelfond concluded, “We believe our global footprint, coupled with our focus on creating differentiated experiences for the biggest cinematic releases, uniquely positions IMAX to benefit from these trends.”

The company added 16 new theaters during the quarter, bringing its global count to 1,382 theaters. IMAX also launched its first commercial theater in Saudi Arabia, which recently ended its 35-year cinema ban, with VOX Cinemas in Riyadh Park. “Avengers: Infinity Warwas the first movie to play on its big screen.

IMAX stock opened at $23.85 earnings per share Tuesday, up 2.8 percent from Monday’s close.

Related stories from TheWrap:

'Avengers: Infinity War' Sets Opening Sunday Record, Finishes Weekend With $257 Million

IMAX Credits 'Black Panther' for Record February, Touts Q4 Earnings Boost From Holiday Season

'Dunkirk' to Return to Theaters in IMAX and 70mm for Awards Season

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‘Avengers: Infinity War’ Is Gunning for All-Time Opening Weekend Box Office Record https://www.thewrap.com/avengers-infinity-war-is-finally-here-and-its-going-for-the-all-time-opening-weekend-record/ https://www.thewrap.com/avengers-infinity-war-is-finally-here-and-its-going-for-the-all-time-opening-weekend-record/#respond Tue, 24 Apr 2018 00:16:04 +0000 Jeremy Fuster https://www.thewrap.com/?p=1872839 Here it is at long last. After a decade of superhero blockbusters and six years of hyping the arrival of Thanos, Marvel Studios is set to unleash “Avengers: Infinity War” onto the world. It’s a virtual guarantee that this gathering of Marvel’s pantheon of heroes will have the biggest opening weekend of the year. The question is: Can it have the biggest opening record of all-time?

Currently, trackers are expecting the film will have an opening of around $225 million, which would be second on the all-time list and higher than the $220 million launch earned by “Star Wars: The Last Jedi.” It would also be the biggest opening in superhero movie history, beating the $202 million earned by “Black Panther” two months ago and the $207 million earned by the first “Avengers” in 2012.

As they have done for all major releases, Disney has kept their expectations cautious for “Avengers,” noting that tracking can be unreliable at this level since there are almost no comps for films that open at over $200 million. Still, box office analysts and rival studio execs who have spoken with TheWrap in the past week tell TheWrap that all the pieces are in place for “Infinity War” to beat the all-time opening weekend record, which was set by “Star Wars: The Force Awakens” with $248 million in December 2015.

“If you were to build the perfect blueprint for the build-up to a movie, this is it,” said comScore’s Paul Dergarabedian. “It’s not just the great marketing that Disney has put behind this film. It’s that several major hit Marvel films from ‘Guardians of the Galaxy’ to ‘Thor: Ragnarok’ have been teasing this big showdown between the Marvel heroes and Thanos. Marvel Studios has done a fantastic job building their fans hype for ‘Avengers’ and never letting it drop off.”

And tracking polls are showing just how big this film is. Polls show that unaided awareness — which means that those polled were aware of the film without being prompted — is at 59 percent, higher than the week-of-release results for the last three “Star Wars” movies. That indicates how big the film is among infrequent moviegoers. In addition, 48 percent of those polled said “Avengers” was their first choice, also higher than “Force Awakens” and “Last Jedi.”

It has become an near-annual tradition for the summer movie season to kick off with a Marvel release on the first weekend of May, dating back to “Spider-Man,” which became the first film to post an opening weekend of over $100 million in 2002.  With the exception of 2014, an MCU film has taken that release slot every year this decade, but Disney moved the North American release date one week back to this slot to give “Avengers” a day-and-date worldwide release. Several major characters are expected to be killed off in this film, and the simultaneous release will prevent spoilers from overseas reaching the U.S.

Because of that shift, “Avengers” will blow away the record for the biggest April opening weekend regardless if it passes “The Force Awakens,” with the top previous release for this month being “Furious 7” with a $147 million launch in 2015.

After that, “Avengers” is likely looking at a second-weekend total of over $100 million, a total that would be higher than nine previous MCU films, including “Captain America: The Winter Soldier” with $95 million in 2014. Based on the pace set by “Black Panther,” which has grossed $681 million domestically, “Avengers” should easily pass $500 million in U.S. receipts by the end of May.

Combine that with the openings for “Deadpool 2” and “Solo: A Star Wars Story,” and the box office could be looking at a new gross record for May. The all-time record was set in 2013, when “Iron Man 3” and “Star Trek: Into Darkness” led the box office to a monthly total of $1.14 billion. That is likely to turn around 2018’s year-to-date deficit, which is currently 2.4 percent behind the $3.57 billion made to this point last year.

“Avengers: Infinity War” sees the galactic warlord Thanos (Josh Brolin), who was first teased in the “Avengers” post-credits scene six years ago, finally arrive on Earth as he seeks to gather the six Infinity Stones that will give him godlike power over the entire universe. In the face of this overwhelming threat, The Avengers reunite once more, teaming up with Doctor Strange (Benedict Cumberbatch), Spider-Man (Tom Holland), and the Guardians of the Galaxy in a war that will forever change the MCU.

Anthony and Joe Russo (“Captain America: Civil War”) directed the film from a script by longtime Marvel Studios writers Christopher Markus and Stephen McFeely. The film’s ensemble cast includes Robert Downey Jr., Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Bradley Cooper, Don Cheadle, Vin Diesel, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Anthony Mackie, Sebastian Stan, Danai Gurira, Letitia Wright, Dave Bautista, Zoe Saldana, Josh Brolin, and Chris Pratt.

Related stories from TheWrap:

James Cameron Says He Hopes We'll Get 'Avengers' Fatigue Soon

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Amy Schumer’s ‘I Feel Pretty’ Braces for Ugly Box Office Debut https://www.thewrap.com/i-feel-pretty-box-office/ https://www.thewrap.com/i-feel-pretty-box-office/#respond Wed, 18 Apr 2018 19:25:14 +0000 Jeremy Fuster https://www.thewrap.com/?p=1868462 Amy Schumer’s new comedy “I Feel Pretty” is on track for a disappointing third-place finish in its debut this weekend — a marked decline in the comedian’s fortunes at the box office.

Three years ago, Schumer left a big mark on the box office with her debut film “Trainwreck,” which opened to $30 million and went on to gross $140.7 million worldwide. But last year’s sophomore effort, “Snatched,” flopped in the shadow of “Guardians of the Galaxy Vol. 2,” opening to $19.5 million and only grossing $60.8 million globally.

“I Feel Pretty,” which stars Schumer as a woman who is knocked out while trying to lose weight and wakes up with a completely new perspective about her body, is opening in 3,400 locations. Unlike Schumer’s previous films, “I Feel Pretty” is rated PG-13 instead of R. This could help the film — the directorial debut of Abby Kohn and Marc Silverstein — find a wider audience in coming weeks.

Analysts who spoke with TheWrap say that Paramount’s “A Quiet Place” and New Line’s “Rampage” will once again contend for the No. 1 spot, with the edge being given to “A Quiet Place” after it held its second-weekend drop-off to 34 percent.

“A Quiet Place” is looking at a third weekend total in the low $20 million range, with “Rampage” expected to take a 45-50 percent drop and make a second weekend total in the high teens.

This weekend’s list of wide releases consists of two other films that are all expected to open to under $20 million.

Fox Searchlight’s “Super Troopers 2,” the sequel to the cult comedy by Jay Chandrasekhar. It was released in February 2002 and opened to $6.2 million — $9.8 million in today’s dollars — and the sequel is expected to open to $8-9 million this weekend.

The film is written by and stars the Broken Lizard comedy team, which includes Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter and Erik Stolhanske as a group of bumbling Vermont State Troopers. When a border dispute arises between the U.S. and Canada, the group sets up an outpost in the disputed land, and their arrival isn’t welcomed by the Canadians. Brian Cox, Seann William Scott, Lynda Carter, and Rob Lowe also star.

Finally, there’s Codeblack/Lionsgate’s “Traffik,” a thriller written and directed by Deon Taylor that stars Paula Patton as a journalist whose romantic getaway with her boyfriend is shattered after they accidentally come into possession of a phone belonging to a group of sex traffickers. Lionsgate is giving the film a targeted release of around 1,000 screens with a projected opening of $4 million.

With Marvel’s “Avengers: Infinity War” a week away, most studios are giving this weekend a wide berth. No studio wants to put out a major release this weekend only to have moviegoers ignore it next week in favor of the most anticipated film of the year.

In fact, Warner Bros. moved “Rampage” up to last week after “Avengers” was bumped from May 4 to April 27.

Related stories from TheWrap:

Amy Schumer Claps Back at 'I Feel Pretty' Critics: 'We All Struggle With Self-Esteem'

Amy Schumer and 'I Feel Pretty' Tackle Body Image Issues in First Trailer

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‘A Quiet Place’ Scores Rare Theatrical Release in China https://www.thewrap.com/a-quiet-place-nabs-theatrical-release-in-china/ https://www.thewrap.com/a-quiet-place-nabs-theatrical-release-in-china/#respond Thu, 12 Apr 2018 02:20:32 +0000 Trey Williams https://www.thewrap.com/?p=1863293 John Krasinski’s box office hit “A Quiet Place” is now set to make its way into the Middle Kingdom.

The horror film, which garnered more than $50 million in its domestic theatrical opening, is scheduled to be released in mainland China theaters on May 18, an individual familiar with the release plan told TheWrap.

The film has pulled in roughly $26 million at the international box office, according to Box Office Mojo, and is now set to be only the second American horror film given a Chinese release.

“A Quiet Place” takes place in silence for 95 percent of its runtime — a has a concept that has seemed to click with audiences, at least domestically.

TheWrap’s Jeremy Fuster wrote: “It’s a concept that quickly grabs audience attention and makes for striking trailers that can freak anyone out. But that concept is coupled with protagonists who come up with brilliant ways to survive in a world of silence and who embody a theme that can resonate beyond the hardcore horror crowd: the desire to protect one’s family.”

Written by, directed by and starring Krasinski, “A Quiet Place” isn’t traditionally one that would be likely to score a Chinese release. “Happy Death Day,” the horror-comedy from Blumhouse was the most recent film in the genre to get a release in the country.

That film grossed roughly $10 million in China, according to Box Office Mojo. Along with China, it has yet to open in Russia, Korea, Germany, France or Spain.

Studios have begun to lean more heavily on international box office success as domestic attendance and revenue remain stagnant. China has been one of the biggest markets for Hollywood.

Related stories from TheWrap:

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'A Quiet Place': John Krasinski Says Cast Learned Sign Language for Silent Thriller (Exclusive Video)

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‘Rampage’ Stomps Into Theaters in Need of Big Overseas Launch https://www.thewrap.com/rampage-stomps-into-theaters-looking-for-big-overseas-launch/ https://www.thewrap.com/rampage-stomps-into-theaters-looking-for-big-overseas-launch/#respond Tue, 10 Apr 2018 23:05:26 +0000 Jeremy Fuster https://www.thewrap.com/?p=1862093 After a weekend defined by genre pieces, the new release list has returned to CGI-heavy blockbusters looking for big bucks in Asia. Warner Bros., which is still hauling in studio record returns from China with “Ready Player One,” will now send in New Line’s “Rampage,” the next film from Dwayne Johnson after “Jumanji: Welcome To The Jungle” grossed $950 million worldwide this winter.

At a time when fewer and fewer actors and directors are drawing in moviegoers while the emphasis gets put on franchises and brands, Johnson has defiantly stood against the trend. Even when he’s had a few disappointments like “Baywatch,” he’s rebounded quickly with films like “Jumanji,” which became Sony’s highest grossing film in studio history outside of the “Spider-Man” franchise.

But even with The Rock, “Rampage” is going to need help from overseas as it is expected to gross $35-40 million domestically this weekend against a reported $115 million budget. The film stars Johnson as a biologist who must calm his companion albino gorilla when a strange contagion turns it, a wolf, and a crocodile into giant beasts who destroy the city. In other words, this is a kaiju film, a genre that is popular in Asia. It’s especially popular in Japan, where the film has some rather boisterous marketing. 

But to achieve that success, “Rampage” will have to do better than “Pacific Rim: Uprising,” another kaiju film that was released nearly three weekends ago to a global opening of $150 million, but after which has seen a sharp drop in receipts. Currently holding a global total of $262 million, it’s becoming more and more likely that the sequel to Guillermo Del Toro’s film will wind up in the red.

On the other hand, a more successful result for “Rampage” would be if it could reach $400 million overseas, something the studio came just a couple million close to reaching last year with their previous giant ape film, “Kong: Skull Island.” That film made $168 million in China, $398 million total overseas, and $566.6 million worldwide. “Kong: Skull Island” had a domestic opening of $61 million, so “Rampage” won’t likely reach that global mark. But if Asia responds to “Rampage” the way it did to Kong, it could find profit.

Based on the classic 80s video game, “Rampage” is directed by Brad Peyton (“San Andreas”) and also stars  Naomie Harris, Malin ?…kerman, Joe Manganiello, and Jeffrey Dean Morgan. New Line Cinema produced the film.

The other new release this week is “Truth Or Dare,” the latest film from Universal and Blumhouse. The film is expected to open to $12-15 million, meaning it will most likely fall on the charts below last weekend’s big horror hit, “A Quiet Place.”

Still, “Truth Or Dare” has two big things going for it. First, Blumhouse has built a very strong audience of young, female moviegoers, which helped boost the numbers of several of their past horror titles like “Split” and “Happy Death Day.”

The other big advantage is Blumhouse’s now-industry-famous microbudget approach to filmmaking, never spending more than $5 million on a film unless its a sequel to a proven franchise launcher. With a production budget of $3.5 million, “Truth Or Dare” won’t need to make much to get into the black.

“Truth Or Dare” stars Lucy Hale as a teenager who, along with her friends, is haunted by a malevolent spirit who forces them to play the titular game with deadly consequences. Jeff Wadlow (“Kick-Ass 2”) directed the film from a script by Michael Reisz, with Jason Blum producing.

Finally, Fox Searchlight will expand Wes Anderson’s “Isle of Dogs” to 1930 screens nationwide after three weekends in limited release. Last weekend, the film made $4.6 million from 554 screens bringing its total to $12.3 million. Searchlight projects the film will make an additional $5 million this weekend, bringing it closer to the $20 million mark.

Related stories from TheWrap:

'Rampage' Moves Up One Week to Make Room for 'Avengers: Infinity War'

5 Reasons 'A Quiet Place' Became Horror's Latest Box Office Sensation

'A Quiet Place' Rockets to $50 Million Opening at Box Office

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5 Reasons ‘A Quiet Place’ Became Horror’s Latest Box Office Sensation https://www.thewrap.com/a-quiet-place-became-horrors-latest-box-office-sensation/ https://www.thewrap.com/a-quiet-place-became-horrors-latest-box-office-sensation/#respond Sun, 08 Apr 2018 22:03:36 +0000 Jeremy Fuster https://www.thewrap.com/?p=1860066 After a long series of busts for Paramount, the Melrose studio finally has something to celebrate — “A Quiet Place,” which blew by analyst expectations with an opening weekend of $50 million, is the best start for a Paramount film since “Star Trek: Beyond” nearly two years ago.

And unlike “Beyond,” which had a $185 million budget, “A Quiet Place” was made on a thrifty $17 million budget, making this an instantly profitable release. It’s starring, directed and co-written by John Krasinski, whose success as a first-time filmmaker for a major studio with this horror tale could bring in more offers from Hollywood’s heavyweights.

All of this is thanks to a mix of quality work from Krasinski and his team, excellent stewardship by Paramount, and the continuing success of horror at the box office. Here are our five reasons for “A Quiet Place” taking theaters by storm.

1.) Concept + Heart = Broad Appeal

From a monster that attacks his victims in their nightmares to a doll with the soul of a serial killer, high-concept films are standard when it comes to horror. “A Quiet Place” starts with a concept among the best of them: monsters that will quickly devour anything that makes a sound louder than breathing.

It’s a concept that quickly grabs audience attention and makes for striking trailers that can freak anyone out. But that concept is coupled with protagonists who come up with brilliant ways to survive in a world of silence and who embody a theme that can resonate beyond the hardcore horror crowd: the desire to protect one’s family. 

“It really is all about the story. It’s something that anyone can relate to on a basic level,” Paramount domestic distribution head Kyle Davies told TheWrap. “And the proof of that is in the demographics. This film played in big cities, small cities and with people from all walks of life.”

“Get Out” was able to tap into this crossover appeal last year, providing social commentary for audiences who want more than just a good scare. Krasinski, who told Jimmy Fallon on “The Tonight Show” that he had never seen a horror film before starting work on “A Quiet Place,” said that he signed on to do the project because he empathized with the Abbott parents’ all-encompassing focus on protecting their children and wanted to make that the nucleus of the story. Mission accomplished.

2.) Horror Is Hot at the Box Office

2017 truly was a banner year for horror. Along with “Get Out,” which also won an Oscar and has helped make Blumhouse into one of the most noteworthy studios in Hollywood, titles like “Annabelle: Creation,” “47 Meters Down” and “Split” also came away with strong box office numbers. And, of course, there was “It,” which became one of the top 10 highest grossing films of last year and set a new all-time box office record for horror.

In other words, moviegoers love a good scare right now, and Hollywood is delivering with several well-reviewed films. “A Quiet Place” is the latest in that slew of successes, and audiences have responded.

3.) Blockbuster Counter-Programming

Part of the reason for this interest in horror is because it provides an alternative to the usual triple-A action blockbusters released on a regular basis. This past March was defined by such films, with “Tomb Raider” and “Pacific Rim: Uprising” needing China to help boost numbers before “Ready Player One” finally became the mega-budget film that domestic audiences responded to.

But this also meant the market was wide open for studios who could provide a movie for those who weren’t interested in CGI flash-and-bang. “A Quiet Place” was able to provide that at a much cheaper price tag for the studio, serving as genre counter-programming to “Ready Player One.” This was also the case for “Blockers,” a raunchy comedy from Universal that opened to $21.4 million this weekend.

4.) SXSW

This annual festival in Austin has become the perfect launch pad for studios with films that might be commercially risky or not on most moviegoers’ radars. If your film’s got the goods, the critics and crowds at South by Southwest will quickly let the rest of the world know, as we saw when “Ready Player One” finally got some traction after holding its world premiere at SXSW and getting a standing ovation.

“A Quiet Place” enjoyed similar acclaim after its SXSW launch, earning unanimous praise from critics in Austin and going on to post a 97 percent rating on Rotten Tomatoes. Anticipating that praise, Paramount set the film to be released in this early April slot to capitalize off the critical success.

5.) The New Paramount Regime

As noted at the top, Paramount is a studio in desperate need of a turnaround at the box office, and “A Quiet Place” marks the first big victory for the company under its new CEO, Jim Gianopulos.

The former 20th Century Fox head took over at Paramount 12 months ago, just three weeks after “A Quiet Place” was greenlit with Krasinski and his wife, Emily Blunt, attached to the project. Under Gianopulos’ team, the film became a priority project at Paramount, with the studio deciding to make it the centerpiece of SXSW in the hopes of quickly building word of mouth. In between the festival and release, Paramount launched an extensive digital campaign promoting the film’s premise, with Krasinski and Blunt making appearances on “The Today Show,” “Ellen” and “The Tonight Show” to promote it.

Next week, “A Quiet Place” will go against Blumhouse and its new movie “Truth or Dare.” It’s expected to win as early projections have it making a second weekend total in the $20 million range, with “Truth or Dare” opening in the low teens.

Related stories from TheWrap:

'A Quiet Place' Rockets to $50 Million Opening at Box Office

Let's Refresh Your Movie Theater Etiquette Before Silent Trip to 'A Quiet Place' (Video)

'A Quiet Place': John Krasinski Says Cast Learned Sign Language for Silent Thriller (Exclusive Video)

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‘You Were Never Really Here’ Rides Cannes Praise to Big Indie Box Office Start https://www.thewrap.com/you-were-never-really-here-joaquin-phoenix-cannes-big-indie-box-office-start/ https://www.thewrap.com/you-were-never-really-here-joaquin-phoenix-cannes-big-indie-box-office-start/#respond Sun, 08 Apr 2018 17:49:41 +0000 Jeremy Fuster https://www.thewrap.com/?p=1859980 Off the wave of strong reviews from critics, Amazon’s Cannes thriller “You Were Never Really Here” got off to a good start at the indie box office, releasing on three screens in New York and Los Angeles and making just under $130,000 for a per screen average of $43,304.

“You Were Never Really Here” got heavy marketing aimed towards the arthouse crowd, with trailers and ads touting the Best Screenplay and Best Actor awards the film won for director Lynne Ramsay’s script and Joaquin Phoenix’s lead performance as a trauma-stricken former FBI agent turned hired gun who rescues young girls from sex traffickers. The film holds an 88 percent score on Rotten Tomatoes and now has the second-highest PSA of the year behind “Isle of Dogs.”

Speaking of “Isle of Dogs,” Fox Searchlight expanded the stop-motion animated film to 554 screens in its third weekend, which pushed the film into the top 10 among all films with $4.6 million and a PSA of $8,300. Now with a domestic total of just over $12 million, the film will expand nationwide next weekend to over 1,700 screens.

On the new release list is A24’s horse drama “Lean on Pete,” which made just over $50,000 on four screens in Los Angeles and New York for a per screen average of $12,530. The film stars Charlie Plummer as a teen who bonds with an old horse named Pete after his relationship with his father (Travis Fimmel) ends up on the rocks. When the boy discovers that Pete is scheduled to be slaughtered, he takes the horse and runs away from home.

The film is directed and written by Andrew Haigh and also stars Chloe Sevigny and Steve Buscemi. It currently has a 90 percent score on Rotten Tomatoes.

Among holdovers is FIP’s “Baaghi 2,” a Bollywood action film starring Tiger Shroff and directed by Ahmed Khan, made $255,000 from 124 screens to push its U.S. cume to $1.17 million. Lastly, IFC’s “The Death of Stalin” added $1.1 million in its fifth weekend from 554 screens, bringing its total to $5.6 million.

Related stories from TheWrap:

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Why Hollywood Studios Depend on Frequent Moviegoers More Than Ever https://www.thewrap.com/monthly-moviegoers-mpaa-us-ticket-sales/ https://www.thewrap.com/monthly-moviegoers-mpaa-us-ticket-sales/#respond Wed, 04 Apr 2018 20:24:01 +0000 Jeremy Fuster https://www.thewrap.com/?p=1856938 The movie theater industry is transitioning to a new environment where frequent customers, not customer size, is the main focus.

Moviegoers who go to the cinema at least once a month contributed nearly half of the 1.24 billion tickets sold last year, according to an annual report by the Motion Picture Association of America.

The new survey shows that monthly moviegoers only comprise 12 percent of the entire U.S. population with 43 million, but accounted for 49 percent of all tickets sold. This is despite the fact that more than 75 percent of the population (263 million people) went to the cinema at least once last year.

The new study — which has transitioned from being conducted over the phone to online questionnaires — also expanded its data to include home entertainment for the first time ever, and the results showed that the hardcore moviegoing crowd is also a major force in media technology sales as well.

“You might find oxymoronic for someone who represents theater owners to champion the home entertainment part of the report,” said John Fithian, president of the National Association of Theater Owners in a press call hosted by the MPAA. “Those same people who have the most technologies are also the most frequent moviegoers. We want our distribution and production partners to make more money in the home because they can make more and bigger movies for us.”

But the survey also notes that the demographic breakdown of these frequent moviegoers is trending older, showing the challenge faced by the industry of getting Generation Z into theaters on a regular basis. The most frequent moviegoers according to the survey are between the ages of 25 and 39, followed by moviegoers in their forties. Gender breakdown remains virtually equal.

In the press call, new MPAA Chairman Charles Rivkin downplayed the decrease in frequent moviegoers under 25, with a 28 percent drop from 2016 among audiences aged 18 to 24 and a 22 percent drop among teens. Rivkin said that year-to-year comparisons are impossible because of the change in how the survey was conducted.

But the forecast isn’t all bad. On average, the total population of teenage moviegoers attended an average of 4.9 movies over the course of the year — more than any other age group — and closely followed by 18 to 24 year olds with an average of 4.7 movies a year.

Still, the data showing the growing power of frequent moviegoers reflects what several theater chain owners have told TheWrap in recent weeks: The future of the industry relies on reaching out to those who still value the moviegoing experience. Subscription services like MoviePass, which offers a movie ticket a day for under $10/month, are trying to reach out to those monthly moviegoers while building consumer data from their use of the system to create a database that can be sold to studios and exhibitors.

“A generation ago, this business was about the size of the audience, back when 98 percent of people went to theaters on a regular basis,” said one Midwest regional chain owner who spoke to TheWrap on condition of anonymity. “But now a smaller and smaller fraction of customers are driving more and more of the revenue for us each year, so a lot of our partnerships and amenity additions, from MoviePass to a larger concessions menu and luxury recliners, are about giving those people who love going to the movies a lot a reason to keep coming back.”

You can read the MPAA’s full report here.

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‘A Quiet Place’ Expected to Creep up on ‘Ready Player One’ at Box Office https://www.thewrap.com/a-quiet-place-expected-to-creep-up-on-ready-player-one-at-box-office/ https://www.thewrap.com/a-quiet-place-expected-to-creep-up-on-ready-player-one-at-box-office/#respond Tue, 03 Apr 2018 23:35:06 +0000 Jeremy Fuster https://www.thewrap.com/?p=1856347 As “Ready Player One” tries to build its solid start at the box office into long-term performance, two genre films will enter movie theaters hoping to carve out their own niche among theatergoers: Paramount’s silent horror film “A Quiet Place” and Universal’s raunchy teen comedy “Blockers.”

“A Quiet Place” has received rave reviews since its premiere at SXSW last month, currently holding a 100 percent score on Rotten Tomatoes with 49 reviews logged. That’s very good news for Paramount, a studio for which box office successes have become very sparse over the past year.

After a March marked by high-budget blockbusters struggling just to break even, “A Quiet Place” is a change of pace, as Paramount has taken an approach closer to the low-risk/high-reward formula that Universal and Blumhouse have perfected to great success. Directed by “The Office” star John Krasinski in his first project for a major studio, “A Quiet Place” has a budget of $17 million that it is expected to make back this weekend with an opening in the low $20 million range.

“A Quiet Place” is also hitting theaters at a time when audiences have come out in droves for quality horror films. From criticall- acclaimed titles like “Get Out” and “Split,” to record-breaking populist fare like “It,” 2017 was a year when moviegoers couldn’t get enough of a good scare. If the critics are any indication, Krasinski has created just that, and positive word of mouth could help turn this film into a much needed win for Paramount.

“As we’ve seen over the past few years, nothing can stop a losing streak for a distributor like a good horror film,” said Exhibitor Relations analyst Jeff Bock. “And Paramount has had a history of big horror hits like ‘Friday the 13th’ and ‘Paranormal Activity,’ so they know how to market in the genre.”

“A Quiet Place” stars Krasinski and his wife, Emily Blunt, as Lee and Evelyn Abbot, a married couple trying to protect their family from monsters who hunt humans and can track even the slightest noise. As a result, the family is forced to communicate through sign language, something that they had already done to communicate with their deaf daughter, Regan (“Wonderstuck” star Millicent Simmonds). Krasinski directed from a screenplay he co-wrote with Bryan Woods and Scott Beck, and is producing with Michael Bay, Andrew Form and Brad Fuller.

“Blockers,” meanwhile, is another film that is entering theaters with strong reviews, but is doing so from a genre that is recovering from a big slump: R-Rated comedies. The last film of that kind to hit theaters, “Game Night,” has been able to do well with $101 million grossed against a $37 million budget. But 2017 was filled with adult comedies that fell flat, including “Snatched,” “Baywatch,” “The House,” and “Rough Night.”

But Universal did have the one comedy of 2017 that bucked this trend: “Girls’ Trip,” which grossed $140 million against a $19 million budget. Now it’s hoping to find similar success with “Blockers,” which sports a $20 million price tag and an 88 percent score on Rotten Tomatoes. Trackers have the film opening in the high teens, with hopes of a strong multiple as the film will provide theaters with a female-focused comedy at a time when cineplexes are filled with big action films aimed at men.

“This weekend should be a pretty good one because we now have a variety at theaters that we haven’t had much of so far this year,” said comScore’s Paul Dergarabedian. “While ‘Ready Player One’ will still be around as a mainstream blockbuster, there’s now a smaller horror film and comedy film that have good word of mouth and can provide something for moviegoers who want something different. And ‘Isle of Dogs’ will also be expanding to more theaters, so that will provide even more options.”

Directed by “Pitch Perfect” trilogy writer Kay Cannon in her directorial debut, “Blockers” follows a group of teenage girls (Kathryn Newton, Geraldine Viswanathan and Gideon Adlon) who make a pact to lose their virginity on prom night. When the girls’ parents (Leslie Mann, Ike Barinholtz and John Cena) discover their plans, they form a desperate plot to stop them. Cannon directs from a script by Brian and Jim Kehoe, with Seth Rogen producing.

“Ready Player One,” meanwhile, hopes to keep its momentum going by holding its second weekend drop to less than 50 percent. That would mean a result of more than $20 million, though to hold on to the No. 1 spot it will likely need to make more than $26 million as “A Quiet Place” is expected by analysts who spoke with TheWrap to perform above projections. The film currently has a domestic total of $59 million after five days in theaters.

Fortunately for Warner Bros., Spielberg’s latest is performing very well in China, where it is approaching the $100 million mark while pushing “RP1”‘s global total past $200 million. With the exception of a handful of films like “Coco” and the “Fast & Furious” franchise, very few Hollywood movies endure in China as audiences go back to local fare shortly after those American blockbusters are released.

But “RP1” is showing more life in the Middle Kingdom, making $9.8 million in China on Monday for a 57 percent drop from its Sunday total. By comparison, “Coco,” which grossed $189 million in China, had a Sunday-to-Monday drop of 65 percent. “Black Panther” had a 68 percent drop, and “Star Wars: The Last Jedi” had a 70 percent drop. If these good holds continue to come in, a $500 million global total could be in reach for “Ready Player One.”

Related stories from TheWrap:

Steven Spielberg Is Back! 'Ready Player One' Scores His Best Box Office Debut in a Decade

'A Quiet Place' Star Emily Blunt on Working With Director-Husband John Krasinski: 'Wonderful Relief' (Video)

'Blockers' Film Review: John Cena, Leslie Mann Teen Sex Comedy Lands a Joke a Minute

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‘Isle of Dogs’ Stays Atop Indie Box Office in Second Weekend as ‘Gemini’ Opens https://www.thewrap.com/isle-of-dogs-indie-box-office/ https://www.thewrap.com/isle-of-dogs-indie-box-office/#respond Sun, 01 Apr 2018 18:48:01 +0000 Jeremy Fuster https://www.thewrap.com/?p=1854489 Fox Searchlight’s “Isle of Dogs” is still atop the indie box office on Easter weekend, grossing an estimated $2.8 million after expanding to 165 screens for the top per screen average of the weekend with $17,030.

With this result, Wes Anderson’s latest film will have a ten-day total of $5.9 million, with the film expanding to 450-500 screens next weekend followed by a nationwide release the weekend after.

Among newcomers, Sundance Selects’ “Love After Love” had the highest PSA with $11,263 from an exclusive engagement at Laemmle’s Town Center in Encino, CA. Directed by Russell Harbaugh, the film stars Andie MacDowell as a mourning widow who tries to find new love while dealing with her two sons who struggle to cope with their father’s death in their own way. The film has a 100 percent score on Rotten Tomatoes from 15 reviews.

Also debuting this weekend is the Neon thriller “Gemini,” which stars Lola Kirke as a Hollywood assistant who must clear her name while being pursued by a determined cop (John Cho) after her starlet boss (Zoe Kravitz) is murdered. Debuting on four screens, the film made $34,184 for a PSA of $8,546.

Elsewhere, IFC’s “The Death of Stalin” is nearing the $4 million mark after making $1.45 million from 484 screens in its fourth weekend, while Sony Pictures Classics’ “The Leisure Seeker” passed the $1 million mark in its fourth weekend after making $248,622 from 155 screens. Finally, SPC’s Oscar winner “Call Me By Your Name” is nearing $18 million from its run, adding $45,276 in its 19th weekend.

Related stories from TheWrap:

'Isle of Dogs' Film Review: Wes Anderson's Fetching Animated Tale Features His Pet Obsessions

Wes Anderson's 'Isle of Dogs' Triggers Debate Over Cultural Appropriation

All 9 Wes Anderson Features Ranked, Worst to Best (Photos)

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Steven Spielberg Is Back! ‘Ready Player One’ Scores His Best Box Office Debut in a Decade https://www.thewrap.com/ready-player-one-steven-spielberg/ https://www.thewrap.com/ready-player-one-steven-spielberg/#respond Sun, 01 Apr 2018 17:09:08 +0000 Jeremy Fuster https://www.thewrap.com/?p=1854479 After several years of prestige films and wide release flops, Steven Spielberg is making his mark on the box office again with a popcorn-munching crowd pleaser, as “Ready Player One” sits atop the box office with $53 million made on Easter weekend. That’s the famed director’s biggest opening since the $100 million start he bagged for “Indiana Jones and the Kingdom of the Crystal Skull” a decade ago.

While Spielberg is credited with shaping much of populist cinema with films like “Jaws” and the Indiana Jones Trilogy, many of his biggest hits came at a time before opening weekends were a big deal at the box office. “Crystal Skull” is his biggest opening weekend ever, and even if you adjust the numbers for inflation, Spielberg only has three films with $100 million-plus openings, the other two being his “Jurassic Park” films.

It has been a while since Spielberg has hit the top of the box office charts like this. Since “Crystal Skull,” he has focused most of his efforts towards adult audiences, including “The Post,” a film that he took a break from post-production on “Ready Player One” to make.

Other films he’s made in this period include “War Horse,” “Lincoln,” and “Bridge of Spies,” which have earned him Oscar nominations but have not set the box office on fire. The highest grossing film of this bunch was “Lincoln,” which made $182 million domestically with a $21 million wide opening.

Meanwhile, the two Spielberg films that were meant for family audiences ended up fizzling out. His 2011 motion-capture adaptation of “The Adventures of Tintin” only opened to $9.7 million with $77.5 million grossed domestically. It was able to recover overseas, where Tintin is more popular, making 80 percent of its $374 million worldwide gross outside of the U.S.

Then, in 2016, Spielberg suffered one of the biggest flops of his career, directing Disney’s adaptation of Roald Dahl’s “The BFG.” “Ready Player One” has nearly eclipsed that film’s entire domestic gross of $55.4 million in just one weekend, and worldwide “The BFG” made just $183 million against a $140 million budget.

With a $175 million production budget and an extensive marketing campaign behind it, “Ready Player One” still has a ways to go before it becomes profitable. But it’s off to a good start with strong word of mouth worldwide and a $181 million global start, including WB’s best ever opening in China with $81 million. But “RP1” has some steep competition in the coming weeks against films like Dwayne Johnson’s latest project, “Rampage.”

But for now, the King of Blockbusters is back.

Related stories from TheWrap:

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Can ‘Ready Player One’ Save Box Office From Post-‘Black Panther’ Slump? https://www.thewrap.com/can-ready-player-one-save-box-office-from-a-big-slump/ https://www.thewrap.com/can-ready-player-one-save-box-office-from-a-big-slump/#respond Tue, 27 Mar 2018 22:58:27 +0000 Jeremy Fuster https://www.thewrap.com/?p=1849326 Since its release, “Black Panther” has done much of the heavy lifting at the box office, with its $631 million domestic revenue — best of any superhero movie — accounting for roughly a quarter of the $2.53 billion grossed so far in 2018.

But after six weekends, “Black Panther” can no longer sustain the marketplace on its own, and in recent weeks we have seen high-budget event releases like “A Wrinkle In Time” and “Pacific Rim: Uprising” largely underperform, leading to a 37 percent drop this past weekend compared to the previous frame.

So if exhibitors are going to keep moviegoers coming in through April until “Avengers: Infinity War” comes out, they will need a new movie to draw them in, which brings us to Easter weekend and Steven Spielberg’s ode to all things geek, “Ready Player One.”

Independent trackers are split on how the film will do on its four-day opening, with some projecting a $40 million start for the reported $175 million movie, while others are somewhat more optimistic with a $55 million projection. Distributor Warner Bros. puts its projections in between with an opening in the high 40s.

Based on the 2011 bestselling novel by Ernest Cline, “Ready Player One” is a film that aims to please, with a virtual world that promises endless escapism and loads of references to geek culture. But since the film’s first trailer was unveiled at Comic-Con last year, an immense backlash has risen against the book, with people on social media criticizing the plot as derivative and overly reliant on nostalgia.

But when the film had its world premiere at SXSW earlier this month, it was met with a standing ovation from attendees and positive reviews from critics, who have given it a current Rotten Tomatoes score of 83 percent. WB is releasing the film on Thursday instead of Friday, hoping that early viewers go as crazy for the film as the crowd in Austin and form the foundation for a very strong word of mouth.

That might be the one path to profitability for “Ready Player One,” as a $40-50 million start wouldn’t be a strong start considering the film’s price tag. Several films this month like “Pacific Rim: Uprising” have needed overseas grosses to bail them out as their domestic returns couldn’t live up to their production costs. “Ready Player One” will open in 85 percent of international markets, with releases in Germany and Japan coming later next month.

But if “RP1” can gain a reputation as a fun, popcorn-munching thrill ride and intrigue moviegoers that don’t play “Overwatch” or know every “Monty Python” movie verbatim, it could have long-lasting performance in the United States over the course of the next month. For exhibitors hoping to avoid a sluggish April, this would be a very welcome gift.

“Ready Player One” stars Tye Sheridan as Wade Watts, a young man who lives in a dystopian future where almost everyone escapes their horrid reality through a virtual world called the OASIS. With the help of his friends, he sets out to complete a quest created by the OASIS’ late creator (Mark Rylance) before the head of an evil corporation (Ben Mendelsohn) can finish it and take over the virtual system.

Spielberg directed the film from a script penned by Cline with Zak Penn. The film also stars Olivia Cooke, Lena Waithe, Philip Zhao, Win Morisaki, and Simon Pegg.

Along with “Ready Player One,” two other films are entering theaters this weekend: Lionsgate’s “Acrimony” and Pure Flix’s “God’s Not Dead: A Light In Darkness.”

“Acrimony,” the latest film from Tyler Perry, stars Taraji P. Henson as a faithful wife who concocts a plan of vengeance after discovering that her husband (Lyriq Bent) has been unfaithful. The film is projected to have a $10 million start this weekend from a budget of $20 million.

“God’s Not Dead: A Light In Darkness” is the third film in the faith-based movie series from Pure Flix, with Michael Mason taking over as director from Harold Cronk. Starring Jennifer Taylor, John Corbett, and Tatum O’Neal, the film is looking at a $5-6 million start and will go against fellow Christian film “I Can Only Imagine,” which has been a hit with Christian audiences and is expected to add substantially to $39.5 million total this Easter weekend.

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‘Pacific Rim: Uprising’ May Dethrone ‘Black Panther,’ But It Needs Overseas Boost https://www.thewrap.com/pacific-rim-uprising-may-dethrone-black-panther-needs-overseas-boost/ https://www.thewrap.com/pacific-rim-uprising-may-dethrone-black-panther-needs-overseas-boost/#respond Wed, 21 Mar 2018 00:15:43 +0000 Jeremy Fuster https://www.thewrap.com/?p=1843941 After five weekends, “Black Panther” is expected to finally concede the No. 1 spot at the weekend box office to “Pacific Rim: Uprising,” Universal and Legendary’s sequel to Guillermo del Toro’s 2013 blockbuster pitting giant robots against enormous undersea monsters.

But for this ode to Japanese kaiju movies to make a profit, it’s going to need a big boost from overseas markets like the first film did. Five years ago, Warner Bros. released “Pacific Rim” with a $190 million production budget. Domestically, the film opened to $37.2 million, taking third place on the charts behind sequels to “Despicable Me” and “Grown Ups.” The film went on to make $101.8 million in the U.S.

But “Pacific Rim” was able to become del Toro’s highest grossing movie thanks to strong performance overseas, especially in Asia, where much of the film took place. The film made $111.9 million in China, followed by $20.6 million in Russia, $18.1 million in South Korea, and $14.5 million in Japan. It also found success in the U.K. with $12.7 million and del Toro’s home country of Mexico, where it made $16.1 million.

In total, “Pacific Rim” made $411 million, earning it cult status and prompting Universal to green light this sequel with Steven DeKnight in the director’s chair and del Toro returning as producer. “Uprising” will need to have just as strong overseas performance as its predecessor did, as trackers only expect the film to make about $25 million domestically. The film opens day and date in 62 markets this weekend, and is currently holding a 65 percent Rotten Tomatoes score.

Taking place a decade after the first film, “Pacific Rim: Uprising” follows Jake Pentecost (John Boyega), son of Stacker Pentecost, the leader of the anti-kaiju forces who sacrificed his life to stop their invasion of Earth. Now monsters are starting to return through to Earth, forcing Jake to live up to his father’s name and stop both the monsters and the traitor that allowed them to return in the first place.

DeKnight is directing from a script co-written by Emily Carmichael, Kira Snyder, and T.S. Nowlin.  Scott Eastwood, Cailee Spaeny, Jing Tian, and Adria Arjona star in the film, with Rinko Kikuchi, Charlie Day, and Burn Gorman returning from the original film. The series made the jump from WB to Universal after Legendary Pictures signed a five-year distribution deal with Universal in 2014.

Also releasing this weekend is Paramount’s animated film “Sherlock Gnomes,” the sequel to the 2011 film “Gnomeo & Juliet.” It is expected to open this weekend in the low teens from 3,660 locations. “Gnomeo and Juliet” grossed just under $100 million domestically and $193 million worldwide.

Opening on 2,000 screens is “Midnight Sun,” a teen romance film starring Bella Thorne and Patrick Schwarzenegger which was originally a title from Open Road Films but which is now being released by the rebranded Global Road Entertainment. Open Road acquired the domestic distribution rights for the film in October 2016 before it in turn was acquired by Tang Media Group last August. “Midnight Sun” is expected to open to $4-6 million this weekend.

Finally, opening in limited release this weekend is Fox Searchlight’s “Isle of Dogs,” the latest film from Wes Anderson. Following a pack of dogs exiled to an island of trash by a corrupt Japanese mayor, the film opens on 27 screens this weekend in six cities and will expand to 150 screens next weekend. Anderson’s last film, “The Grand Budapest Hotel,” made $59 million domestically and $174 million worldwide in 2014.

Related stories from TheWrap:

'Pacific Rim Uprising' Film Review: Sequel Brings More Monsters and Robots, But No Fun

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'Black Panther' 5-Peats at Box Office, Crossing $600 Million Domestic

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‘Black Panther’ Joins ‘Avatar’ in Elite Box Office Records Club https://www.thewrap.com/black-panther-avatar-box-office-records-club/ https://www.thewrap.com/black-panther-avatar-box-office-records-club/#respond Sun, 18 Mar 2018 17:15:03 +0000 Jeremy Fuster https://www.thewrap.com/?p=1841603 “Black Panther” has taken on all comers at the box office and has now done something that no film has been able to do for the past eight years: it is the first film since “Avatar” in 2010 to take the No. 1 spot at the box office for five consecutive weeks.

At a time when studios are putting out major releases throughout the year, it’s much harder for a film to remain atop the charts for more than three weeks in today’s market. Aside from “Avatar” — which was No. 1 for seven straight weeks from mid-December 2009 through the end of January 2010 — all the films that have stayed at No. 1 for five straight weeks or more were released before the turn of the century.

After “Avatar,” the most recent film to five-peat at the box office was “The Sixth Sense” in the summer of 1999. The record for longest No. 1 streak belongs to “Titanic,” which opened in mid-December 1997 and stayed atop the charts for 15 weekends through the end of March 1998. Second on the list is “Beverly Hills Cop” with 13 weekends in 1984-85, followed by “Home Alone” with 12 weekends in 1990-91.

With a total of $605 million, “Black Panther” will pass the $623 million made by “The Avengers” sometime this week, making it the top superhero movie on the domestic charts of all time. At 31 days, it’s the second-fastest film to gross $600 million domestically, sitting only behind “Star Wars: The Force Awakens.”

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How ‘A Wrinkle in Time’ Could Still Find Box Office Success https://www.thewrap.com/wrinkle-in-time-box-office-success/ https://www.thewrap.com/wrinkle-in-time-box-office-success/#respond Wed, 14 Mar 2018 23:17:43 +0000 Jeremy Fuster https://www.thewrap.com/?p=1837619 At a time when demand for diversity in Hollywood has reached a fever pitch, Ava DuVernay and Ryan Coogler made box office history this past weekend. They became the first black directors to release films with $100 million-plus budgets that finished in the top two spots at the weekend box office, as “Black Panther” and “A Wrinkle in Time” combined to make $74 million.

But while DuVernay’s adaptation of Madeline L’Engle’s novel has that achievement under its belt, “A Wrinkle in Time” is still facing an uphill battle for box office success. It only made $33 million in its opening weekend against a $103 million budget, and has made just under $42 million worldwide with a slow overseas rollout still to come. If the film shows the same performance as “Tomorrowland,” another Disney release that opened to $33 million in 2015, it’s looking at a final total of only $200-250 million.

But there is one possible path to better numbers for “Wrinkle,” and that lies in the audience that DuVernay crafted her movie’s message for: the youth, and especially girls.

While overall reception to “Wrinkle in Time” has been mediocre with a 42 percent critics score on Rotten Tomatoes and a B on CinemaScore, women under 25 polled by CinemaScore on opening night gave the film an A-. Meanwhile, on comScore/Screen Engine’s PostTrak, 79 percent of women under 25 polled gave the film a positive score. That demographic comprised 33 percent of the total audience, followed by 24 percent being women over 25.

Even if “Wrinkle In Time” isn’t getting the widespread interest and adoration from moviegoers as “Black Panther,” it still seems to have struck a chord with kids, which is what Disney hoped for when they put the film in this release slot. Though it’s sharing theater space with the still in-demand “Black Panther,” Disney put “Wrinkle” out in early March to draw in family audiences during spring break. The studio has been able to attract kids on school break quite well recently, with “Zootopia” and the “Beauty and the Beast” remake making a combined $845 million domestically from their March releases.

“With a film like [Wrinkle in Time’] we really wanted to take advantage of this spring break window, which rolls all the way through Easter,” said Disney distribution head Dave Hollis. “It’s a story with a really inspirational message and heroes that we believe kids can really connect with.”

If family and female audiences show up, “Wrinkle in Time” could hang tough on the charts like “The Greatest Showman” did in January. Fox’s circus musical was slow out of the gate going against recognized titles like “Star Wars” and “Jumanji,” but has been able to make more money domestically than “La La Land” thanks to strong word of mouth in later weeks.

“Sometimes a movie ends up surprising us by finding an audience even though it doesn’t have the pre-release buzz or the reviews behind it,” said comScore’s Paul Dergarabedian. “There’s been a lot of talk about movies having characters that all people can identity with, and ‘Wrinkle In Time’ might be able to strike a chord.”

But Exhibitor Relations analyst Jeff Bock is not optimistic about the film’s hopes. He notes that unlike “The Greatest Showman,” which could take advantage of renewed interest in musicals thanks to “La La Land” and “Hamilton,” “Wrinkle In Time” is a YA novel adaptation, a genre that has struggled lately at the box office.

“For a movie with this big a budget it needs to have a lot more interest to turn a profit,” Bock said. “And with ‘Sherlock Gnomes’ coming out next week, the really young kids are going to be more interested in that, and I don’t know if there’s going to be enough interest among older kids to sustain the film long-term.”

The target for “Wrinkle In Time” this weekend is $16 million, which would be roughly half of its opening total. If it can clear that mark, then it may be able to stick around for the long haul at movie theaters this Easter season.

Related stories from TheWrap:

James Corden Dupes 'A Wrinkle in Time' Cast Into a 'Bad School Play' Version of the Film (Video)

'A Wrinkle in Time': What Is a Tesseract, and Why Does It Sound Familiar?

'A Wrinkle in Time' Divides Critics, From 'Full of Whimsy' to 'a Noble Failure'

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Will ‘Tomb Raider’ Be the Movie to Finally Knock ‘Black Panther’ From Box Office Perch? https://www.thewrap.com/will-tomb-raider-movie-finally-knock-black-panther-box-office-perch/ https://www.thewrap.com/will-tomb-raider-movie-finally-knock-black-panther-box-office-perch/#respond Wed, 14 Mar 2018 01:11:59 +0000 Jeremy Fuster https://www.thewrap.com/?p=1836560 This weekend, “Black Panther” will attempt to do something that hasn’t been done in eight years: take the No. 1 spot at the box office for five consecutive weeks.

When the latest Marvel movie was released last month, even the most wildly optimistic of forecasts didn’t expect it to have a chance at this streak. But “Black Panther” took its fourth-straight No. 1 last weekend with a $40.8 million total, 19 percent ahead of the opening for fellow Disney release “A Wrinkle In Time.” It’s the first time ever that films from black directors (namely Ryan Coogler and Ava DuVernay) had a 1-2 finish at the box office, and the first time since “Star Wars: The Force Awakens” that a film stayed atop the charts for four straight weekends.

Now, with $1.09 billion grossed worldwide so far, “Black Panther” is expected to have a fifth weekend total in the high $20 million range. As it turns out, that’s the same range independent trackers have set for this weekend’s big wide release: Warner Bros./MGM’s “Tomb Raider.” Inspired by Square-Enix’s 2013 reboot of the long-running video game series, the action film is looking at a start of $27-29 million from 3,854 screens, with WB projecting a start of $23-25 million against a reported budget of $90 million.

Overseas, “Tomb Raider” opened in nine Asian markets last weekend, excluding China and Vietnam. It made $14.1 million from a combined 3,425 screens, while six reviews from that continent were evenly split to give it an early Rotten Tomatoes score of 50 percent. This weekend will likely be a neck-and-neck contest between Lara Croft and T’Challa, with “Wrinkle In Time” finishing in third.

Directed by Roar Uthaug, “Tomb Raider” features Alicia Vikander as Lara Croft as she goes off on her first adventure in search of her missing father (Dominic West). Walton Goggins, Daniel Wu, and Kristin Scott Thomas also star.

Expected to take the No. 4 spot is Fox’s “Love, Simon,” the first gay teen romance film released by a major studio. Coming in with strong reviews and a 89 percent RT score, “Love, Simon” is expected to open with $10-12 million from 2,401 screens. Fox is projecting a start on the lower end of that range and reports a production budget of $17 million.

Based on the book “Simon vs. The Homo Sapiens Agenda” by Becky Albertalli, “Love, Simon” stars Nick Robinson as Simon Spier, a closeted gay teen who forms a relationship with an anonymous gay classmate online. His life is thrown into disarray when a blackmailer finds his online chats and threatens to out him to his family and school. Greg Berlanti directs the film, with Josh Duhamel, Jennifer Garner, Jorge Lendeborg, Jr., Katherine Langford and Alexandra Shipp also starring.

Finally, there’s Lionsgate/Roadside Attractions’ faith-based film, based on the story behind the hit song of the same name by Christian rock band MercyMe. Starring J. Michael Finley as MercyMe vocalist Bart Millard and Dennis Quaid as his father, Arthur, the film is expected to open outside the top ten with a $2-4 million opening from 1,620 screens, with a reported budget of $7 million.

Related stories from TheWrap:

'Captain Marvel,' 'Tomb Raider' Writers Take on Sony's 'Silver and Black'

'Tomb Raider' New Action-Packed Trailer Shows Alicia Vikander Fulfilling Her Destiny (Video)

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Is ‘A Wrinkle in Time’ in Trouble, Bound for Second Place in Box Office Debut? https://www.thewrap.com/wrinkle-in-time-in-bound-for-second-place-in-box-office-debut/ https://www.thewrap.com/wrinkle-in-time-in-bound-for-second-place-in-box-office-debut/#respond Wed, 07 Mar 2018 01:12:33 +0000 Jeremy Fuster https://www.thewrap.com/?p=1830771 When “Black Panther” made its record-smashing $201 million start last month, it was expected to easily keep the No. 1 spot at the box office until Disney released its next film, Ava DuVernay’s “A Wrinkle in Time.” But as Madeleine L’Engle’s famous science fantasy adaptation gets ready to enter theaters on 3,980 screens this weekend, that expectation may have been premature.

When tracking for “A Wrinkle in Time” first came out three weeks ago, opening weekend estimates were set at approximately $35 million against a production budget of at least $103 million, according to California Film Commission reports. Despite Disney’s usually intense marketing campaign which included TV and digital spots throughout NBC’s Winter Olympics coverage, tracking has remained stuck in the mid-30 range.

With a start like that, the closest comp for “Wrinkle in Time” would be Disney’s 2015 flop “Tomorrowland,” which opened to $33 million and ended up making $209.1 million against a $190 million budget before marketing costs. While “Wrinkle in Time” cost less to make, it’s not the ideal start for a film directed by an Oscar-nominated filmmaker and starring Oprah Winfrey, Reese Witherspoon, “Wonder Woman” star Chris Pine and rising actress Storm Reid as the young female lead.

Also, while many Disney releases have had the advantage of good word-of-mouth before release thanks to reviews, the word from advance screenings has been muted. Disney has set the review embargo for “Wrinkle in Time” to drop on Wednesday morning, as opposed to three days before release for “Star Wars: The Last Jedi” and 10 days for “Black Panther.” Advance screening attendees have been allowed to discuss the film on social media, but response on Twitter has been sparse and mixed.

“This movie’s really going to need good word-of-mouth from the opening weekend crowd for it to do well,” said Exhibitor Relations analyst Jeff Bock. “It’s got Oprah in it, but the trailers have been very confusing and the film is coming out at a time when audiences just haven’t shown a lot of interest in movies based on YA novels.”

“Black Panther,” meanwhile, has posted very impressive holds on its way to making just over $500 million from domestic receipts alone. While most Marvel films have dropped 55-60 percent after their opening weekend, “Black Panther” has yet to suffer a drop of more than 45 percent in a weekend.

With that in mind, “Black Panther”‘s fourth weekend total is expected to fall into the same range as “Wrinkle in Time”‘s opening: $35-40 million. If it ends up topping “Wrinkle” to take the No. 1 spot again, it will become the first movie since “Star Wars: The Force Awakens” to finish at No. 1 for four straight weekends.

Outside of this weekend’s Disney vs. Disney showdown, three other films are getting wide release on 2,400-2,500 screens. Leading them is Aviron’s horror film “The Strangers: Prey at Night,” which is tracking for a $6-8 million start. Also coming out is “Gringo,” an action comedy starring David Oyelowo, Charlize Theron and Joel Edgerton that will be co-distributed by Amazon Studios and STX; along with Entertainment Studios’ action drama “The Hurricane Heist.” Both of those films are tracking for a $3-4 million start.

Related stories from TheWrap:

Watch the NAACP Image Awards' Behind the Scenes Look at 'A Wrinkle in Time' (Video)

'Black Panther' Cinematographer Rachel Morrison on Hollywood's Lame 'Excuse' for Not Hiring Women

Will 'Black Panther' Finally Open Hollywood's Floodgates for More Diverse Studio Movies?

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Will ‘Shape of Water’ Get A Box Office Bump From Its Best Picture Win? https://www.thewrap.com/will-shape-water-get-box-office-bump-best-picture-win/ https://www.thewrap.com/will-shape-water-get-box-office-bump-best-picture-win/#respond Tue, 06 Mar 2018 02:10:15 +0000 Jeremy Fuster https://www.thewrap.com/?p=1830082 Though the awards season box office hit a six-year low, Fox Searchlight’s “The Shape of Water” has remained a quietly consistent moneymaker since its December release. Now the film has walked away with four Oscars, including Best Picture, giving it a chance for one last burst of cash at movie theaters in the next couple weeks.

So far, “Shape of Water” has grossed $126.8 million worldwide, including $57.4 million domestically. While that only ranks 64th among all movies released last year, “Shape of Water” is the highest grossing Best Picture winner since 2014, when “12 Years A Slave” grossed $187.7 million globally.

From Dec. 1 to nomination day on Jan. 23, “Shape of Water” grossed $30 million from an audience that skewed younger. After nominations, while several other nominees saw their returns tail off, “Shape of Water” nearly matched its pre-nominations total with $27 million grossed from nomination day to Oscar Sunday.

This was thanks to an influx of older moviegoers intrigued by the film’s status as this year’s nominations leader with 13. According to data from movie analytics group Movio, the proportion of moviegoers over the age of 50 going to see “Shape of Water” increased by 23 percent after nomination day.

Fox Searchlight tells TheWrap that they will expand the film’s screen count this coming weekend to at least 1,350 screens this weekend. It’s highest grossing frame came the weekend after nominations day, when it made just shy of $6 million from 1,850 screens. By that pace, analysts tell TheWrap they expect the film to make $4-5 million over this coming week, bringing its domestic total to around $62 million, with a finish over $65 million very likely.

“‘Shape of Water’ is also now out on digital release and will be on Blu-Ray next week, so we will see the film get a boost from both theatrical and home sales,” said comScore’s Paul Dergarabedian. “Some people will prefer to stream it at home, but like all of Guillermo Del Toro’s movies, this is one that really deserves to be seen in theaters, so that might have some appeal for those who haven’t seen it yet.”

Related stories from TheWrap:

Sorry, 'Shape of Water': Twitter Picks a Different Best Picture During Oscars

Oscars: 'Shape of Water' Wins Big, but #Time'sUp and #MeToo Dominate

Steve Buscemi Shares His (Unsuccessful) Auditions for 'Lady Bird,' 'The Shape of Water,' More (Video)

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‘Black Panther’ Could Beat ‘Death Wish’ and ‘Red Sparrow’ Combined at Box Office https://www.thewrap.com/black-panther-beat-death-wish-red-sparrow-combined-box-office/ https://www.thewrap.com/black-panther-beat-death-wish-red-sparrow-combined-box-office/#respond Wed, 28 Feb 2018 02:28:01 +0000 Jeremy Fuster https://www.thewrap.com/?p=1825076 “Black Panther” is expected to put up another spectacular performance at the box office as it heads into its third weekend in release. Last weekend, the Marvel movie had the second-biggest second weekend in box office history with $112 million, and could perform the same feat for the third weekend if it reaches analysts’ most optimistic expectations of a $75 million weekend.

Not only would that be only a 33 percent drop for “Black Panther,” a $75 million frame would be a phenomenal achievement as the Academy Awards take place this Sunday. Oscar weekend has traditionally been viewed as a lull period for theaters, as ticket sales on Sunday drop while moviegoers stay home to watch the awards ceremony. But “Black Panther” has snatched the cultural conversation — along with thousands of movie screens — from the top Oscar contenders, so much so that the Oscars might not be much of a deterrent even though audience fave “Get Out” has the chance to win some major awards.

At this time, “Star Wars: The Force Awakens” holds the record for the biggest third weekend ever with $90.2 million. While “Black Panther” won’t top that, it could take the No. 2 or 3 spot from “Avatar,” with $68.5 million, or “The Avengers,” with $55.6 million.

That leaves this weekend’s two releases, Fox/Chernin’s “Red Sparrow” and MGM’s “Death Wish,” to compete for the No. 2 spot on the charts. Trackers currently give the edge to “Red Sparrow,” which is projected to open in the low $20 million range from 3,050 screens. However, “Red Sparrow” is the more expensive of the two releases, with a reported budget of $69 million.

Based on the novel by Jason Matthews, “Red Sparrow” stars Jennifer Lawrence as Dominika Egorova, a Russian ballerina who suffers a gruesome, career-ending injury. With no direction in life, she is recruited into a secret spy agency where she undergoes training to seduce would-be targets into giving up information. But when she falls in love with CIA officer Nate Nash (Joel Edgerton), she considers becoming a double agent.

Francis Lawrence, who worked with Lawrence on three of the four “Hunger Games” films, is directing from a script by Justin Haythe. Jeremy Irons, Matthias Schoenaerts, Charlotte Rampling, Mary Louise-Parker, and Ciaran Hinds also star. Reviews for the film have been mixed to positive, with a current Rotten Tomatoes score of 65 percent.

“Death Wish” is expected to come in third this weekend, but will have a better start relative to its price tag with a projected opening in the high teens against a $30 million budget. MGM is releasing the film on 2,750 screens and is projecting a start in the mid teens. The film does not yet have a Rotten Tomatoes score.

The film is directed by Eli Roth and is a remake of the hit 1974 revenge thriller starring Charles Bronson who seeks to avenge his murdered wife and child. Bruce Willis takes over in the lead role, with Roth sharing writing credit with  Joe Carnahan and Brian Garfield. Vincent D’Onofrio and Dean Norris also star.

Related stories from TheWrap:

'Black Panther' Passes 'Wonder Woman,' on Track to Be Marvel's Biggest Box Office Hit

IMAX Credits 'Black Panther' for Record February, Touts Q4 Earnings Boost From Holiday Season

Black Panther Is Already Generating Long Lines at Disneyland – Even Without His Own Ride (Yet)

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‘Black Panther’ Passes ‘Wonder Woman,’ on Track to Be Marvel’s Biggest Box Office Hit https://www.thewrap.com/black-panther-will-pass-wonder-woman-box-office-today-will-avengers-fall-next/ https://www.thewrap.com/black-panther-will-pass-wonder-woman-box-office-today-will-avengers-fall-next/#respond Tue, 27 Feb 2018 22:42:51 +0000 Jeremy Fuster https://www.thewrap.com/?p=1824393 On Tuesday, after 12 days in theaters, “Black Panther” will pass the domestic run of 2017’s biggest superhero movie, “Wonder Woman,” making it one of the top five highest grossing superhero films in North America.

And by the end of its run, it’s quite likely that it will pass “The Avengers” for the top spot on that list.

On its second Monday in theaters, “Black Panther” added $8.1 million after earning a dazzling $112 million this past weekend, a total only surpassed by “Star Wars: The Force Awakens” in the box office record books for second weekend totals. That brings its domestic total to $411.7 million, just $800,000 shy of the $412.5 million made by “Wonder Woman” last summer.

This weekend, “BP” will pass the $448.1 million made by “The Dark Knight Rises” and the $459 million made by “Avengers: Age of Ultron” to take the No. 3 spot on the superhero domestic charts. Currently, it is on pace to beat the domestic run of “The Avengers,” which made $652 million in 2012. That would make it the biggest superhero movie in North American history, though its total will likely be surpassed by “Avengers: Infinity War” in a couple months.

Worldwide, the film currently sits at $727.9 million, with a release in Japan this weekend and China the weekend after. At this pace, “Black Panther” should hit the $1 billion mark by the end of next weekend, becoming the 33rd movie in box office history to hit that target.

While it now looks less likely that it will become the fastest superhero film to hit $1 billion — “The Avengers” holds that record at 19 days — but it could still do so faster than “Avengers: Age of Ultron,” which made a billion in 24 days.

Related stories from TheWrap:

Black Panther Is Already Generating Long Lines at Disneyland – Even Without His Own Ride (Yet)

'Black Panther' Earns Record $108 Million in 2nd Weekend, Hits $400 Million Domestic

'Black Panther' Cinematographer Rachel Morrison on Hollywood's Lame 'Excuse' for Not Hiring Women

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Can ‘Game Night,’ ‘Annihilation’ Find Path Around ‘Black Panther’ Box Office Behemoth? https://www.thewrap.com/game-night-annihilation-black-panther-box-office/ https://www.thewrap.com/game-night-annihilation-black-panther-box-office/#respond Wed, 21 Feb 2018 21:21:00 +0000 Jeremy Fuster https://www.thewrap.com/?p=1819403 There will be no stopping “Black Panther” as it charges into its second weekend, where it is expected to follow its $201 million opening with a second frame of more than $100 million, likely pushing it past the domestic runs of all of Marvel Studios’ 2017 releases and last year’s highest grossing superhero release, “Wonder Woman.”

In the shadow of this big cultural phenomenon, three new releases will try to find a foothold among moviegoers. Projected to lead this group is Warner Bros./New Line’s murder mystery comedy “Game Night,” which is projected to gross around $17 million this weekend from 3,400 screens, with WB projecting a $12-14 million start.

The film’s cast is led by Jason Bateman, Rachel McAdams, and Kyle Chandler, and follows a group of friends who get together for their weekly game night only to end up caught in an actual murder plot. John Francis Daley and Jonathan Goldstein directed from a script by Mark Perez.

Also releasing this weekend is Paramount’s sci-fi horror film “Annihilation,” which stars Natalie Portman and Jennifer Jason Leigh and is written and directed by “Ex Machina” director Alex Garland. Based on the best-selling 2014 novel by Jeff VanderMeer, the film is tracking for a $10 million opening from 2,000 locations.

Both of these films are trying to buck some negative trends that lasted through 2017. For “Game Night,” the challenge is to stem the losing streak suffered by adult comedies, as films like “Snatched,” “The House,” and “Baywatch” fell flat in theaters last year. Only a precious few in the genre, like Universal’s acclaimed “Girls Trip” and Paramount’s holiday sequel “Daddy’s Home 2,” were able to turn a serious profit.

Meanwhile, “Annihilation” is coming out at a time when Paramount has been struggling at the box office. Aside from the aforementioned “Daddy’s Home 2,” 2017 was a litany of busts for the Melrose studio, scoring its lowest annual gross since the turn of the century with $534.3 million. Paramount’s problems ranged from big budget bombs like “Ghost In The Shell” to ambitious, auteur-driven films like “mother!” which was well-received critically but alienated audiences. “Annihilation” is at risk of falling under the latter category, with its projected opening only reaching a quarter of its production budget of $40 million.

The good news for both films is that early reviews have been very favorable. As of writing, both “Annihilation” and “Game Night” are hovering at 88 percent on Rotten Tomatoes. “Game Night” is getting praised for landing much of its humor while “Annihilation” is being called a chilling tale with a powerful lead performance by Portman. Still, both new titles will likely struggle to grab moviegoers’ attention a “Black Panther” is expected to crowd much of the space. Their best hope is to turn a profit in later weeks if word-of-mouth picks up.

Also coming out in targeted release is Orion’s romance film “Every Day,” which stars Angourie Rice as a woman who falls in love with a mysterious being called A who inhabits a different body every day. The film will be released on 1,625 screens and is looking at an opening of $2-5 million.

Related stories from TheWrap:

Will 'Black Panther' Finally Open Hollywood's Floodgates for More Diverse Studio Movies?

'Black Panther' Will Hit $1 Billion at the Box Office – The Only Question Is When

'Black Panther' to Top 'Justice League' Total U.S. Box Office in Just 4 Days

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