14 items from 2017
Please note: The below list only includes domestic (U.S. and Canada only, unless otherwise indicated) grosses for specialty films — indie, foreign (including Bollywood films that open in limited release) and/or documentary — that opened in limited release (599 screens and under) in 2017 and/or were acquired for 2017 distribution by an independent distributor or a studio (or its speciality division). It also includes films that screened only as an Academy-qualifier in 2016.
Grosses include all reported grosses up to February 14, 2017. This chart is updated every Tuesday afternoon. (Last year’s list can be found here.)
Distributor: Zee TV
Release Date: January 25th
Opening Theater Count: 265
Opening Average: $6,768
Current Gross: $3,262,954
Release Date: January 27th
Opening Theater Count: 312
Opening Average: $3,137
Current Gross: $1,939,925
3. “I Am Not Your Negro”
Release Date: February 3rd
Opening Theater Count: 43
Opening Average: $15,962
Current Gross: $1,839,871
4. “The State vs. Jolly Llb 2 »
- Kate Erbland
“Is it black and white?” At some point, every kid will ask that question, and when it’s geared towards you, you won’t want to answer it. Why? Because chances are the movie in question is a great flick, one that you’re dying to watch, and by answering ‘yes,’ you’re afraid that its credibility will lessen. And that’s a terrible feeling.
What younger audiences always forget is that film started out black and white, and without that “prehistoric” technology, the glossy, explosion-filled action eye-candy they adore would never happen. Black and white films are a powerful art form in themselves, not just a stage before glorious Technicolor. They can emphasize theme, capture feeling and represent an idea (among other uses). Over the years, some directors have opted to make their movie monochromatic even though color was an option; the choice is not always only artistic, sometimes, »
- Luke Parker
1957 / B&W / 1:85 widescreen / 130 min. / Street Date February 7, 2017 / available through the WBshop / 21.99
Cinematography: William C. Mellor
Film Editor: Leonid Azar
Art Direction: Alexandre Trauner
Adapted Music: Franz Waxman
Produced and Directed by Billy Wilder
A favorite of Billy Wilder-philes, Love in the Afternoon is a strong expression of the ‘romantic-Lubitsch’ vein in Wilder’s work. It’s essentially a return to the early ’30s Lubitsch comedies with Maurice Chevalier, but played in a more bittersweet Viennese register. It’s also Wilder’s first collaboration with the comedy screenwriter I.A.L. Diamond. Together they fashion the predominantly verbal comedy machine that will carry them through three or four big hits, and a few losers that have become classics anyway. »
- Glenn Erickson
Putting on a desperately unconvincing performance, newly released sci-fi drama “Arrival” landed on top of the Chinese box office over the Jan. 20-22 weekend. It topped the chart on only one of those three days, Friday, and limped to a total of just $7.49 million.
Returning for its second week, “Passengers” was on top of the box office on both Saturday and Sunday. Its total for the weekend was $6.87 million, according to data from Ent Group. The film stands on a cumulative $34.7 million after 10 days.
Overall box office was down by nearly two thirds compared with a typical weekend. Data from ticketing firm Weiying Technology suggests a weekend cumulative of just $32.3 million (RMB223 million.)
The films currently on release will likely see their runs come to an abrupt halt at the end of the current week, when the Chinese New Year (aka (Lunar New Year) holidays begin. No less than seven »
- Patrick Frater
Every week, IndieWire asks a select handful of film and TV critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In dubious honor of “Sleepless,” a new Jamie Foxx vehicle that’s been adapted from Frederic Jardin’s “Sleepless Night,” what is the best American remake of a foreign-language film?
Joshua Rothkopf (@joshrothkopf), Time Out New York
Long before I knew and appreciated Jean Renoir, I was in love with “Down and Out in Beverly Hills,” a 1986 comedy based on “Boudu Saved from Drowning” that peppered the flow with some truly eye-opening ideas for Hollywood: class warfare, unequal police treatment, a neurotic dog with its own therapist. The movie holds up beautifully — it’s one of Nick Nolte’s quietest performances, and one »
- David Ehrlich
Space romance, “Passengers” took over the number one spot at the Chinese box office, easing aside “Rogue One: A Star Wars Story” after just one week.
“Passengers” earned $17.3 million from an outing of some 60,000 screenings per day, according to data from Ent Group. That gave it a 30% market share of a lackluster weekend.
In third place was Chinese romantic comedy “Some Like it Hot,” in its third week in theaters. It earned $7.48 million for the weekend, giving it a 17-day cumulative total of $70.0 million.
Chinese animation “Bakkom Bear: Agent 008” was a new release that opened in fourth place. The latest in a franchise, the picture earned $5.78 million in its opening three days.
“Kubo And The Two Strings” plucked an opening score of $2.98 million. »
- Patrick Frater
Often times, if two movies are less than $1 million apart when the box office estimates are released, those movies will swap places when the actual numbers arrive on Monday. Last weekend, it looked like Rogue One would repeat atop the box office with $21.9 million, with the expanding Hidden Figures following just behind with $21.8 million. When the actual figures were released on Monday, Hidden Figures ended up on top with $22.8 million, just ahead of Rogue One: A Star Wars Story with $22.06 million. This weekend, Hidden Figures managed to expand even further, repeating atop the box office for the second weekend in a row with $20.4 million, in a weekend where two more expanding movies didn't even crack the top 10.
This weekend, both the true story adaptation Hidden Figures and Rogue One went up against three new movies, Paramount's Monster Trucks, Stx Entertainment's The Bye Bye Man and Open Road Films' Sleepless. There »
This year’s award season continues to yield a robust specialized bounty. The Oscar contenders are led by “La La Land” (Lionsgate) and “Hidden Figures” (20th Century Fox). The public, particularly older audiences, are coming out in big numbers for films that launched in limited release.
That doesn’t extend to new limited openings, with nearly all top distributors holding back until the awards noise dies down. Still, a few are venturing out with smaller less heralded films in New York (along with a plethora of Video on Demand releases). This week sees three of note, led by a very surprising total for “World’s Apart” (Cinema Libre), an under-the-radar 2015 Greek economic crisis drama.
Check out our Award Season video interviews.
(All figures for three-day weekend through Sunday January 15.)
Worlds Apart (Cinema Libre)
$14,000 gross at 1 theater; PTA (per theater average): $14,000
This Greek film, which tells three loosely related »
- Tom Brueggemann
Sean Wilson Jan 16, 2017
Few characters have enjoyed as much reinvention as Arthur Conan Doyle's sleuth Sherlock Holmes, an enduring icon who is as much bound up with the history of cinema (and indeed stage, TV and radio) as he is with literature. Indeed, adaptations of Holmes stories stretch right the way back to the earliest days of film at the start of the 20th century. Fittingly enough given Holmes' penchant for a violin serenade, the musical scores to his adventures are as richly varied as the outcomes to his mysteries are unexpected. Here are Holmes' musical highlights, from Buster Keaton through to Benedict Cumberbatch.
Sherlock Jr. (1924)
The Force does not seem to be with the “Star Wars” franchise in China. “Rogue One: A Star Wars Story” opened to just $30.6 million on the first weekend of its January 6 release, according to Chinese movie analytics firm Artisan Gateway. The film topped Chinese-langauge movies “Some Like It Hot” and “Railroad Tigers” in what was a quiet weekend for the Chinese box office — but lagged well behind the $52.6 million debut for “The Force Awakens” last year. Still, “The Force Awakens” managed to run up a solid but unspectacular $124 million in China, one of the few markets where »
- Matt Pressberg
When the box office estimates were released on Sunday, it looked like Rogue One: A Star Wars Story had won for the fourth weekend in a row with $21.9, just barely beating the drama Hidden Figures, which kicked off its nationwide expansion with $21.8 million. However, when yesterday's actual figures were released, both movies flip-flopped, with Hidden Figures actually winning with $22.8 million, just ahead of Rogue One with $22.06 million. This weekend, both Hidden Figures and Rogue One will go up against three new movies, Paramount's Monster Trucks, Stx Entertainment's The Bye Bye Man and Open Road Films' Sleepless. There are also three movies expanding with Warner Bros.' Live By Night, Lionsgate's Patriots Day and Paramount's Silence all going nationwide as well. While it may certainly be another very close weekend, with six new movies hitting theaters, we're predicting that Monster Trucks comes out on top with $22.6 million, with Patriots Day following closely behind with $20.8 million. »
8 January 2017 8:09 PM, PST | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Rogue One: A Star Wars Story finally cruised into China over the weekend, completing its sweep of box offices around the world. But the Disney and Lucasfilm juggernaut closed out this final leg with something of a sputter.
The film earned $31 million from Friday to Sunday, according to studio figures, down 39 percent from The Force Awakens' $53.2 million haul during roughly the same weekend last year.
Although Rogue One's performance was nearly triple China's second-place finisher — romantic-comedy holdover Some Like It Hot at $11.7 million — the decline from Force Awakens was particularly striking given that the »
- Patrick Brzeski
The Chinese box office malaise of late 2016 continued into the new year as “Rogue One: A Star Wars Story” opened in China with a box office win that was far below that of “Star Wars: The Force Awakens.”
Releasing in an almost identical slot to its predecessor, “Rogue One” earned $32.2 million in its opening three-day weekend, according to data from Ent Group. A year ago, “The Force Awakens” enjoyed $53.2 million in its opening two day weekend, before going on to finish its run with $124 million.
Handled by China Film Group, “Rogue One” had a massive 89,000 screenings per day on Friday and Saturday. That was more than double the outings of second-placed romantic comedy “Some Like it Hot,” which achieved $11.7 million in its second weekend for a total of $53.4 million after 10 days.
“Rogue One” earned fractionally over $4 million of its total from IMAX screens. It opened on 381 IMAX screens, almost the entire Chinese park, »
- Patrick Frater
The 1940s action comedy, about a railroad worker who leads a team of freedom fighters against the invading Japanese, opened only in third place two weeks ago, after The Great Wall and See You Tomorrow. Director Ding Sheng has collaborated with Chan previously on Little Big Soldier and Police Story 2013.
Zhang Yimou’s action fantasy epic The Great Wall fell to second spot with $27.96m after topping the charts for two weeks. It crossed the RMB1 billion threshold on New Year Day (Jan 1) and earned $148.02m after 17 days, surpassing Kung Fu Panda 3 as the top grossing Sino-us co-production.
New local romantic comedy Some Like It Hot opened in third place with $24.65m from its three-day opening weekend. Starring Yan Ni »
- firstname.lastname@example.org (Silvia Wong)
14 items from 2017
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