“The Fall Guy,” an action-comedy starring Ryan Gosling and Emily Blunt, kicked off the summer movie season without much sizzle.
The film, backed by Universal and directed by David Leitch, fell just short of expectations with $28.5 million from 4,002 North American venues in its debut. Heading into the weekend, “The Fall Guy” was projected to earn at least $30 million to $40 million. The trouble is that the movie cost $140 million to produce, so it needs strong word of mouth and interest at the international box office to recoup its budget during its theatrical run. “The Fall Guy” opened to $25.4 million overseas, bringing its global total to $65.4 million.
“This is a fair opening for a big action-comedy,” says David A. Gross of movie consulting firm Franchise Entertainment Research. “Action comedies are solid performers overseas, and with this cast, foreign business should be good. At [its] cost, ‘The Fall Guy’ is going to need a long run.
The film, backed by Universal and directed by David Leitch, fell just short of expectations with $28.5 million from 4,002 North American venues in its debut. Heading into the weekend, “The Fall Guy” was projected to earn at least $30 million to $40 million. The trouble is that the movie cost $140 million to produce, so it needs strong word of mouth and interest at the international box office to recoup its budget during its theatrical run. “The Fall Guy” opened to $25.4 million overseas, bringing its global total to $65.4 million.
“This is a fair opening for a big action-comedy,” says David A. Gross of movie consulting firm Franchise Entertainment Research. “Action comedies are solid performers overseas, and with this cast, foreign business should be good. At [its] cost, ‘The Fall Guy’ is going to need a long run.
- 5/5/2024
- by Rebecca Rubin
- Variety Film + TV
The domestic box office at $2 billion currently this year is dragging 21% behind the same January-April spread last year, and when Universal’s Fall Guy commences the hot moviegoing season this Friday with a hopeful $35M, expect summer to drag some more.
That’s because the lack of product due to the actors’ strike has made a backloaded May through Labor Day frame in what will be lucky —lucky— to hit $3 billion. That’s a $1 billion less than last summer’s $4.09 billion per Comscore and -27% off. More bad news about summer: It’s not going to catch up the year any more against 2023.
Essentially, expect less and hope for more. Remember, no one saw Barbenheimer and Sound of Freedom coming last summer and that trio collectively minted $1.15 billion. If anything, summer 2024 is more about getting moviegoers back into the habit of moviegoing than breaking any records.
The biggest opening of...
That’s because the lack of product due to the actors’ strike has made a backloaded May through Labor Day frame in what will be lucky —lucky— to hit $3 billion. That’s a $1 billion less than last summer’s $4.09 billion per Comscore and -27% off. More bad news about summer: It’s not going to catch up the year any more against 2023.
Essentially, expect less and hope for more. Remember, no one saw Barbenheimer and Sound of Freedom coming last summer and that trio collectively minted $1.15 billion. If anything, summer 2024 is more about getting moviegoers back into the habit of moviegoing than breaking any records.
The biggest opening of...
- 4/30/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Opening soon in a theater near you are “Run Lola Run,” “Interstellar,” “Hereditary,” “Split,” and “Spirited Away.” They join fellow comeback kids “Oldboy,” “Stop Making Sense,” “Coraline,” “Amelié,” and Pixar’s pandemic-era films making their theatrical returns.
Last year’s strikes can take credit for some of this nostalgia: With distributors forced to delay films, theaters are desperate for product. However, desperation is not the only mother of this invention. A24, Neon, and other specialty distributors are treating re-releases as a way to reach younger audiences.
Last year, Neon re-released Park Chan-wook’s 2003 film “Oldboy” to $2.1 million worldwide. At a CinemaCon panel April 8, Neon distribution president Elissa Federoff credited its success to a young audience eager to see it on a big screen for the first time. “What is old is new for these younger audiences,” she said.
A24 is reaching into its own library to bolster its brand, rereleasing...
Last year’s strikes can take credit for some of this nostalgia: With distributors forced to delay films, theaters are desperate for product. However, desperation is not the only mother of this invention. A24, Neon, and other specialty distributors are treating re-releases as a way to reach younger audiences.
Last year, Neon re-released Park Chan-wook’s 2003 film “Oldboy” to $2.1 million worldwide. At a CinemaCon panel April 8, Neon distribution president Elissa Federoff credited its success to a young audience eager to see it on a big screen for the first time. “What is old is new for these younger audiences,” she said.
A24 is reaching into its own library to bolster its brand, rereleasing...
- 4/25/2024
- by Brian Welk
- Indiewire
This weekend was the first in some time without a specialty film in the top ten as wide releases ramp up from Civil War to Abigail and hang in theaters as per Kung Fu Panda 4 and Dune: Part Two — in weeks 7 and 8, respectively. One distributor calls late April a bit of a dumping ground for indies – no judgement on the films but in the sense that there are a bunch of them and they can sometimes struggle to find audiences — calling this an anomalous weekend after a spring dotted with breakout titles. Neon’s Immaculate ($15.6 million cume); IFC’s Late Night With The Devil ($9.7 million); A24’s Love Lives Bleeding ($7.8 million); Bleecker Street’s One Life ($5.4 million); Sony Pictures Classics’ Wicked Little Letters ($3.6 million) all did great and indies overall are taking bigger swings – with Civil War (A24) one of the biggest.
Comscore’s April sked shows a flood...
Comscore’s April sked shows a flood...
- 4/21/2024
- by Jill Goldsmith
- Deadline Film + TV
A24’s dystopian thriller “Civil War” conquered the box office again, fending off three new releases to retain the top spot on North American charts.
Alex Garland’s film, starring Kirsten Dunst as a photojournalist who traverses a violently divided United States, added $11.12 million in its second weekend of release. It has generated $44.8 million so far and already stands as one of A24’s top five highest-grossing movies of all time. With a $50 million price tag, it’s also the indie distributor’s most expensive film to date.
Though it was a close race, “Civil War” charged ahead of a trio of newcomers — Universal’s vampire horror film “Abigail,” director Guy Ritchie’s “The Ministry of Ungentlemanly Warfare” and Sony and Crunchyroll’s anime adventure “Spy x Family Code: White” — which all opened to mixed results.
Heading into the weekend, “Abigail” was predicted to top the box office with $12 million to $15 million in its debut.
Alex Garland’s film, starring Kirsten Dunst as a photojournalist who traverses a violently divided United States, added $11.12 million in its second weekend of release. It has generated $44.8 million so far and already stands as one of A24’s top five highest-grossing movies of all time. With a $50 million price tag, it’s also the indie distributor’s most expensive film to date.
Though it was a close race, “Civil War” charged ahead of a trio of newcomers — Universal’s vampire horror film “Abigail,” director Guy Ritchie’s “The Ministry of Ungentlemanly Warfare” and Sony and Crunchyroll’s anime adventure “Spy x Family Code: White” — which all opened to mixed results.
Heading into the weekend, “Abigail” was predicted to top the box office with $12 million to $15 million in its debut.
- 4/21/2024
- by Rebecca Rubin
- Variety Film + TV
Until recently, filmmaker Jon Erwin was the reigning box-office champ for faith-based films with “I Can Only Imagine” and “Jesus Revolution.” Shortly after “Sound of Freedom” opened to $14.2 million, he offered advice to Angel Studios on how it might capitalize that success.
By November, when the child-trafficking drama grossed $250 million worldwide, Erwin lost his bragging rights. He remembers joking with the producers, “It wasn’t supposed to work this much!”
Ego aside, he welcomed the success. As “Sound of Freedom” inspired box-office think pieces and conspiracy-theory controversy, Erwin and partner Kelly Merryman Hoogstraten were in talks with Amazon Studios. Today, their company The Wonder Project is producing a slate of faith-based series and films; Erwin said he’d “be lying” if he believed “Sound of Freedom” didn’t help him get a better deal.
“I had not felt that hunger from the studios in a long time to reach the audience,...
By November, when the child-trafficking drama grossed $250 million worldwide, Erwin lost his bragging rights. He remembers joking with the producers, “It wasn’t supposed to work this much!”
Ego aside, he welcomed the success. As “Sound of Freedom” inspired box-office think pieces and conspiracy-theory controversy, Erwin and partner Kelly Merryman Hoogstraten were in talks with Amazon Studios. Today, their company The Wonder Project is producing a slate of faith-based series and films; Erwin said he’d “be lying” if he believed “Sound of Freedom” didn’t help him get a better deal.
“I had not felt that hunger from the studios in a long time to reach the audience,...
- 4/9/2024
- by Brian Welk
- Indiewire
“Godzilla x Kong: The New Empire” stomped to the top of box office charts, collecting a better-than-expected $80 million from 3,861 North American theaters in its debut.
Heading into the weekend, the monster mashup was projected to earn $50 million to $55 million to start. But “Godzilla x Kong,” which sees the two otherworldly beasts team up to save the planet, trounced those projections after benefitting from several factors, including premium large formats (accounting for 48% of ticket sales) and audience enthusiasm (it landed an “A-” CinemaScore”). Critics were less impressed by “The New Empire,” starring Rebecca Hall, Brian Tyree Henry and Dan Stevens and directed by Adam Wingard (“Godzilla vs. Kong”). It holds a 55% “rotten” average on Rotten Tomatoes.
It’s the second-biggest debut for Warner Bros. and Legendary’s MonsterVerse, following 2014’s “Godzilla” ($93 million) but ahead of 2017’s “Kong: Skull Island” ($61 million), 2019’s “Godzilla: King of the Monsters” ($47.7 million) and 2021’s “Godzilla vs. Kong...
Heading into the weekend, the monster mashup was projected to earn $50 million to $55 million to start. But “Godzilla x Kong,” which sees the two otherworldly beasts team up to save the planet, trounced those projections after benefitting from several factors, including premium large formats (accounting for 48% of ticket sales) and audience enthusiasm (it landed an “A-” CinemaScore”). Critics were less impressed by “The New Empire,” starring Rebecca Hall, Brian Tyree Henry and Dan Stevens and directed by Adam Wingard (“Godzilla vs. Kong”). It holds a 55% “rotten” average on Rotten Tomatoes.
It’s the second-biggest debut for Warner Bros. and Legendary’s MonsterVerse, following 2014’s “Godzilla” ($93 million) but ahead of 2017’s “Kong: Skull Island” ($61 million), 2019’s “Godzilla: King of the Monsters” ($47.7 million) and 2021’s “Godzilla vs. Kong...
- 3/31/2024
- by Rebecca Rubin
- Variety Film + TV
Buried deep within Variety’s weekend box office report is a rather eye-brow-raising stat. Late Night With the Devil, which is proving to be one of the biggest breakout indie hits in recent memory, is reportedly on track to gross an estimated $666,666 at the box office today. The final numbers aren’t in, but what a ghoulish, perhaps even unholy, surprise this is. It’s the kind of publicity you can’t buy, and to be fair, Variety’s report might be off a bit. When I put together our own box office report here on JoBlo, I tend to follow the numbers put out by Paul Dergarabedian at Comscore, and so far, he hasn’t listed Late Night With the Devil’s daily gross. It’s an indie flick, and the reporting from IFC might be delayed, given their more limited resources. Usually, box office analysts can crunch numbers...
- 3/24/2024
- by Chris Bumbray
- JoBlo.com
Numerous box office records have already been broken by Oppenheimer, the flick that gave Robert Downey Jr. his first Oscar for Best Supporting Actor. The Christopher Nolan film features a large ensemble cast led by Cillian Murphy as theoretical physicist J. Robert Oppenheimer, with other actors including Emily Blunt, Matt Damon, Downey Jr., Florence Pugh, Rami Malek, and Kenneth Branagh.
Arriving on July 21 of last year, the movie competed with Greta Gerwig’s Barbie and made up half of ‘Barbenheimer’, the box office darling.
Cillian Murphy in Oppenheimer
Well, with his Oscar-winning film smashing worldwide box office records, Murphy seems to have proven his star power once again. At over a whopping $963 million in box office receipts, this historical epic about the ‘father of the atomic bomb’ has become the most profitable film in movie history, surpassing even Johnny Depp’s Pirates of the Caribbean: At World’s End.
What else?...
Arriving on July 21 of last year, the movie competed with Greta Gerwig’s Barbie and made up half of ‘Barbenheimer’, the box office darling.
Cillian Murphy in Oppenheimer
Well, with his Oscar-winning film smashing worldwide box office records, Murphy seems to have proven his star power once again. At over a whopping $963 million in box office receipts, this historical epic about the ‘father of the atomic bomb’ has become the most profitable film in movie history, surpassing even Johnny Depp’s Pirates of the Caribbean: At World’s End.
What else?...
- 3/18/2024
- by Siddhika Prajapati
- FandomWire
Universal and DreamWorks Animation’s “Kung Fu Panda 4” remained victorious at the domestic box office, collecting a solid $30 million in its second weekend of release. After 10 days on the big screen, the animated family film has grossed $107.7 million in North America and $176.5 million globally.
Those ticket sales easily surpassed the debut of Mark Wahlberg’s canine drama “Arthur the King,” which opened in third place. It arrived on the lower end of expectations with a soft $7.5 million from 3,003 theaters. Lionsgate spent $19 million on the feel-good story, about a man who befriends a wounded stray dog, so its modest price tag could soften its box office shortcomings. Though critics weren’t fond of “Arthur the King” (it has a 64% on Rotten Tomatoes), moviegoers were more receptive and gave the film an “A” grade on CinemaScore.
“It’s not a family film or a comedy, but it’s not a hard...
Those ticket sales easily surpassed the debut of Mark Wahlberg’s canine drama “Arthur the King,” which opened in third place. It arrived on the lower end of expectations with a soft $7.5 million from 3,003 theaters. Lionsgate spent $19 million on the feel-good story, about a man who befriends a wounded stray dog, so its modest price tag could soften its box office shortcomings. Though critics weren’t fond of “Arthur the King” (it has a 64% on Rotten Tomatoes), moviegoers were more receptive and gave the film an “A” grade on CinemaScore.
“It’s not a family film or a comedy, but it’s not a hard...
- 3/17/2024
- by Rebecca Rubin
- Variety Film + TV
The Greek provocateur seemed to be smiling throughout Oscar night. In the past he’d delivered films with titles like Dogtooth and The Lobster, and his newest, Poor Things, was now stockpiling the statuary even as Hollywood’s filmmaking elite looked on, perplexed.
Yorgos Lanthimos’ code-busting Poor Things was winning not only successive awards (four in all) Sunday but also the exuberant applause from an audience that seemed to welcome change. Even chaotic change.
Oppenheimer won the big prize on Oscar night, of course, but Oscar voters once again demonstrated their support for the product of the filmmaking underclass. The Scorsese-Spielberg-Ridley Scott fraternity looked on while dark horses like Lanthimos, or, a year earlier, the Daniels (Kwan and Scheinert) from Everything Everywhere All at Once, stole the action. Coda from Sian Heder was the surprise of 2022.
Does all this reflect a restive mood? “The power of Poor Things stems...
Yorgos Lanthimos’ code-busting Poor Things was winning not only successive awards (four in all) Sunday but also the exuberant applause from an audience that seemed to welcome change. Even chaotic change.
Oppenheimer won the big prize on Oscar night, of course, but Oscar voters once again demonstrated their support for the product of the filmmaking underclass. The Scorsese-Spielberg-Ridley Scott fraternity looked on while dark horses like Lanthimos, or, a year earlier, the Daniels (Kwan and Scheinert) from Everything Everywhere All at Once, stole the action. Coda from Sian Heder was the surprise of 2022.
Does all this reflect a restive mood? “The power of Poor Things stems...
- 3/14/2024
- by Peter Bart
- Deadline Film + TV
Universal and DreamWork’s animated adventure “Kung Fu Panda 4” topped the domestic box office, earning a solid $58.3 million from 4,035 theaters in its opening weekend.
It marks the biggest debut of the franchise since the original, 2008’s “Kung Fu Panda” ($60 million), overtaking the start of the two prior entries, 2016’s “Kung Fu Panda 3” ($41 million) and 2011’s “Kung Fu Panda 2” ($47.6 million), not adjusted for inflation.
“Family audiences were primed to come out and have fun with a much-beloved franchise,” says Jim Orr, Universal’s president of domestic distribution. “Animated movies tend to leg out. We anticipate a tremendous corridor.”
Internationally, the fourth film in the martial arts-inspired animated comedy collected $22 million from 41 markets for a global tally of $80 million. This installment cost $85 million to produce, a lower price tag than the first three movies, each of which cost about $150 million. Jack Black returned to voice the main character in “Kung Fu Panda 4,...
It marks the biggest debut of the franchise since the original, 2008’s “Kung Fu Panda” ($60 million), overtaking the start of the two prior entries, 2016’s “Kung Fu Panda 3” ($41 million) and 2011’s “Kung Fu Panda 2” ($47.6 million), not adjusted for inflation.
“Family audiences were primed to come out and have fun with a much-beloved franchise,” says Jim Orr, Universal’s president of domestic distribution. “Animated movies tend to leg out. We anticipate a tremendous corridor.”
Internationally, the fourth film in the martial arts-inspired animated comedy collected $22 million from 41 markets for a global tally of $80 million. This installment cost $85 million to produce, a lower price tag than the first three movies, each of which cost about $150 million. Jack Black returned to voice the main character in “Kung Fu Panda 4,...
- 3/10/2024
- by Rebecca Rubin
- Variety Film + TV
When a film is looking to maximize its box office, there are numerous factors to consider. Some films rely on star power to draw audiences. Others attach themselves to recognizable properties, hoping familiar titles and characters will bring audiences back. Then there's the film's MPA (Motion Picture Association) rating. In 2018, the organization formerly known as the Motion Picture Association of America released a report noting that over half of all films were rated R, the most-adult, most-restrictive rating. Accordingly, in 2022, Axios reported that R-rated films were drawing a smaller portion of box office revenue than ever.
"If the greatest chance of box office success is having a PG-13 rating, or not having an R-rating, then that's where the industry really had to go," media analyst Paul Dergarabedian told the outlet. Still, he noted, there is often an audience for edgier fare, especially edgy genre fare. "Some of the best movies...
"If the greatest chance of box office success is having a PG-13 rating, or not having an R-rating, then that's where the industry really had to go," media analyst Paul Dergarabedian told the outlet. Still, he noted, there is often an audience for edgier fare, especially edgy genre fare. "Some of the best movies...
- 3/10/2024
- by Eric Langberg
- Slash Film
When it comes to Apple’s Hollywood ambitions, it’s all about spending big to win big.
On March 10, the tech giant has 13 shots to take home an Oscar via two historical epics, “Killers of the Flower Moon” and “Napoleon,” which nabbed 10 and three nominations, respectively. That’s given Apple the second-biggest haul among the major studios and streamers, just behind Netflix’s 18 nods and tied with Universal and Searchlight.
But at what price? Sources say the Martin Scorsese-helmed “Killers” cost an eye-popping $215 million (that includes about $40 million in Covid-related costs). In fact, Apple spent at least $700 million to make and market just three films: “Killers,” Ridley Scott’s “Napoleon” and Matthew Vaughn’s “Argylle.” The trio have earned a combined $466 million worldwide at the box office, with “Napoleon” leading the pack at $221 million, followed by “Killers” ($157 million) and “Argylle” ($88 million).
Apple isn’t complaining, at least not about “Killers” or “Napoleon.
On March 10, the tech giant has 13 shots to take home an Oscar via two historical epics, “Killers of the Flower Moon” and “Napoleon,” which nabbed 10 and three nominations, respectively. That’s given Apple the second-biggest haul among the major studios and streamers, just behind Netflix’s 18 nods and tied with Universal and Searchlight.
But at what price? Sources say the Martin Scorsese-helmed “Killers” cost an eye-popping $215 million (that includes about $40 million in Covid-related costs). In fact, Apple spent at least $700 million to make and market just three films: “Killers,” Ridley Scott’s “Napoleon” and Matthew Vaughn’s “Argylle.” The trio have earned a combined $466 million worldwide at the box office, with “Napoleon” leading the pack at $221 million, followed by “Killers” ($157 million) and “Argylle” ($88 million).
Apple isn’t complaining, at least not about “Killers” or “Napoleon.
- 3/6/2024
- by Tatiana Siegel
- Variety Film + TV
Paramount’s musical biopic “Bob Marley: One Love” ruled again over a barren box office landscape.
The film added $13.5 million from 3,925 North American theaters in its second weekend of release, a 53% decline from its debut. “One Love” has been a surprise box office success with $71.1 million domestically and $120 million globally. It cost $70 million, and the studio only gets to keep roughly half of ticket sales, so it’ll need to keep singing in theaters to justify its cost.
“Bob Marley” topped the charts for the second consecutive weekend despite three new releases. Sony and Crunchyroll’s anime sequel “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training” fared the best among newcomers with $11.5 million from 1,949 theaters — enough for the No. 2 spot.
Hilary Swank’s inspirational drama “Ordinary Angels” opened in third place with an uninspired $6.2 million from 3,020 venues, while director Ethan Coen’s comedic thriller “Drive-Away Dolls” crash-landed in eighth...
The film added $13.5 million from 3,925 North American theaters in its second weekend of release, a 53% decline from its debut. “One Love” has been a surprise box office success with $71.1 million domestically and $120 million globally. It cost $70 million, and the studio only gets to keep roughly half of ticket sales, so it’ll need to keep singing in theaters to justify its cost.
“Bob Marley” topped the charts for the second consecutive weekend despite three new releases. Sony and Crunchyroll’s anime sequel “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training” fared the best among newcomers with $11.5 million from 1,949 theaters — enough for the No. 2 spot.
Hilary Swank’s inspirational drama “Ordinary Angels” opened in third place with an uninspired $6.2 million from 3,020 venues, while director Ethan Coen’s comedic thriller “Drive-Away Dolls” crash-landed in eighth...
- 2/25/2024
- by Rebecca Rubin
- Variety Film + TV
Paramount received the best Valentine’s Day gift any studio could hope for when Bob Marley: One Love, the biopic about the legendary Jamaican musician, set a new midweek record for the holiday when jamming to $14 million and besting the $11.5 million grossed by The Vow in 2012.
But Valentine’s Day turned out to be only a warm-up act as the film transformed into an all-audience box office sensation in another win for the music biopic boom sweeping Hollywood. Iconic music artists — of which there is no shortage — are providing studios with much-needed IP as tried and true genres, namely superhero movies, lose their singing powers. Barely a week goes by without a new major studio project being announced, including this week’s news that Sony and Sam Mendes are embarking on an ambitious magical mystery tour that will see each of the four Beatles get their own feature film, all...
But Valentine’s Day turned out to be only a warm-up act as the film transformed into an all-audience box office sensation in another win for the music biopic boom sweeping Hollywood. Iconic music artists — of which there is no shortage — are providing studios with much-needed IP as tried and true genres, namely superhero movies, lose their singing powers. Barely a week goes by without a new major studio project being announced, including this week’s news that Sony and Sam Mendes are embarking on an ambitious magical mystery tour that will see each of the four Beatles get their own feature film, all...
- 2/21/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Back in August 2023, as two labor strikes were roiling Hollywood and preventing stars from promoting blockbusters, Warner Bros. and Legendary Pictures decided to postpone the release of “Dune: Part Two.” The studios feared that without Timothée Chalamet and Zendaya on the press circuit, the big-budget science fiction sequel wouldn’t live up to its box office potential on its initial November date.
“My first thought was ‘Oh, crap,'” remembers Chris Randleman, chief revenue officer of the Texas-based cinema chain Flix Brewhouse.
Like many theater operators, Randleman was devastated by the delay. Already, Christmastime was lacking a behemoth like a “Star Wars” or “Avatar” sequel, and there was hope “Dune: Part Two” — scheduled for Nov. 3 — would offset middling attendance around the holidays.
But even though a common refrain in the movie business has been that “Dune 2” can’t come soon enough, the fact is that it may be even...
“My first thought was ‘Oh, crap,'” remembers Chris Randleman, chief revenue officer of the Texas-based cinema chain Flix Brewhouse.
Like many theater operators, Randleman was devastated by the delay. Already, Christmastime was lacking a behemoth like a “Star Wars” or “Avatar” sequel, and there was hope “Dune: Part Two” — scheduled for Nov. 3 — would offset middling attendance around the holidays.
But even though a common refrain in the movie business has been that “Dune 2” can’t come soon enough, the fact is that it may be even...
- 2/20/2024
- by Rebecca Rubin
- Variety Film + TV
The fate of Sony’s Madame Web was already predetermined even before the movie’s release with fans trolling the official trailer and critics slamming it in their early reviews, but no one predicted Sydney Sweeney’s romantic comedy movie, Anyone But You, would emerge as a sleeper hit.
Dakota Johnson and Sydney Sweeney in Madame Web
The actress also starred in Madame Web as Julia Carpenter, though a lot of fans think she was miscast. Interestingly, Anyone But You and Madame Web were distributed by Sony, so it seems that the loss of the Marvel film could be offset by the success of the rom-com movie.
SUGGESTEDMadame Web Justifies Crucial Spider-Man Change as Only Way to Fight “Superhero Fatigue”, Fans Rip it to Shreds Regardless Anyone But You Beats Madame Web At The Box Office
According to Variety, Madame Web grossed over $17 million during its opening weekend and earned...
Dakota Johnson and Sydney Sweeney in Madame Web
The actress also starred in Madame Web as Julia Carpenter, though a lot of fans think she was miscast. Interestingly, Anyone But You and Madame Web were distributed by Sony, so it seems that the loss of the Marvel film could be offset by the success of the rom-com movie.
SUGGESTEDMadame Web Justifies Crucial Spider-Man Change as Only Way to Fight “Superhero Fatigue”, Fans Rip it to Shreds Regardless Anyone But You Beats Madame Web At The Box Office
According to Variety, Madame Web grossed over $17 million during its opening weekend and earned...
- 2/19/2024
- by Ariane Cruz
- FandomWire
Not too long ago, it would have been considered a box office suicide mission to pit any new release against a superhero movie.
But this weekend’s showdown of Sony’s comic book adaptation “Madame Web” versus Paramount’s musical biopic “Bob Marley: One Love” demonstrates that’s no longer the case — superhero tentpoles no longer hold all the power.
“One Love,” a PG-13 drama that’s aimed at older female audiences, towered over the newest Marvel (adjacent) flick, earning $52 million over the extended holiday weekend. Suspense thriller “Madame Web,” a “Spider-Man” spin-off starring Dakota Johnson as a paramedic with psychic abilities, generated a paltry $26 million over the same six-day period. It cost $80 million, so it will have a tough time turning a profit in its theatrical run since theater owners get to keep roughly half of ticket sales. The Bob Marley biopic carries a $70 million price tag so it...
But this weekend’s showdown of Sony’s comic book adaptation “Madame Web” versus Paramount’s musical biopic “Bob Marley: One Love” demonstrates that’s no longer the case — superhero tentpoles no longer hold all the power.
“One Love,” a PG-13 drama that’s aimed at older female audiences, towered over the newest Marvel (adjacent) flick, earning $52 million over the extended holiday weekend. Suspense thriller “Madame Web,” a “Spider-Man” spin-off starring Dakota Johnson as a paramedic with psychic abilities, generated a paltry $26 million over the same six-day period. It cost $80 million, so it will have a tough time turning a profit in its theatrical run since theater owners get to keep roughly half of ticket sales. The Bob Marley biopic carries a $70 million price tag so it...
- 2/19/2024
- by Rebecca Rubin
- Variety Film + TV
Updated: Paramount’s musical biopic “Bob Marley: One Love” ruled in its box office debut, beating expectations with $28.6 million over the traditional weekend and $52 million during the six-day holiday stretch.
It was initially projected to generate $30 million to $35 million between Valentine’s Day on Wednesday and Presidents’ Day on Monday. The film came in slightly above Sunday’s domestic estimates of $27.7 million for the three days and $51 million for the six. It experienced an uptick because audiences dug “One Love,” which landed an encouraging “A” CinemaScore from moviegoers. Critics weren’t as fond of the by-the-numbers retelling of Marley’s life and music career as evidenced by the film’s 43% rotten average on Rotten Tomatoes. Reinaldo Marcus Green (“King Richard”) directed and co-wrote the PG-13 “Bob Marley: One Love,” starring Kingsley Ben-Adir as the iconic reggae singer and Lashana Lynch as his wife Rita.
“My family and I are honored...
It was initially projected to generate $30 million to $35 million between Valentine’s Day on Wednesday and Presidents’ Day on Monday. The film came in slightly above Sunday’s domestic estimates of $27.7 million for the three days and $51 million for the six. It experienced an uptick because audiences dug “One Love,” which landed an encouraging “A” CinemaScore from moviegoers. Critics weren’t as fond of the by-the-numbers retelling of Marley’s life and music career as evidenced by the film’s 43% rotten average on Rotten Tomatoes. Reinaldo Marcus Green (“King Richard”) directed and co-wrote the PG-13 “Bob Marley: One Love,” starring Kingsley Ben-Adir as the iconic reggae singer and Lashana Lynch as his wife Rita.
“My family and I are honored...
- 2/18/2024
- by Rebecca Rubin
- Variety Film + TV
The Super Bowl sacked the domestic box office this weekend as revenue fell to historic lows due to the weekend-long frenzy over Sunday’s showdown between the Kansas City Chiefs and San Francisco 49ers in Las Vegas, and an ongoing winter slowdown in major Hollywood studio titles.
Combined ticket sales clocked in at an estimated $40 million, the worst showing for Super Bowl weekend in more than three decades outside of 2021, when many theaters were still closed because of the Covid-19 crisis, according to Comscore. Revenue in 2021 was $7.7 million.
The last time revenue was lower was several instances in the mid- to late -’80s, per Comscore.
There is an upside: Hollywood studios aren’t obsessing too much about weekend grosses. Instead, many are getting ready to drop splashy — and pricey — new spots for their movies.
Back to the the box office. This year, Matthew Vaughn’s big budget bust, Argylle,...
Combined ticket sales clocked in at an estimated $40 million, the worst showing for Super Bowl weekend in more than three decades outside of 2021, when many theaters were still closed because of the Covid-19 crisis, according to Comscore. Revenue in 2021 was $7.7 million.
The last time revenue was lower was several instances in the mid- to late -’80s, per Comscore.
There is an upside: Hollywood studios aren’t obsessing too much about weekend grosses. Instead, many are getting ready to drop splashy — and pricey — new spots for their movies.
Back to the the box office. This year, Matthew Vaughn’s big budget bust, Argylle,...
- 2/11/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Cinema operators might be wishing for their own atmospheric river storms right about now, at least figuratively speaking. Heading into the new year, long-range forecasts showed the box office facing a bad drought during the first two months of 2024, and they were unfortunately spot-on. The culprit? A sparse crop of new Hollywood studio titles as a result of production delays caused by last year’s strikes and a less-than-memorable class of year-end holiday holdovers to goose January’s bottom line.
Domestic box office revenue year-to-date of $581.2 million is running 43 percent behind the average haul during the same time period in 2016-19, when movie ticket sales clocked in as high as $1.08 billion, according to data provided by Comscore for Jan. 1-Feb. 4.
Of that, January clocked in at $513.6 million, compared to $599 million in 2023 (a breakout hit last year was M3GAN, with more than $83 million in ticket sales domestically, while Avatar: The Way of Water...
Domestic box office revenue year-to-date of $581.2 million is running 43 percent behind the average haul during the same time period in 2016-19, when movie ticket sales clocked in as high as $1.08 billion, according to data provided by Comscore for Jan. 1-Feb. 4.
Of that, January clocked in at $513.6 million, compared to $599 million in 2023 (a breakout hit last year was M3GAN, with more than $83 million in ticket sales domestically, while Avatar: The Way of Water...
- 2/9/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
The domestic box office will grind to a near halt this weekend as the horror-comedy “Lisa Frankenstein” takes on the second weekend of Apple’s big-budget action-adventure “Argylle” in North America.
Matthew Vaughn’s “Argylle,” which topped the box office despite its dismal debut, will likely retain the No. 1 spot again with $6 million to $8 million. But don’t get too excited. The film cost $200 million to produce, so it’s shaping up to be the year’s first big bomb. So far, ticket sales have reached just $18.5 million domestically and $35 million globally. The filmmaker’s dreams of turning “Argylle” into a trilogy appear to have faded unless Apple decides to embrace a new corporate mandate to light money on fire.
“Lisa Frankenstein” will also fall short of double digits, targeting a soft $4 million to $6 million from 3,140 theaters. However, Focus Features only spent $13 million to make the film, which may cushion any box office shortcomings.
Matthew Vaughn’s “Argylle,” which topped the box office despite its dismal debut, will likely retain the No. 1 spot again with $6 million to $8 million. But don’t get too excited. The film cost $200 million to produce, so it’s shaping up to be the year’s first big bomb. So far, ticket sales have reached just $18.5 million domestically and $35 million globally. The filmmaker’s dreams of turning “Argylle” into a trilogy appear to have faded unless Apple decides to embrace a new corporate mandate to light money on fire.
“Lisa Frankenstein” will also fall short of double digits, targeting a soft $4 million to $6 million from 3,140 theaters. However, Focus Features only spent $13 million to make the film, which may cushion any box office shortcomings.
- 2/7/2024
- by Rebecca Rubin
- Variety Film + TV
There’s a new queen bee at the box office. Paramount’s “Mean Girls” musical ruled over the competition with $28 million over the weekend and $32 million through the Martin Luther King Jr. holiday on Monday.
Thanks to enduring love for the original 2004 film, an insanely quotable touchstone that turned Oct. 3 into a national holiday, and the power of TikTok, “Mean Girls” is proving the Plastics are still box office draws. The movie musical cost just $36 million and was initially commissioned for Paramount+ before enthusiastic test screenings convinced the studio to release it on the big screen.
Internationally, “Mean Girls” collected $6.5 million from 16 territories, representing less than half of its planned international footprint. The film opens next weekend in the U.K. and New Zealand, followed by other major territories.
Ticket buyers were unsurprisingly 76% female while 60% were under the age of 25. They gave the film a mixed “B” CinemaScore, which is...
Thanks to enduring love for the original 2004 film, an insanely quotable touchstone that turned Oct. 3 into a national holiday, and the power of TikTok, “Mean Girls” is proving the Plastics are still box office draws. The movie musical cost just $36 million and was initially commissioned for Paramount+ before enthusiastic test screenings convinced the studio to release it on the big screen.
Internationally, “Mean Girls” collected $6.5 million from 16 territories, representing less than half of its planned international footprint. The film opens next weekend in the U.K. and New Zealand, followed by other major territories.
Ticket buyers were unsurprisingly 76% female while 60% were under the age of 25. They gave the film a mixed “B” CinemaScore, which is...
- 1/14/2024
- by Rebecca Rubin
- Variety Film + TV
One out of every five moviegoers has vanished since the pandemic, according to research compiled by one Hollywood studio. Whether they’ll ever return to see a film on the big screen is anyone’s guess — and, if they do, when.
It’s an alarming stat that offers some explanation as to why the box office turned on its head in 2023, leaving the film industry bewildered and befuddled. Superhero fare — the genre that helped prop up the business for well over a decade — no longer got a free pass as megabudget pics bombed, including The Flash and Aquaman and the Lost Kingdom, both from DC, and Marvel Studios’ The Marvels.
“Audiences’ tastes are changing, and it feels like they want more challenging fare,” says chief Comscore box office analyst Paul Dergarabedian.
The existential crisis settled in for the long term when a pair of fresh, original summer movies — Barbie and...
It’s an alarming stat that offers some explanation as to why the box office turned on its head in 2023, leaving the film industry bewildered and befuddled. Superhero fare — the genre that helped prop up the business for well over a decade — no longer got a free pass as megabudget pics bombed, including The Flash and Aquaman and the Lost Kingdom, both from DC, and Marvel Studios’ The Marvels.
“Audiences’ tastes are changing, and it feels like they want more challenging fare,” says chief Comscore box office analyst Paul Dergarabedian.
The existential crisis settled in for the long term when a pair of fresh, original summer movies — Barbie and...
- 1/5/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Final figures from Comscore show ‘Barbie’ and ’Oppenheimer’ accounting for more than 10% of total.
Total 2023 box office gross from the US, Canada and Puerto Rico ended up at just over $9.048bn, according to final figures from measurement company Comscore. And Barbie and Oppenheimer between them accounted for 10.6% of the tally.
Comscore’s final domestic figures for the year confirm Universal Pictures with the biggest haul among the studios, with $1.936bn (including Focus Features releases), giving the company a 24.2% market share.
As previously reported, Universal was dominant at the global, North American and international box office for the first time since...
Total 2023 box office gross from the US, Canada and Puerto Rico ended up at just over $9.048bn, according to final figures from measurement company Comscore. And Barbie and Oppenheimer between them accounted for 10.6% of the tally.
Comscore’s final domestic figures for the year confirm Universal Pictures with the biggest haul among the studios, with $1.936bn (including Focus Features releases), giving the company a 24.2% market share.
As previously reported, Universal was dominant at the global, North American and international box office for the first time since...
- 1/5/2024
- by John Hazelton
- ScreenDaily
Final figures from Comscore show ‘Barbie’ and ’Oppenheimer’ accounting for more than 10% of total.
Total 2023 box office gross from the US, Canada and Puerto Rico ended up at just over $9.048bn, according to final figures from measurement company Comscore. And Barbie and Oppenheimer between them accounted for 10.6% of the tally.
Comscore’s final domestic figures for the year confirm Universal Pictures with the biggest haul among the studios, with $1.936bn (including Focus Features releases), giving the company a 24.2% market share.
As previously reported, Universal was dominant at the global, North American and international box office for the first time since...
Total 2023 box office gross from the US, Canada and Puerto Rico ended up at just over $9.048bn, according to final figures from measurement company Comscore. And Barbie and Oppenheimer between them accounted for 10.6% of the tally.
Comscore’s final domestic figures for the year confirm Universal Pictures with the biggest haul among the studios, with $1.936bn (including Focus Features releases), giving the company a 24.2% market share.
As previously reported, Universal was dominant at the global, North American and international box office for the first time since...
- 1/5/2024
- by John Hazelton
- ScreenDaily
Universal’s film empire is taking a major bow after placing No. 1 in marketshare at the 2023 global box office, a feat no studio has been able to pull off since Disney rose to dominance in 2016.
The 24 movies released by Universal generated an estimated $4.91 billion in worldwide ticket sales, compared to an estimated $4.83 billion from the 17 titles released by Disney in what made for a relatively close race both in North America and at the foreign box office. Even a week ago, no one in Hollywood was sure Universal would prevail, especially overseas.
Universal’s total haul included $1.94 billion in domestic revenue, while Disney’s domestic tally was $1.9 billion. Internationally, Universal prevailed with $2.97 billion. Disney’s offshore revenue was $2.92 billion.
The transfer of power is a big win for Donna Langley, who is chairman of NBCUniversal Studio Group and chief content officer. She is known for her close ties to top filmmakers,...
The 24 movies released by Universal generated an estimated $4.91 billion in worldwide ticket sales, compared to an estimated $4.83 billion from the 17 titles released by Disney in what made for a relatively close race both in North America and at the foreign box office. Even a week ago, no one in Hollywood was sure Universal would prevail, especially overseas.
Universal’s total haul included $1.94 billion in domestic revenue, while Disney’s domestic tally was $1.9 billion. Internationally, Universal prevailed with $2.97 billion. Disney’s offshore revenue was $2.92 billion.
The transfer of power is a big win for Donna Langley, who is chairman of NBCUniversal Studio Group and chief content officer. She is known for her close ties to top filmmakers,...
- 1/2/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
2024 is just getting underway, and though there is much reason to be pessimistic, the year's fate so far as the box office is concerned remains in question. More on that in a moment. We do, however, have some good news entering the year: 2023's domestic box office finished above $9 billion for the first time since 2019. Comscore (via The Hollywood Reporter) recently revealed that ticket sales for last year are expected to come in between $9.03 and $9.05 billion when all receipts are tallied.
This is especially good news because, for a few weeks there, it seemed like that $9 billion benchmark was going to be out of reach largely thanks to a rough November that saw expected hits like "The Marvels" and "Wish" fall well shy of expectations. But a slew of releases in December, led by Warner Bros.' surprise hit musical prequel "Wonka," managed to get the job done. Even without...
This is especially good news because, for a few weeks there, it seemed like that $9 billion benchmark was going to be out of reach largely thanks to a rough November that saw expected hits like "The Marvels" and "Wish" fall well shy of expectations. But a slew of releases in December, led by Warner Bros.' surprise hit musical prequel "Wonka," managed to get the job done. Even without...
- 1/2/2024
- by Ryan Scott
- Slash Film
Monday Am writethru: Yes, Virginia, there is a Santa Claus, and he’s delivering the motion picture industry a $9 billion-plus year at the domestic box office, a feat many thought was unimaginable with the lack of a mega-tentpole over the holiday, coupled by a Q4 impacted by the double strikes. The numbers were compiled from Comscore data and Deadline calculations. Comscore called 2023 at $9.03 billion yesterday.
It was a diversified crop of family and adult films over the holidays that got us there, including Warner Bros’ trifecta of Wonka (which is leading the four-day New Year’s box office with $30M), Aquaman and the Lost Kingdom (4-day $23.5M), and The Color Purple ($15M 4-day), as well as adult movies like The Boys in the Boat ($11.2M 4-day) and even YA romantic comedy Anyone But You ($11M 4-day).
As we told you a few days ago, 2024 is bound to shed about $1 billion...
It was a diversified crop of family and adult films over the holidays that got us there, including Warner Bros’ trifecta of Wonka (which is leading the four-day New Year’s box office with $30M), Aquaman and the Lost Kingdom (4-day $23.5M), and The Color Purple ($15M 4-day), as well as adult movies like The Boys in the Boat ($11.2M 4-day) and even YA romantic comedy Anyone But You ($11M 4-day).
As we told you a few days ago, 2024 is bound to shed about $1 billion...
- 1/1/2024
- by Anthony D'Alessandro
- Deadline Film + TV
The indie box office busted out this year, hitting is stride post-Covid with an eclectic string of releases that made a splash artistically and financially.
Independents and mini-majors saw $1.47 billion in box office receipts as of Dec. 27, up from $811.7 million in 2022, according to Comscore.
Focus Features had the biggest limited opening of the year with Wes Anderson’s Asteroid City (gross $28 million). Alexander Payne’s The Holdovers with Paul Giamatti ($17.9 million) drew older demos, picky, yes, but finally comfortable back in theaters. Ditto for MGM’s Air, a film Amazon originally slated to go directly to Prime Video, that hit a core 45+ audience and a $52 million cume.
A24’s Past Lives, the much-nominated first film by Celine Song, made $10.9 million and its low-budget horror Talk to Me cleared $48 million. Emma Seligman’s raunchy teen comedy Bottoms from MGM topped $12 million.
That led into a fall bonanza heading into awards season with Anatomy Of A Fall,...
Independents and mini-majors saw $1.47 billion in box office receipts as of Dec. 27, up from $811.7 million in 2022, according to Comscore.
Focus Features had the biggest limited opening of the year with Wes Anderson’s Asteroid City (gross $28 million). Alexander Payne’s The Holdovers with Paul Giamatti ($17.9 million) drew older demos, picky, yes, but finally comfortable back in theaters. Ditto for MGM’s Air, a film Amazon originally slated to go directly to Prime Video, that hit a core 45+ audience and a $52 million cume.
A24’s Past Lives, the much-nominated first film by Celine Song, made $10.9 million and its low-budget horror Talk to Me cleared $48 million. Emma Seligman’s raunchy teen comedy Bottoms from MGM topped $12 million.
That led into a fall bonanza heading into awards season with Anatomy Of A Fall,...
- 1/1/2024
- by Jill Goldsmith
- Deadline Film + TV
Phew.
Domestic box office revenue was able to clear $9 billion after all, despite a dismal fall season at the multiplex, according to Comscore. That’s the best showing of the post-pandemic era, with revenue in U.S. and Canada up 20 percent over 2022’s $7.5 billion.
But movie ticket sales are still down sharply from pre-pandemic times, when domestic revenue crossed $10 billion every year beginning in 2009 and $11 billion every year beginning in 2015 and ending in 2019, the last year before Covid-19 struck. Comscore believes 2023 domestic revenue will come in at $9.03 billion to $9.05 billion for 2023, a drop of roughly 21 percent from 2019’s $11.4 billion.
In terms of box office trends, 2023 will be remembered as a year of enormous change as audiences spurned tried-and-true staples, such as superhero fare — The Marvels was the biggest stumble in the history of Marvel Studios — and instead embraced originality or genres that had previously struggled.
The marquee example of the...
Domestic box office revenue was able to clear $9 billion after all, despite a dismal fall season at the multiplex, according to Comscore. That’s the best showing of the post-pandemic era, with revenue in U.S. and Canada up 20 percent over 2022’s $7.5 billion.
But movie ticket sales are still down sharply from pre-pandemic times, when domestic revenue crossed $10 billion every year beginning in 2009 and $11 billion every year beginning in 2015 and ending in 2019, the last year before Covid-19 struck. Comscore believes 2023 domestic revenue will come in at $9.03 billion to $9.05 billion for 2023, a drop of roughly 21 percent from 2019’s $11.4 billion.
In terms of box office trends, 2023 will be remembered as a year of enormous change as audiences spurned tried-and-true staples, such as superhero fare — The Marvels was the biggest stumble in the history of Marvel Studios — and instead embraced originality or genres that had previously struggled.
The marquee example of the...
- 12/31/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
“Aquaman and the Lost Kingdom” is quickly sinking at the box office.
The comic book adventure, starring Jason Momoa as the King of Atlantis, was positioned on the calendar as the de facto blockbuster of the holiday season. But, so far, the follow-up to 2018’s megahit “Aquaman” has failed to recapture the spark of the original. The $205 million-budgeted tentpole caps off 2023, a terrible year for superhero movies, as the fourth consecutive flop for Warner Bros. and DC Studios following “The Flash,” “Shazam! Fury of the Gods” and “Blue Beetle.”
“Aquaman and the Lost Kingdom” swam to second place in its sophomore outing, collecting a soft $19.5 million over the weekend and an estimated $26 million through New Year’s Day on Monday. It has grossed $84 million domestically and $258 million globally after two weeks of release, on par with eventual comic book disappointments like “The Flash,” “The Marvels” and “Ant-Man and the Wasp: Quantumania.
The comic book adventure, starring Jason Momoa as the King of Atlantis, was positioned on the calendar as the de facto blockbuster of the holiday season. But, so far, the follow-up to 2018’s megahit “Aquaman” has failed to recapture the spark of the original. The $205 million-budgeted tentpole caps off 2023, a terrible year for superhero movies, as the fourth consecutive flop for Warner Bros. and DC Studios following “The Flash,” “Shazam! Fury of the Gods” and “Blue Beetle.”
“Aquaman and the Lost Kingdom” swam to second place in its sophomore outing, collecting a soft $19.5 million over the weekend and an estimated $26 million through New Year’s Day on Monday. It has grossed $84 million domestically and $258 million globally after two weeks of release, on par with eventual comic book disappointments like “The Flash,” “The Marvels” and “Ant-Man and the Wasp: Quantumania.
- 12/31/2023
- by Rebecca Rubin
- Variety Film + TV
Will the box office hit $9 billion in 2023? Analysts have predicted, or at least hoped, that’s where domestic grosses would wind up. And there are no less than eight new releases set to unspool over the next 14 days, which could help theaters finish the year having passed that coveted figure.
But after a 12-month stretch that’s seen two labor strikes wallop a business that’s yet to recover from the pandemic, Hollywood may struggle to get its happily ever after.
As of Dec. 17, the domestic box office has collected $8.58 billion, according to Comscore. That’s roughly $416 million away from $9 billion. Wherever ticket sales end up, it’s already the highest-grossing year since Covid upended the movie theater industry — far above 2022’s $7.46 billion haul and 2021’s $4.56 billion tally. But it’s not quite at pre-pandemic levels when the box office comfortably reached $10 billion to $11 billion a year. Part of the...
But after a 12-month stretch that’s seen two labor strikes wallop a business that’s yet to recover from the pandemic, Hollywood may struggle to get its happily ever after.
As of Dec. 17, the domestic box office has collected $8.58 billion, according to Comscore. That’s roughly $416 million away from $9 billion. Wherever ticket sales end up, it’s already the highest-grossing year since Covid upended the movie theater industry — far above 2022’s $7.46 billion haul and 2021’s $4.56 billion tally. But it’s not quite at pre-pandemic levels when the box office comfortably reached $10 billion to $11 billion a year. Part of the...
- 12/17/2023
- by Rebecca Rubin
- Variety Film + TV
Don’t be surprised if top Hollywood studio executives and theater owners aren’t feeling the Christmas spirit this year. They’re bracing for a tumultuous 2024 ride at the domestic box office after a slew of high-profile tentpoles were pushed to 2025 because of the lengthy writers and actors strikes.
In a major blow to the post-pandemic recovery effort, domestic box office revenue in 2024 is now expected to come in behind that of 2023, a reversal of fortunes no one predicted. If projections are right, domestic box office in 2024 could top out at $7.5 billion to $8 billion, compared to an expected $8.8 billion to $8.9 billion this year, say multiple studio executives who spoke with The Hollywood Reporter (a few are more bullish in thinking $8 billion to $8.5 billion is possible).
The culprit: a sparse release calendar, particularly during the first three months of the year. “It’s a disaster,” says one studio exec regarding the first part of the year.
In a major blow to the post-pandemic recovery effort, domestic box office revenue in 2024 is now expected to come in behind that of 2023, a reversal of fortunes no one predicted. If projections are right, domestic box office in 2024 could top out at $7.5 billion to $8 billion, compared to an expected $8.8 billion to $8.9 billion this year, say multiple studio executives who spoke with The Hollywood Reporter (a few are more bullish in thinking $8 billion to $8.5 billion is possible).
The culprit: a sparse release calendar, particularly during the first three months of the year. “It’s a disaster,” says one studio exec regarding the first part of the year.
- 12/15/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
The pressure is on for the December box office after an unusual Thanksgiving feast. An epic historical drama catering to older adults and running nearly two hours and 40 minutes fed more moviegoers than a new family offering from Disney’s animation empire, which for years dominated the November holiday. (Remember that little blockbuster called Frozen, or Frozen 2, which ranks as the top Thanksgiving opener of all time?)
Heading into Thanksgiving, Disney’s original music-infused Wish — an ode to Walt Disney’s trademark “wish upon a star” mantra — was widely expected to be the peak performer with a projected North American debut of $45 million to $50 million for the Nov. 22-26 corridor. Instead, it became the latest misfire from Hollywood’s once-invincible film empire, opening to a tepid $31.6 million.
Ridley Scott’s Napoleon, starring Joaquin Phoenix as the French military commander, narrowly conquered Wish with a five-day launch of $32.8 million despite...
Heading into Thanksgiving, Disney’s original music-infused Wish — an ode to Walt Disney’s trademark “wish upon a star” mantra — was widely expected to be the peak performer with a projected North American debut of $45 million to $50 million for the Nov. 22-26 corridor. Instead, it became the latest misfire from Hollywood’s once-invincible film empire, opening to a tepid $31.6 million.
Ridley Scott’s Napoleon, starring Joaquin Phoenix as the French military commander, narrowly conquered Wish with a five-day launch of $32.8 million despite...
- 11/29/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
“The Marvels” didn’t crash and burn at the box office this past weekend due to superhero fatigue. Nor was it the lowest opening weekend in MCU history because fans were rebelling against the female-driven ensemble — the gender makeup in North America over the opening weekend was 61% male and 39% female.
Instead, the film limped to a $46.1 million opening weekend due to a number of factors including declining trust in the Marvel brand, all of which speak to an existential challenge for Marvel Studios: Make Marvel special again.
Superhero movies within the Marvel and DC universes are now as execution-dependent as other franchise titles. The low opening for the Brie Larson-starring sequel shows that an MCU movie is no longer an automatic must-see event, meaning fans won’t show up just because it’s “the next Marvel movie.” That’s a problem, considering many of Marvel’s upcoming titles,...
Instead, the film limped to a $46.1 million opening weekend due to a number of factors including declining trust in the Marvel brand, all of which speak to an existential challenge for Marvel Studios: Make Marvel special again.
Superhero movies within the Marvel and DC universes are now as execution-dependent as other franchise titles. The low opening for the Brie Larson-starring sequel shows that an MCU movie is no longer an automatic must-see event, meaning fans won’t show up just because it’s “the next Marvel movie.” That’s a problem, considering many of Marvel’s upcoming titles,...
- 11/15/2023
- by Scott Mendelson
- The Wrap
Matt Ramos, 22, was just 7 years old when the original “Iron Man” hit theaters. He was not the target audience for the film; nor was his Gen-z responsible for making Marvel and the MCU a cultural and box office behemoth.
But like the “Young Avengers” teased in “The Marvels,” Gen-z are the ones who will make or break the next decade of the MCU.
Today, Ramos has more than 3 million TikTok followers (he’s known there as “Supes”), influencing a passionate fan base consisting primarily of 16-24 year olds. For Ramos and his peers, Marvel fandom is alive and well.
“When the first ‘Iron Man’ came out, it was still not cool to be a Marvel fan. But then by the time ‘Avengers: Endgame’ came out in 2019, it was weird if you weren’t a Marvel fan,” Ramos told IndieWire. “For Marvel fans, there is that essential need. Because when a...
But like the “Young Avengers” teased in “The Marvels,” Gen-z are the ones who will make or break the next decade of the MCU.
Today, Ramos has more than 3 million TikTok followers (he’s known there as “Supes”), influencing a passionate fan base consisting primarily of 16-24 year olds. For Ramos and his peers, Marvel fandom is alive and well.
“When the first ‘Iron Man’ came out, it was still not cool to be a Marvel fan. But then by the time ‘Avengers: Endgame’ came out in 2019, it was weird if you weren’t a Marvel fan,” Ramos told IndieWire. “For Marvel fans, there is that essential need. Because when a...
- 11/14/2023
- by Brian Welk
- Indiewire
There’s nothing super about the opening weekend of Disney’s superhero adventure “The Marvels,” which whiffed at the box office with $63 million internationally and $110 million globally.
Those figures are far behind expectations and rank as one of the worst worldwide debuts in the history of the Marvel Cinematic Universe.
“The Marvels” is the 33rd MCU film and the sequel to 2019’s billion-dollar behemoth, “Captain Marvel,” which debuted to a massive $302 million internationally and $455 million globally. That film, which introduced Brie Larson’s Carol Danvers, was fortuitously sandwiched between two of the biggest movies of all time, 2018’s “Avengers: Infinity War” and 2019’s “Avengers: Endgame.”
But there are other reasons behind the brutal drop in ticket sales. “Captain Marvel” came at a time when the MCU — an unrivaled franchise that has delivered $30 billion globally across 15 years — could do no wrong at the box office. In the time since, Disney has inundated viewers with countless spinoffs,...
Those figures are far behind expectations and rank as one of the worst worldwide debuts in the history of the Marvel Cinematic Universe.
“The Marvels” is the 33rd MCU film and the sequel to 2019’s billion-dollar behemoth, “Captain Marvel,” which debuted to a massive $302 million internationally and $455 million globally. That film, which introduced Brie Larson’s Carol Danvers, was fortuitously sandwiched between two of the biggest movies of all time, 2018’s “Avengers: Infinity War” and 2019’s “Avengers: Endgame.”
But there are other reasons behind the brutal drop in ticket sales. “Captain Marvel” came at a time when the MCU — an unrivaled franchise that has delivered $30 billion globally across 15 years — could do no wrong at the box office. In the time since, Disney has inundated viewers with countless spinoffs,...
- 11/12/2023
- by Rebecca Rubin
- Variety Film + TV
The rescue mission to save Hollywood’s 2024 calendar — and the summer lineup in particular — has officially commenced now that the actors’ strike has been resolved. One source says some major film productions are up and running as of Thursday.
High drama unfolded on Wednesday as the studios informed SAG-AFTRA that it had until 5 p.m. Pt to decide whether to accept their final offer. Otherwise, the studios said there was little hope of saving the new TV season or the 2024 summer release calendar. “It’s catastrophic for the schedule if we don’t get a deal done,” explained one studio-side insider minutes before word broke that SAG had indeed voted to accept the offer.
Earlier in the day, Disney chief Bob Iger also sounded the warning cry when saying there wasn’t much time left to save his studio’s summer slate.
Dozens of titles have already shifted their release...
High drama unfolded on Wednesday as the studios informed SAG-AFTRA that it had until 5 p.m. Pt to decide whether to accept their final offer. Otherwise, the studios said there was little hope of saving the new TV season or the 2024 summer release calendar. “It’s catastrophic for the schedule if we don’t get a deal done,” explained one studio-side insider minutes before word broke that SAG had indeed voted to accept the offer.
Earlier in the day, Disney chief Bob Iger also sounded the warning cry when saying there wasn’t much time left to save his studio’s summer slate.
Dozens of titles have already shifted their release...
- 11/9/2023
- by Pamela McClintock and Aaron Couch
- The Hollywood Reporter - Movie News
Updated: Universal and Blumhouse’s funhouse thriller “Five Nights at Freddy’s” slayed box office expectations with its scary-good $80 million domestic debut over Halloween weekend. The final number came in slightly above Sunday’s estimates of $78 million.
Those ticket sales are especially impressive because the horror film landed simultaneously on Peacock, the streaming service owned by NBCUniversal. It ties the record for the best opening weekend for a day-and-date streaming release with Disney’s 2021 Marvel adventure “Black Widow” ($80 million in theaters and $60 million on Disney+). It’s also the best ever for Universal and Peacock’s hybrid releases, beating the slasher sequels, 2021’s “Halloween Kills” ($49 million) and 2022’s “Halloween Ends” ($40 million).
Heading into the weekend, “Five Nights at Freddy’s” was expected to collect at least $50 million, which would have been a huge start for the genre. It now stands as the biggest horror debut of the year, surpassing the starts of...
Those ticket sales are especially impressive because the horror film landed simultaneously on Peacock, the streaming service owned by NBCUniversal. It ties the record for the best opening weekend for a day-and-date streaming release with Disney’s 2021 Marvel adventure “Black Widow” ($80 million in theaters and $60 million on Disney+). It’s also the best ever for Universal and Peacock’s hybrid releases, beating the slasher sequels, 2021’s “Halloween Kills” ($49 million) and 2022’s “Halloween Ends” ($40 million).
Heading into the weekend, “Five Nights at Freddy’s” was expected to collect at least $50 million, which would have been a huge start for the genre. It now stands as the biggest horror debut of the year, surpassing the starts of...
- 10/29/2023
- by Rebecca Rubin
- Variety Film + TV
Five Nights at Freddy’s partied hard on its first night in theaters.
The latest horror offering from Universal and Blumhouse scared up a massive $10.3 million in Thursday previews at the domestic box office. That’s on par with New Line’s It: Chapter Two ($10.5 million), which debuted to a record $91 million in 2019, not adjusted for inflation. And it’s notably ahead of Blumhouse/Universal’s Halloween ($7.7 million), which also smashed records when opening to $76.2 million in 2018, as well as Halloween Kills ($4.9 million) and Halloween Ends ($5.4 million), not adjusted for inflation. It also trumped Jordan Peele’s Us ($7.4 million).
Freddy’s is tracking to open to $45 million to $50 million, a huge sum considering that the movie is being released simultaneously on Universal’s sister streaming service, Peacock (only paid-tier subscribers will have access). Others think it will do notably more, a premise backed up by the preview gross. But no one...
The latest horror offering from Universal and Blumhouse scared up a massive $10.3 million in Thursday previews at the domestic box office. That’s on par with New Line’s It: Chapter Two ($10.5 million), which debuted to a record $91 million in 2019, not adjusted for inflation. And it’s notably ahead of Blumhouse/Universal’s Halloween ($7.7 million), which also smashed records when opening to $76.2 million in 2018, as well as Halloween Kills ($4.9 million) and Halloween Ends ($5.4 million), not adjusted for inflation. It also trumped Jordan Peele’s Us ($7.4 million).
Freddy’s is tracking to open to $45 million to $50 million, a huge sum considering that the movie is being released simultaneously on Universal’s sister streaming service, Peacock (only paid-tier subscribers will have access). Others think it will do notably more, a premise backed up by the preview gross. But no one...
- 10/27/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Moviegoers are feeling in the Halloween spirit.
Universal and Blumhouse’s horror pic Five Nights at Freddy‘s will have no trouble bumping Taylor Swift: The Eras Tour from the top spot at the domestic box office and winning the Oct. 27-Oct. 29 weekend.
Five Nights is tracking to open to at least $45 million to $50 million domestically, a huge sum considering the movie is being released simultaneously on Universal’s sister streaming service, Peacock (only paid-tier subscribers will have access).
Universal insiders say the decision to do a day-and-date release is a win-win for the overall ecosystem. Those who want the communal experience of watching a horror movie in a theater can do so, while Peacock can woo much-needed subscribers. (Apparently streamers see notable growth in October because of Halloween-themed offerings.)
Before the pandemic, most theaters would have outright refused to book a title already available in the home. The Covid-19 crisis changed everything,...
Universal and Blumhouse’s horror pic Five Nights at Freddy‘s will have no trouble bumping Taylor Swift: The Eras Tour from the top spot at the domestic box office and winning the Oct. 27-Oct. 29 weekend.
Five Nights is tracking to open to at least $45 million to $50 million domestically, a huge sum considering the movie is being released simultaneously on Universal’s sister streaming service, Peacock (only paid-tier subscribers will have access).
Universal insiders say the decision to do a day-and-date release is a win-win for the overall ecosystem. Those who want the communal experience of watching a horror movie in a theater can do so, while Peacock can woo much-needed subscribers. (Apparently streamers see notable growth in October because of Halloween-themed offerings.)
Before the pandemic, most theaters would have outright refused to book a title already available in the home. The Covid-19 crisis changed everything,...
- 10/26/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
With nearly $93 million at the box office on opening weekend alone, “Taylor Swift: The Eras Tour” concert film is not just a success — it’s a smash. Swift took the film directly to AMC Theaters for distribution, bypassing the major Hollywood studios in a win-win for the theater chain and Swift herself, solidifying the Grammy-winning singer, songwriter and filmmaker as an entrepreneur as well. And judging by the demographic makeup of those who came out in droves on opening weekend, “The Eras Tour” is just the latest example of how catering to female moviegoers pays off.
According to CinemaScore, a whopping 80% of opening weekend attendees were female, compared to the 65% who were female on the opening weekend of July’s blockbuster “Barbie.” The audience skewed younger as well, with 30% of moviegoers falling between the ages of 25-34, 23% between the ages of 18 and 24 and an impressive 20% under the age of 18.
These...
According to CinemaScore, a whopping 80% of opening weekend attendees were female, compared to the 65% who were female on the opening weekend of July’s blockbuster “Barbie.” The audience skewed younger as well, with 30% of moviegoers falling between the ages of 25-34, 23% between the ages of 18 and 24 and an impressive 20% under the age of 18.
These...
- 10/19/2023
- by Kristen Lopez
- The Wrap
Taylor Swift is a box office mastermind.
Based on early grosses pouring in, the superstar’s new concert movie Taylor Swift: The Eras Tour is headed for a domestic opening of $100 million, per AMC Theatres’ estimates. Hollywood studios are estimating an opening weekend range of $90 million-$110 million, but AMC is sticking to its original number.
The movie grossed a huge $39 million on Friday, on par with such tentpoles as Spider-Man: No Way Home ($39.2 million), and it’s the second-biggest Friday gross for an October movie behind Joker ($39.4 million), not adjusted for inflation.
It has a shot at snagging the biggest October opening of all time in North America if it bests Joker ($96.2 million), according to Comscore. By the weekend’s end, it is assured of already being the top-grossing concert film of all time, not adjusted for inflation.
Eras Tour was graced with a coveted A+ CinemaScore by audiences and...
Based on early grosses pouring in, the superstar’s new concert movie Taylor Swift: The Eras Tour is headed for a domestic opening of $100 million, per AMC Theatres’ estimates. Hollywood studios are estimating an opening weekend range of $90 million-$110 million, but AMC is sticking to its original number.
The movie grossed a huge $39 million on Friday, on par with such tentpoles as Spider-Man: No Way Home ($39.2 million), and it’s the second-biggest Friday gross for an October movie behind Joker ($39.4 million), not adjusted for inflation.
It has a shot at snagging the biggest October opening of all time in North America if it bests Joker ($96.2 million), according to Comscore. By the weekend’s end, it is assured of already being the top-grossing concert film of all time, not adjusted for inflation.
Eras Tour was graced with a coveted A+ CinemaScore by audiences and...
- 10/14/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Just two months ago it seemed that “Barbenheimer” would mark the last huge event-release movie theaters would see for the foreseeable future. But thanks to AMC Theaters and Taylor Swift, this weekend is set to be the shot in the arm the box office needed with the release of the pop star’s “Eras” concert film.
With over $100 million already in the bag from worldwide presales, Swift is expected to challenge the October domestic opening weekend record currently held by “Joker” with $96 million.
Currently, independent trackers are conservatively projecting a mere $85 million, while exhibitors who spoke to TheWrap believe the film will become the first October release to exceed $100 million, with the most optimistic predictions topping out at $125 million.
To help stem the instability the ongoing actors strike is wreaking on the box office, AMC reached a deal in August with Swift’s team to distribute the film directly via a partnership with Variance Films,...
With over $100 million already in the bag from worldwide presales, Swift is expected to challenge the October domestic opening weekend record currently held by “Joker” with $96 million.
Currently, independent trackers are conservatively projecting a mere $85 million, while exhibitors who spoke to TheWrap believe the film will become the first October release to exceed $100 million, with the most optimistic predictions topping out at $125 million.
To help stem the instability the ongoing actors strike is wreaking on the box office, AMC reached a deal in August with Swift’s team to distribute the film directly via a partnership with Variance Films,...
- 10/10/2023
- by Jeremy Fuster
- The Wrap
Paramount’s animated “Paw Patrol: The Mighty Movie” looks to rule the box office in a weekend that’s packed with new releases. Three other movies, Lionsgate’s gruesome “Saw X,” Disney and New Regency’s sci-fi thriller “The Creator” and Sony’s Game Stop stock-inspired “Dumb Money,” will open nationwide and attempt to break through during a crowded weekend.
According to estimates, “Paw Patrol” is aiming to lead with $18 million to $20 million, but it may be a close race against “Saw X” for first place on box office charts. The 10th Jigsaw slasher movie is targeting $15 million to $18 million, though some projections expect initial ticket sales to hit $20 million to $25 million. “The Creator,” starring John David Washington and Gemma Chan, won’t be far behind with estimates of $16 million to $19 million in its debut. Meanwhile, “Dumb Money” is predicted to earn a soft $5 million to $8 million as it expands...
According to estimates, “Paw Patrol” is aiming to lead with $18 million to $20 million, but it may be a close race against “Saw X” for first place on box office charts. The 10th Jigsaw slasher movie is targeting $15 million to $18 million, though some projections expect initial ticket sales to hit $20 million to $25 million. “The Creator,” starring John David Washington and Gemma Chan, won’t be far behind with estimates of $16 million to $19 million in its debut. Meanwhile, “Dumb Money” is predicted to earn a soft $5 million to $8 million as it expands...
- 9/27/2023
- by Rebecca Rubin
- Variety Film + TV
Christopher Nolan’s “Oppenheimer” keeps climbing at the box office with more than $900 million in global ticket sales to date.
Over the weekend, the R-rated historical drama added $12.8 million globally, including $10.7 million overseas and $2.1 million domestically. After nine weeks of release, “Oppenehimer” has grossed a staggering $910 million worldwide, with $318 million from North American theaters and $594 million internationally.
“For ‘Oppenheimer’ to cross the $900 million global mark after just nine weeks in theaters is a remarkable achievement,” says Paul Dergarabedian, a senior Comscore analyst. “It shows how an amazing film with a superstar director and a star-studded cast can turn a three-hour historical epic into a blockbuster mainstream hit.”
“Oppenheimer,” starring Cillian Murphy as the so-called “father of the atomic bomb,” continues to crush expectations and stands as the third-highest grossing release of the year behind “Barbie” ($1.41 billion) and “The Super Mario Bros. Movie” ($1.36 billion). At this rate, the $1 billion benchmark isn...
Over the weekend, the R-rated historical drama added $12.8 million globally, including $10.7 million overseas and $2.1 million domestically. After nine weeks of release, “Oppenehimer” has grossed a staggering $910 million worldwide, with $318 million from North American theaters and $594 million internationally.
“For ‘Oppenheimer’ to cross the $900 million global mark after just nine weeks in theaters is a remarkable achievement,” says Paul Dergarabedian, a senior Comscore analyst. “It shows how an amazing film with a superstar director and a star-studded cast can turn a three-hour historical epic into a blockbuster mainstream hit.”
“Oppenheimer,” starring Cillian Murphy as the so-called “father of the atomic bomb,” continues to crush expectations and stands as the third-highest grossing release of the year behind “Barbie” ($1.41 billion) and “The Super Mario Bros. Movie” ($1.36 billion). At this rate, the $1 billion benchmark isn...
- 9/17/2023
- by Rebecca Rubin
- Variety Film + TV
Updated: After a close box office race, “The Nun II” managed to claim victory over newcomer “A Haunting in Venice.”
The two films were competing for No. 1 over the weekend, but the Warner Bros. thriller “The Nun II” ever-so-slightly outpaced the competition with $14.5 million in its second weekend as Disney’s murder mystery “A Haunting in Venice” inched closely behind with a middling $14.3 million debut.
Regardless of which film finished in first place, this was a downright dreary weekend at the box office. Overall ticket sales topped out at just $62 million, according to Comscore, resulting in the second-worst weekend of the year. “Nothing says ‘normal’ like a post-summer slowdown at the box office, and this year is no exception,” says senior Comscore analyst Paul Dergarabedian.
“A Haunting in Venice,” the third of director Kenneth Branagh’s Agatha Christie adaptations, collected another $22.7 million at the international box office, bringing its global tally to $37.2 million.
The two films were competing for No. 1 over the weekend, but the Warner Bros. thriller “The Nun II” ever-so-slightly outpaced the competition with $14.5 million in its second weekend as Disney’s murder mystery “A Haunting in Venice” inched closely behind with a middling $14.3 million debut.
Regardless of which film finished in first place, this was a downright dreary weekend at the box office. Overall ticket sales topped out at just $62 million, according to Comscore, resulting in the second-worst weekend of the year. “Nothing says ‘normal’ like a post-summer slowdown at the box office, and this year is no exception,” says senior Comscore analyst Paul Dergarabedian.
“A Haunting in Venice,” the third of director Kenneth Branagh’s Agatha Christie adaptations, collected another $22.7 million at the international box office, bringing its global tally to $37.2 million.
- 9/17/2023
- by Rebecca Rubin
- Variety Film + TV
Older moviegoers have long been notorious for staying home on opening weekend. Prevailing wisdom suggests they’d rather avoid crowds and see a particular film down the road, if they decide to take a trip to the cinema at all. And since the pandemic, adults 45 and older have become even more difficult to win over amid the proliferation of streaming content in the home.
Sony’s The Equalizer 3 is an exception to that rule, and a testament to the star status of Denzel Washington, 68. The movie — reuniting the actor with filmmaker Antoine Fuqua — opened to a better-than-expected $42.8 million domestically at the Labor Day weekend box office. That’s a near record for the four-day holiday behind Marvel Studios’ Shang-Chi and the Legend of the Ten Rings ($94.7 million), released two years go. Until now, the second best opening for Labor Day belonged to Halloween‘s $30.6 million in 2007, not adjusted for inflation.
Sony’s The Equalizer 3 is an exception to that rule, and a testament to the star status of Denzel Washington, 68. The movie — reuniting the actor with filmmaker Antoine Fuqua — opened to a better-than-expected $42.8 million domestically at the Labor Day weekend box office. That’s a near record for the four-day holiday behind Marvel Studios’ Shang-Chi and the Legend of the Ten Rings ($94.7 million), released two years go. Until now, the second best opening for Labor Day belonged to Halloween‘s $30.6 million in 2007, not adjusted for inflation.
- 9/7/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.