Say hello to sequel season.
That might as well be the nickname for this summer’s slate of potential blockbusters. Over the next four months, Hollywood is rolling out what it hopes will be a winning mix of follow-ups, reboots and spinoffs from tested franchises like “Despicable Me” and the Marvel Cinematic Universe as it looks to reinvigorate the shaky movie theater business.
Last summer flipped the script: New properties, such as “Barbie” and “Oppenheimer,” ruled, while entries in aging series, like “Indiana Jones and the Dial of Destiny” and “Mission Impossible 7,” missed the mark. This time out, the tried-and-true may yet prevail. Original offerings like Ryan Gosling and Emily Blunt’s action-comedy “The Fall Guy” and Kevin Costner’s Western “Horizon: An American Saga” will attempt to lure audiences. But analysts anticipate that overly familiar brands — “Despicable Me 4,” Marvel’s “Deadpool & Wolverine,” and Pixar’s “Inside Out 2...
That might as well be the nickname for this summer’s slate of potential blockbusters. Over the next four months, Hollywood is rolling out what it hopes will be a winning mix of follow-ups, reboots and spinoffs from tested franchises like “Despicable Me” and the Marvel Cinematic Universe as it looks to reinvigorate the shaky movie theater business.
Last summer flipped the script: New properties, such as “Barbie” and “Oppenheimer,” ruled, while entries in aging series, like “Indiana Jones and the Dial of Destiny” and “Mission Impossible 7,” missed the mark. This time out, the tried-and-true may yet prevail. Original offerings like Ryan Gosling and Emily Blunt’s action-comedy “The Fall Guy” and Kevin Costner’s Western “Horizon: An American Saga” will attempt to lure audiences. But analysts anticipate that overly familiar brands — “Despicable Me 4,” Marvel’s “Deadpool & Wolverine,” and Pixar’s “Inside Out 2...
- 5/1/2024
- by Rebecca Rubin
- Variety Film + TV
Game, set, now what to make of this match?
“Challengers,” a sexy, subversive, R-rated drama set in the world of tennis, easily took first place at a sluggish domestic box office this weekend with $15 million from 3,477 locations. On one hand, it’s a respectable result for an artsy movie aimed at discerning, adult audiences, but what keeps it from being a championship performance is that “Challengers” has a hefty $55 million budget (to say nothing of its marketing costs). The Amazon MGM Studios release will need strong word-of-mouth if it’s going to keep rallying — and next week brings Universal’s “The Fall Guy,” a Ryan Gosling and Emily Blunt action-comedy that marks the start of summer blockbuster season. The competition only stands to get fiercer from here.
Amazon MGM would probably argue that “Challengers” doesn’t need to be a box office phenomenon in order to be successful. The higher...
“Challengers,” a sexy, subversive, R-rated drama set in the world of tennis, easily took first place at a sluggish domestic box office this weekend with $15 million from 3,477 locations. On one hand, it’s a respectable result for an artsy movie aimed at discerning, adult audiences, but what keeps it from being a championship performance is that “Challengers” has a hefty $55 million budget (to say nothing of its marketing costs). The Amazon MGM Studios release will need strong word-of-mouth if it’s going to keep rallying — and next week brings Universal’s “The Fall Guy,” a Ryan Gosling and Emily Blunt action-comedy that marks the start of summer blockbuster season. The competition only stands to get fiercer from here.
Amazon MGM would probably argue that “Challengers” doesn’t need to be a box office phenomenon in order to be successful. The higher...
- 4/28/2024
- by Brent Lang
- Variety Film + TV
In the run-up to the release of last December’s “Wonka,” Timothée Chalamet made a surprise visit to New York’s Hudson Yards for a screening of the fantasy musical for kids enrolled in After-School All-Stars. With the holiday season in full swing, the 28-year-old actor handed out gift bags filled with Xboxes, Nikes and, naturally, chocolate bars. It was a plan he concocted on his own and was followed by similar events, such as a January visit to a Minnesota high school, where he took selfies with students from the drama program.
“He took every kid’s hand who came. He took a photograph with everybody who asked him, which was pretty much everyone,” recalls “Wonka” producer David Heyman. “That was about his heart. But he’s also very savvy about marketing. He gets very engaged and brings ideas to the table.”
Chalamet is that rare performer who appeals to audiences of all ages.
“He took every kid’s hand who came. He took a photograph with everybody who asked him, which was pretty much everyone,” recalls “Wonka” producer David Heyman. “That was about his heart. But he’s also very savvy about marketing. He gets very engaged and brings ideas to the table.”
Chalamet is that rare performer who appeals to audiences of all ages.
- 3/13/2024
- by Tatiana Siegel and Rebecca Rubin
- Variety Film + TV
Where 2019’s Joker roughly cost $60m, the budget for the villainous sequel Joker: Folie à Deux is said to have ballooned to $200m.
One of the riskier-sounding comic book movies on the horizon is Todd Phillips’ Joker: Folie à Deux, a sequel to his unexpectedly huge 2019 success, Joker.
Due for release in October, the film will continue the story of failed comedian and burgeoning criminal mastermind Arthur Fleck, who this time will be joined by Lady Gaga as Harley Quinn. Joker: Folie à Deux is said to be a musical, which could make for a left-field creative choice if the film continues the same vein of withering violence seen in the first.
The other risk Warner Bros has reportedly taken, though, is with its budget. Where the first film cost somewhere in the region of $55-70m – a relatively lean sum for a movie based on a DC comic – the...
One of the riskier-sounding comic book movies on the horizon is Todd Phillips’ Joker: Folie à Deux, a sequel to his unexpectedly huge 2019 success, Joker.
Due for release in October, the film will continue the story of failed comedian and burgeoning criminal mastermind Arthur Fleck, who this time will be joined by Lady Gaga as Harley Quinn. Joker: Folie à Deux is said to be a musical, which could make for a left-field creative choice if the film continues the same vein of withering violence seen in the first.
The other risk Warner Bros has reportedly taken, though, is with its budget. Where the first film cost somewhere in the region of $55-70m – a relatively lean sum for a movie based on a DC comic – the...
- 2/22/2024
- by Ryan Lambie
- Film Stories
In January, Warner Bros. Motion Picture Group chiefs Michael De Luca and Pam Abdy jetted to London to connect with the new crown jewel of the studio, Tom Cruise. The three met to identify a film that would kick off their nonexclusive “strategic partnership.” Sources say a raft of possibilities were discussed, including an “Edge of Tomorrow” follow-up and Quentin Tarantino’s “The Movie Critic,” which currently isn’t set up with a distributor and has Warner Bros., like every major studio, salivating.
At 61, Cruise remains the king of studio tentpoles, a roost solidified by 2022’s “Top Gun: Maverick,” which took in $1.5 billion worldwide. But Cruise wants more than action stardom — he’d like to return to working with auteurs like Paul Thomas Anderson. In fact, he hasn’t earned an Oscar nomination for acting since he appeared in Anderson’s 1999 drama “Magnolia.” Earlier in his career, Cruise benefited from...
At 61, Cruise remains the king of studio tentpoles, a roost solidified by 2022’s “Top Gun: Maverick,” which took in $1.5 billion worldwide. But Cruise wants more than action stardom — he’d like to return to working with auteurs like Paul Thomas Anderson. In fact, he hasn’t earned an Oscar nomination for acting since he appeared in Anderson’s 1999 drama “Magnolia.” Earlier in his career, Cruise benefited from...
- 2/21/2024
- by Tatiana Siegel
- Variety Film + TV
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
“Barbenheimer” may be the gift that keeps on giving.
After Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer” ignited the summer box office, the blockbusters with twin release dates are bringing populist energy to the Oscars. Yet the one-two punch of “Barbie” ($1.445 billion globally) and “Oppenheimer” ($957 million), along with a valiant assist from Martin Scorsese’s crime epic “Killers of the Flower Moon” ($156 million), can’t compete with the box office power of last year’s contenders.
Led by “Avatar: The Way of Water” ($2.3 billion) and “Top Gun: Maverick” ($1.5 billion), the 10 films up for best picture in 2023 were collectively the highest grossing in more than a decade, racking up $4.4 billion worldwide. This year’s candidates for the top prize were still widely seen, with a combined $2.7 billion globally to date. But these impressive hauls are considered outliers and stand in dramatic contrast to Oscars of yore, where there hasn...
After Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer” ignited the summer box office, the blockbusters with twin release dates are bringing populist energy to the Oscars. Yet the one-two punch of “Barbie” ($1.445 billion globally) and “Oppenheimer” ($957 million), along with a valiant assist from Martin Scorsese’s crime epic “Killers of the Flower Moon” ($156 million), can’t compete with the box office power of last year’s contenders.
Led by “Avatar: The Way of Water” ($2.3 billion) and “Top Gun: Maverick” ($1.5 billion), the 10 films up for best picture in 2023 were collectively the highest grossing in more than a decade, racking up $4.4 billion worldwide. This year’s candidates for the top prize were still widely seen, with a combined $2.7 billion globally to date. But these impressive hauls are considered outliers and stand in dramatic contrast to Oscars of yore, where there hasn...
- 2/12/2024
- by Rebecca Rubin
- Variety Film + TV
Apple has spared no expense with its embrace of movie theaters, shelling out $200 million to produce historical epics, war dramas and action comedies… all while the global box office contracts and rivals scramble to tighten their budgets.
For most studios, these expenditures would be ruinous at a time when hardly any movie is earning enough money to justify that kind of budget. As one of the deepest-pocketed companies in the world, though, Apple’s spending habits in the entertainment space are jokingly called rounding errors. But can the tech behemoth keep spending big on big-screen misfires? Or will a string of underperforming blockbusters eventually force Apple to economize?
That’s the big question after Matthew Vaughn’s spy thriller “Argylle” bombed in its debut with $18 million domestically and a disastrous $35 million globally. It’s the third consecutive Apple release where an outsized budget will make it nearly impossible for the...
For most studios, these expenditures would be ruinous at a time when hardly any movie is earning enough money to justify that kind of budget. As one of the deepest-pocketed companies in the world, though, Apple’s spending habits in the entertainment space are jokingly called rounding errors. But can the tech behemoth keep spending big on big-screen misfires? Or will a string of underperforming blockbusters eventually force Apple to economize?
That’s the big question after Matthew Vaughn’s spy thriller “Argylle” bombed in its debut with $18 million domestically and a disastrous $35 million globally. It’s the third consecutive Apple release where an outsized budget will make it nearly impossible for the...
- 2/5/2024
- by Rebecca Rubin
- Variety Film + TV
Cinema chain owners are reportedly nervous about how Aquaman 2 will fare this Christmas. But might Wonka be the film that’ll clean up this December?
In the world according to Variety, cinema owners are looking at the late 2023 schedules and growing nervous. Where previous years – the pandemic-struck 2020 excluded – have had at least one major tentpole that could be banked on to make lots of money, this year’s line-up is comparatively threadbare.
The flashpoint for all this nervousness, seemingly, is Aquaman And The Lost Kingdom. Ordinarily, a superhero film like this – certainly one that also happens to be a sequel to a movie that made over a billion in 2018 – should be regarded as a sure-fire hit. But this is the topsy-turvy year of 2023, in which cape-based movies like The Marvels and Ant-Man And The Wasp: Quantumania have all struggled. Aquaman studio Warner has also had a difficult time in this regard,...
In the world according to Variety, cinema owners are looking at the late 2023 schedules and growing nervous. Where previous years – the pandemic-struck 2020 excluded – have had at least one major tentpole that could be banked on to make lots of money, this year’s line-up is comparatively threadbare.
The flashpoint for all this nervousness, seemingly, is Aquaman And The Lost Kingdom. Ordinarily, a superhero film like this – certainly one that also happens to be a sequel to a movie that made over a billion in 2018 – should be regarded as a sure-fire hit. But this is the topsy-turvy year of 2023, in which cape-based movies like The Marvels and Ant-Man And The Wasp: Quantumania have all struggled. Aquaman studio Warner has also had a difficult time in this regard,...
- 11/29/2023
- by Ryan Lambie
- Film Stories
“Ho ho ho no,” is what theater owners are saying as predictions for this year’s Christmas box office could lead to disaster. It’s that magical time of the year when Phoenix Theatres puts all its eggs in one tentpole basket, banking on the success of a top-flight cinematic experience to carry the holiday on its mighty shoulders. In 2022, Phoenix doubled down on Avatar: The Way of Water, with Spider-Man: No Way Home being 2021’s selection, with Star Wars: Rise of Skywalker for 2019. This year’s horse is the Dceu sequel Aquaman and the Lost Kingdom, which is currently tracking to make less than $45 million during its opening weekend in the United States. Woof!
According to Box Office Pro, Aquaman 2 is tracking toward $32-42 million during its opening weekend, with a domestic total range of $105-168 million. These numbers are suboptimal compared to previous years, with Aquaman and the...
According to Box Office Pro, Aquaman 2 is tracking toward $32-42 million during its opening weekend, with a domestic total range of $105-168 million. These numbers are suboptimal compared to previous years, with Aquaman and the...
- 11/28/2023
- by Steve Seigh
- JoBlo.com
Every year around Christmas, Phoenix Theatres puts all of its chips on one major tentpole, gambling on a movie so big, so broadly appealing, it’ll keep auditoriums stocked into the new year. In the recent past, the Midwest-based chain has gone all in on 2022’s “Avatar: The Way of Water,” 2021’s “Spider-Man: No Way Home” and 2019’s “Star Wars: The Rise of Skywalker.”
But this holiday season is different. For the first time in more than a decade, excluding the pandemic-stricken 2020, there’s no surefire blockbuster with the potential to gross $1 billion globally to cap off the year.
“You can’t look at the release schedule between now and the end of the year and find one movie that stands out like ‘Avatar’ as the big film,” says Phoenix Theatres owner Cory Jacobson.
“Aquaman and The Lost Kingdom,” the follow-up to 2018’s megahit “Aquaman,” should be that big bet.
But this holiday season is different. For the first time in more than a decade, excluding the pandemic-stricken 2020, there’s no surefire blockbuster with the potential to gross $1 billion globally to cap off the year.
“You can’t look at the release schedule between now and the end of the year and find one movie that stands out like ‘Avatar’ as the big film,” says Phoenix Theatres owner Cory Jacobson.
“Aquaman and The Lost Kingdom,” the follow-up to 2018’s megahit “Aquaman,” should be that big bet.
- 11/28/2023
- by Rebecca Rubin
- Variety Film + TV
“Wish” misfired in its opening weekend, extending Disney’s bleak box office fortunes.
The animated musical fable, about the Wishing Star that so many Disney characters have wished upon over the studio’s century-long history, failed to become the de facto choice for families around Thanksgiving. “Wish” opened in third place with a dull $31.7 million over the five-day holiday, a far cry from Disney’s past Turkey Day feasts. Perhaps King Magnifico, the movie’s villain (voiced by Chris Pine), is holding hostage the wishes of Disney executives?
Instead of recapturing the studio’s magic, “Wish” joins a long list of its underperforming 2023 tentpoles, such as “The Marvels,” “Indiana Jones and the Dial of Destiny,” “The Haunted Mansion,” and “Ant-Man and the Wasp: Quantumania.” This summer’s “The Little Mermaid” didn’t completely flounder with $569 million worldwide, but it’s nowhere near the billion-dollar threshold that Disney’s prior live-action...
The animated musical fable, about the Wishing Star that so many Disney characters have wished upon over the studio’s century-long history, failed to become the de facto choice for families around Thanksgiving. “Wish” opened in third place with a dull $31.7 million over the five-day holiday, a far cry from Disney’s past Turkey Day feasts. Perhaps King Magnifico, the movie’s villain (voiced by Chris Pine), is holding hostage the wishes of Disney executives?
Instead of recapturing the studio’s magic, “Wish” joins a long list of its underperforming 2023 tentpoles, such as “The Marvels,” “Indiana Jones and the Dial of Destiny,” “The Haunted Mansion,” and “Ant-Man and the Wasp: Quantumania.” This summer’s “The Little Mermaid” didn’t completely flounder with $569 million worldwide, but it’s nowhere near the billion-dollar threshold that Disney’s prior live-action...
- 11/27/2023
- by Rebecca Rubin
- Variety Film + TV
Despite a day-and-date release, poor critics’ reviews, and a probable lack of awareness from most moviegoers old enough to remember using Windows 95, Universal’s “Five Nights at Freddy’s” has set a new opening weekend record for its production company Blumhouse with an impressive $80 million opening. Who to thank for its stellar turnout: Gen Z audiences that some exhibitors have been worried aren’t as interested in going out to the movies in 2023.
According to demographic data from Universal, 81% of the video game adaptation’s opening weekend crowd was under 25, with 43% being between the ages of 13-17. Over the past decade, the “Five Nights at Freddy’s” games have built a devoted following among Gen Z gamers that any video game or horror franchise would love to have. And even if the box office returns fall off sharply next weekend, this $20 million production has the makings of another new franchise for Blumhouse.
According to demographic data from Universal, 81% of the video game adaptation’s opening weekend crowd was under 25, with 43% being between the ages of 13-17. Over the past decade, the “Five Nights at Freddy’s” games have built a devoted following among Gen Z gamers that any video game or horror franchise would love to have. And even if the box office returns fall off sharply next weekend, this $20 million production has the makings of another new franchise for Blumhouse.
- 10/30/2023
- by Jeremy Fuster
- The Wrap
Taylor Swift’s “The Eras Tour” concert film officially opened to $92.8 million in North America and $30.7 million internationally, bringing its first weekend tally to a massive $123.5 million globally.
These ticket sales are slightly below Sunday’s estimates of $95 million to $97 million domestically and $126 million to $130 million worldwide, but wildly impressive nonetheless. At the domestic box office, it’s the second-biggest October debut of all time, trailing only 2019’s “Joker” with $96 million.
With minimal promotion and unconventional distribution strategies, “The Eras Tour” easily landed the best start of all time for a concert film, as well as the sixth-biggest opening weekend of the year. It’s a remarkable start for a movie that wasn’t even added to the calendar until six weeks ago.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
The movie took an...
These ticket sales are slightly below Sunday’s estimates of $95 million to $97 million domestically and $126 million to $130 million worldwide, but wildly impressive nonetheless. At the domestic box office, it’s the second-biggest October debut of all time, trailing only 2019’s “Joker” with $96 million.
With minimal promotion and unconventional distribution strategies, “The Eras Tour” easily landed the best start of all time for a concert film, as well as the sixth-biggest opening weekend of the year. It’s a remarkable start for a movie that wasn’t even added to the calendar until six weeks ago.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
The movie took an...
- 10/16/2023
- by Rebecca Rubin
- Variety Film + TV
Taylor Swift may have singlehandedly salvaged the fall box office with “The Eras Tour.” The cinematic rendering of her sold-out stadium tour danced into theaters not just as a blockbuster, but a cultural phenomenon.
With $95 million to $97 million in its domestic debut and $130 million globally, it’s easily the best start of all time for a concert film, as well as one of the biggest opening weekends of the year. At the higher end of projections, it could be the top-grossing October debut in North American history, a record currently held by 2019’s “Joker” with $96 million.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
And Swift, who self-produced the concert film, shook up every aspect of the movie theater business — from top-tier pricing to unconventional distribution and marketing to lax cell phone etiquette — in the process.
With $95 million to $97 million in its domestic debut and $130 million globally, it’s easily the best start of all time for a concert film, as well as one of the biggest opening weekends of the year. At the higher end of projections, it could be the top-grossing October debut in North American history, a record currently held by 2019’s “Joker” with $96 million.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
And Swift, who self-produced the concert film, shook up every aspect of the movie theater business — from top-tier pricing to unconventional distribution and marketing to lax cell phone etiquette — in the process.
- 10/16/2023
- by Rebecca Rubin
- Variety Film + TV
In what may become an end-of-summer tradition, the National Association of Theatre Owners rallied together theaters, studios and premium format companies to host the second annual National Cinema Day, with thousands of cinemas selling movie tickets for just $4 on Sunday.
The event was quite successful, with NATO and Comscore reporting that 8.5 million tickets were sold on Sunday with overall grosses standing at $34 million, a 16% week-over-week increase from the previous Sunday. Theaters made more by charging less, in other words — and that’s not taking concessions into account.
The final weekends of the summer are usually slow periods for movie theaters, but the nationwide discount day brought an extra bit of business, so much so that Exhibitor Relations analyst Jeff Bock thinks that the film industry should consider trying these $4 days on other weekends when moviegoing is slow.
“This is something that the industry should really take a look at doing on a quarterly basis,...
The event was quite successful, with NATO and Comscore reporting that 8.5 million tickets were sold on Sunday with overall grosses standing at $34 million, a 16% week-over-week increase from the previous Sunday. Theaters made more by charging less, in other words — and that’s not taking concessions into account.
The final weekends of the summer are usually slow periods for movie theaters, but the nationwide discount day brought an extra bit of business, so much so that Exhibitor Relations analyst Jeff Bock thinks that the film industry should consider trying these $4 days on other weekends when moviegoing is slow.
“This is something that the industry should really take a look at doing on a quarterly basis,...
- 8/29/2023
- by Jeremy Fuster
- The Wrap
Disney opened “Haunted Mansion” in the heat of summer and months removed from the spookiest time of year.
Whether the release date is connected, ticket sales were veering on scary as the comedic thriller debuted in third place to a lackluster $24 million. Competition was heightened as “Barbie” and “Oppenheimer” remained unexpectedly strong in their sophomore outings, collecting a combined $140 million over the weekend. Of course, nobody anticipated the power of “Barbenheimer” when setting the film calendar.
The $150 million-budgeted “Haunted Mansion” reboot was also hobbled by the actors’ strike because the cast, including Lakeith Stanfield, Tiffany Haddish, Owen Wilson, Jamie Lee Curtis and Jared Leto, wasn’t able to promote the movie on talk shows or in the press.
Internationally, the film collapsed with $9.1 million from 35 markets, bringing its worldwide tally to just $33 million. That’s a disappointing start for a family-friendly tentpole, which will struggle to get out of the red in its theatrical run.
Whether the release date is connected, ticket sales were veering on scary as the comedic thriller debuted in third place to a lackluster $24 million. Competition was heightened as “Barbie” and “Oppenheimer” remained unexpectedly strong in their sophomore outings, collecting a combined $140 million over the weekend. Of course, nobody anticipated the power of “Barbenheimer” when setting the film calendar.
The $150 million-budgeted “Haunted Mansion” reboot was also hobbled by the actors’ strike because the cast, including Lakeith Stanfield, Tiffany Haddish, Owen Wilson, Jamie Lee Curtis and Jared Leto, wasn’t able to promote the movie on talk shows or in the press.
Internationally, the film collapsed with $9.1 million from 35 markets, bringing its worldwide tally to just $33 million. That’s a disappointing start for a family-friendly tentpole, which will struggle to get out of the red in its theatrical run.
- 7/31/2023
- by Rebecca Rubin
- Variety Film + TV
WrapPRO is free this week. See the inside scoops, expert analysis and exclusive data subscribers get daily. Click here for more information.
The “Barbenheimer” craze that has lifted the box office to rare heights isn’t expected to stop anytime soon, and that could mean bad things for many films on the late summer slate, including Disney’s “Haunted Mansion,” which hits theaters this weekend and is projected to open below “Barbie” and “Oppenheimer” with a launch in the low $30 million range.
Based on the beloved Disneyland ride, “Haunted Mansion” was the first major studio release to host a premiere without striking actors, which was particularly notable for this film given its ensemble cast that includes Lakeith Stanfield, Danny DeVito, Jamie Lee Curtis and Owen Wilson.
But even having the cast to promote “Haunted Mansion” probably wouldn’t be much help, as the family film is getting mixed reviews with a 49% rating on Rotten Tomatoes.
The “Barbenheimer” craze that has lifted the box office to rare heights isn’t expected to stop anytime soon, and that could mean bad things for many films on the late summer slate, including Disney’s “Haunted Mansion,” which hits theaters this weekend and is projected to open below “Barbie” and “Oppenheimer” with a launch in the low $30 million range.
Based on the beloved Disneyland ride, “Haunted Mansion” was the first major studio release to host a premiere without striking actors, which was particularly notable for this film given its ensemble cast that includes Lakeith Stanfield, Danny DeVito, Jamie Lee Curtis and Owen Wilson.
But even having the cast to promote “Haunted Mansion” probably wouldn’t be much help, as the family film is getting mixed reviews with a 49% rating on Rotten Tomatoes.
- 7/26/2023
- by Jeremy Fuster
- The Wrap
For the past decade, Disney has been the Teflon movie studio, remarkably adept at withstanding the tectonic changes impacting the film industry, and well fortified by its arsenal of key properties such as Marvel, Lucasfilm and Pixar.
But this year, the long-reigning titan of the box office has shown cracks as four of its biggest releases from those brands and others have struggled in theaters. There was the dispiriting release of “Ant-Man and the Wasp: Quantumania,” a rare Marvel movie to likely lose tens of millions in its theatrical run; “The Little Mermaid,” a remake of the 1989 animated classic that fell drastically short of expectations; “Elemental,” an original story that tried and failed to recapture Pixar’s magic; and most recently “Indiana Jones and the Dial of Destiny,” a nearly $300 million investment in one of cinemas’ most venerable franchises, which no longer appears to have the same hold on today’s audiences.
But this year, the long-reigning titan of the box office has shown cracks as four of its biggest releases from those brands and others have struggled in theaters. There was the dispiriting release of “Ant-Man and the Wasp: Quantumania,” a rare Marvel movie to likely lose tens of millions in its theatrical run; “The Little Mermaid,” a remake of the 1989 animated classic that fell drastically short of expectations; “Elemental,” an original story that tried and failed to recapture Pixar’s magic; and most recently “Indiana Jones and the Dial of Destiny,” a nearly $300 million investment in one of cinemas’ most venerable franchises, which no longer appears to have the same hold on today’s audiences.
- 7/5/2023
- by Rebecca Rubin and Brent Lang
- Variety Film + TV
Spoiler Alert: This story mentions a few significant plot developments in “The Flash,” currently playing in theaters.
In the climax of “The Flash,” Barry Allen (Ezra Miller) watches helplessly as his timeline-hopping escapades cause several other superhero universes to careen into each other and become obliterated in the process. Ironically, Warner Bros. is facing almost an identical dilemma — and the stakes could be nearly as existential.
“The Flash” is the second of four mega-budgeted DC adaptations the studio is set to release this year, starting with “Shazam! Fury of the Gods” in March, and followed by “Blue Beetle” and “Aquaman and the Lost Kingdom” in August and December. Yet these movies were conceived and greenlit by an executive team that all have departed the studio; in their place, new DC Studios chiefs James Gunn and Peter Safran have announced they will reboot the DC franchise in 2025, starting with Gunn’s “Superman: Legacy.
In the climax of “The Flash,” Barry Allen (Ezra Miller) watches helplessly as his timeline-hopping escapades cause several other superhero universes to careen into each other and become obliterated in the process. Ironically, Warner Bros. is facing almost an identical dilemma — and the stakes could be nearly as existential.
“The Flash” is the second of four mega-budgeted DC adaptations the studio is set to release this year, starting with “Shazam! Fury of the Gods” in March, and followed by “Blue Beetle” and “Aquaman and the Lost Kingdom” in August and December. Yet these movies were conceived and greenlit by an executive team that all have departed the studio; in their place, new DC Studios chiefs James Gunn and Peter Safran have announced they will reboot the DC franchise in 2025, starting with Gunn’s “Superman: Legacy.
- 6/21/2023
- by Adam B. Vary
- Variety Film + TV
Pixar’s chief creative officer Pete Docter recently told the press that he doesn’t “think of Pixar as making children’s programming.”
By the look of box office returns for the studio’s recent animated offerings, it would appear that kids have taken notice — and haven’t been so inclined to watch those movies in theaters.
Over the weekend, “Elemental” collapsed at the domestic box office with a $29.5 million opening, by far the worst debut in Pixar’s 28-year history. Even forgettable Pixar adventures, like 2015’s “The Good Dinosaur” ($39 million), 2020’s “Onward” ($39 million) and last year’s massive money-loser “Lightyear” ($51 million), managed to fill more seats in their opening weekends.
The film didn’t rebound much at the international box office with $15 million from select markets, bringing its global tally to a disastrous $44.5 million.
There’s a bigger issue for Pixar: it’s not just youngsters, but general audiences,...
By the look of box office returns for the studio’s recent animated offerings, it would appear that kids have taken notice — and haven’t been so inclined to watch those movies in theaters.
Over the weekend, “Elemental” collapsed at the domestic box office with a $29.5 million opening, by far the worst debut in Pixar’s 28-year history. Even forgettable Pixar adventures, like 2015’s “The Good Dinosaur” ($39 million), 2020’s “Onward” ($39 million) and last year’s massive money-loser “Lightyear” ($51 million), managed to fill more seats in their opening weekends.
The film didn’t rebound much at the international box office with $15 million from select markets, bringing its global tally to a disastrous $44.5 million.
There’s a bigger issue for Pixar: it’s not just youngsters, but general audiences,...
- 6/19/2023
- by Rebecca Rubin
- Variety Film + TV
Spidey’s still got it. “Spider-Man: Across the Spider-Verse,” a sequel to Sony’s 2018 Oscar-winning “Into the Spider-Verse,” collected $120 million in its box office debut — a towering figure that’s more than triple the original’s opening weekend.
The first film, one of the intial cinematic introductions to the multiverse, started with a softer $34.4 million but turned into a word-of-mouth sensation during its theatrical run, which ended with $190 million in North America and $384 million globally. Now, thanks to the goodwill from “Into the Spider-Verse” and quality to match the hype, the follow-up film has managed to become a blockbuster from the jump. Already, “Across the Spider-Verse” has generated $208 million worldwide, including $88.1 million at the international box office. It cost $100 million.
“It’s really rare that sequels increase their box office,” says Paul Dergarabedian, senior media analyst at Comscore. “Usually, the law of diminishing returns applies.”
There are a few reasons...
The first film, one of the intial cinematic introductions to the multiverse, started with a softer $34.4 million but turned into a word-of-mouth sensation during its theatrical run, which ended with $190 million in North America and $384 million globally. Now, thanks to the goodwill from “Into the Spider-Verse” and quality to match the hype, the follow-up film has managed to become a blockbuster from the jump. Already, “Across the Spider-Verse” has generated $208 million worldwide, including $88.1 million at the international box office. It cost $100 million.
“It’s really rare that sequels increase their box office,” says Paul Dergarabedian, senior media analyst at Comscore. “Usually, the law of diminishing returns applies.”
There are a few reasons...
- 6/5/2023
- by Rebecca Rubin
- Variety Film + TV
Based on its $71.5 million global opening weekend, Paramount/eOne’s “Dungeons & Dragons: Honor Among Thieves” may face two opposing paths — one to success, the other to failure.
In one universe, “Dungeons & Dragons” turns its rather modest theatrical launch — $37.2 million opening in North America — into a month-long run of robust ticket sales thanks to its excellent word of mouth. In the other, those strong reviews fail to draw enough ticket sales for “Dungeons & Dragons” to turn a theatrical profit against its $150 million budget before marketing, and Paramount is left to turn to digital on-demand and other post-theatrical streams to make back its investment.
“We’ve seen movies find a wider audience thanks to very strong reviews over the past year and we’ve seen multiple films coexist alongside each other,” said Exhibitor Relations analyst Jeff Bock. “But ‘Dungeons & Dragons’ is going to have to leg out with excellent...
In one universe, “Dungeons & Dragons” turns its rather modest theatrical launch — $37.2 million opening in North America — into a month-long run of robust ticket sales thanks to its excellent word of mouth. In the other, those strong reviews fail to draw enough ticket sales for “Dungeons & Dragons” to turn a theatrical profit against its $150 million budget before marketing, and Paramount is left to turn to digital on-demand and other post-theatrical streams to make back its investment.
“We’ve seen movies find a wider audience thanks to very strong reviews over the past year and we’ve seen multiple films coexist alongside each other,” said Exhibitor Relations analyst Jeff Bock. “But ‘Dungeons & Dragons’ is going to have to leg out with excellent...
- 4/4/2023
- by Jeremy Fuster
- The Wrap
“Dungeons & Dragons: Honor Among Thieves” rolled the dice at the weekend box office, taking out “John Wick: Chapter 4” with its $38.5 million debut. But Paramount and eOne’s adaptation of the popular role-playing game needs to hold up against “Super Mario Bros.” to be successful in its theatrical campaign.
So far, “Dungeons & Dragons” has generated $71 million globally — including $33 million at the international box office. Those numbers aren’t bad, but the film cost a hefty $150 million to produce and tens of millions more to market, so it’s not yet a clear theatrical winner. The fantasy action-comedy needs to stick around in North American and overseas theaters through the spring to justify its price tag and potentially ignite a new franchise.
The good news: analysts believe it’s primed to keep bringing in crowds given its great reviews and enthusiastic word-of-mouth. The bad news: “Dungeons & Dragons” has...
So far, “Dungeons & Dragons” has generated $71 million globally — including $33 million at the international box office. Those numbers aren’t bad, but the film cost a hefty $150 million to produce and tens of millions more to market, so it’s not yet a clear theatrical winner. The fantasy action-comedy needs to stick around in North American and overseas theaters through the spring to justify its price tag and potentially ignite a new franchise.
The good news: analysts believe it’s primed to keep bringing in crowds given its great reviews and enthusiastic word-of-mouth. The bad news: “Dungeons & Dragons” has...
- 4/3/2023
- by Rebecca Rubin
- Variety Film + TV
“Ant-Man and the Wasp: Quantumania” set a new record over the weekend, but not for the reason Marvel would want.
After nabbing a $106 million opening despite mixed reviews, the third movie in the “Ant-Man” franchise fell to just $32.2 million in its second weekend in U.S. theatres, Digital Spy reported.
That’s a huge 69 percent decline between the first two weeks since the much-talked about movie’s release date.
The flick, which kicked off Marvel’s Phase 5, has now nabbed the record for the biggest week-on-week drop for any Marvel film ever.
Read More: ‘Ant-Man And The Wasp: Quantumania’: Jennifer Coolidge Was Almost Approached For Role
“Black Widow” held the record previously, after falling 67.8 percent while also streaming on Disney+. “Eternals” fell 62 percent, as well.
Senior Comscore analyst Paul Dergarabedian told Variety of whether the decline was “a blip or inflection point in Hollywood’s biggest property”.
“As second weekend drops go,...
After nabbing a $106 million opening despite mixed reviews, the third movie in the “Ant-Man” franchise fell to just $32.2 million in its second weekend in U.S. theatres, Digital Spy reported.
That’s a huge 69 percent decline between the first two weeks since the much-talked about movie’s release date.
The flick, which kicked off Marvel’s Phase 5, has now nabbed the record for the biggest week-on-week drop for any Marvel film ever.
Read More: ‘Ant-Man And The Wasp: Quantumania’: Jennifer Coolidge Was Almost Approached For Role
“Black Widow” held the record previously, after falling 67.8 percent while also streaming on Disney+. “Eternals” fell 62 percent, as well.
Senior Comscore analyst Paul Dergarabedian told Variety of whether the decline was “a blip or inflection point in Hollywood’s biggest property”.
“As second weekend drops go,...
- 2/27/2023
- by Becca Longmire
- ET Canada
“Ant-Man and the Wasp: Quantumania” took a sizable hit in its sophomore outing at the box office. Ticket sales for the third Marvel movie starring Paul Rudd’s subatomic hero were down 69% from its $105 million debut, resulting in the biggest second-weekend drop in the franchise’s history.
That fall has inspired plenty of debate among analysts and experts: Is the film’s performance a blip or an inflection point in Hollywood’s biggest property? The answer is likely somewhere in between, according to senior Comscore analyst Paul Dergarabedian.
“As second weekend drops go, anything in the 70% realm is pretty significant,” says Dergarabedian. “But movies that open with over $100 million are generally front-loaded. In some cases, ‘the bigger they are, the harder they fall’ comes into play.”
In other words, its second-weekend turnout of $32 million is not exactly encouraging this early into its theatrical run, but let’s see where ticket...
That fall has inspired plenty of debate among analysts and experts: Is the film’s performance a blip or an inflection point in Hollywood’s biggest property? The answer is likely somewhere in between, according to senior Comscore analyst Paul Dergarabedian.
“As second weekend drops go, anything in the 70% realm is pretty significant,” says Dergarabedian. “But movies that open with over $100 million are generally front-loaded. In some cases, ‘the bigger they are, the harder they fall’ comes into play.”
In other words, its second-weekend turnout of $32 million is not exactly encouraging this early into its theatrical run, but let’s see where ticket...
- 2/27/2023
- by Rebecca Rubin
- Variety Film + TV
Between the Super Bowl this Sunday and “Ant-Man and the Wasp: Quantumania” coming next Friday, the new release list for movie theaters is scarce this weekend. But what is coming is “Magic Mike’s Last Dance,” a Warner Bros. film that was greenlit as an HBO Max exclusive but is now getting a theatrical release strategy that has perplexed analysts and rival studios.
Starring Channing Tatum and Salma Hayek in what’s being billed as the ending of a trilogy that began with “Magic Mike” in 2012 and continued with “Magic Mike Xxl” in 2015, the dramedy about male stripper “Magic” Mike Lane is getting a release on just 1,500 theaters as opposed to the 3,355 that “Magic Mike Xxl” got eight years ago.
When David Zaslav took over Warner Bros. after its merger with Discovery last year, he promised a recommitment to releasing films theatrically after the studio, under the direction of previous CEO Jason Kilar,...
Starring Channing Tatum and Salma Hayek in what’s being billed as the ending of a trilogy that began with “Magic Mike” in 2012 and continued with “Magic Mike Xxl” in 2015, the dramedy about male stripper “Magic” Mike Lane is getting a release on just 1,500 theaters as opposed to the 3,355 that “Magic Mike Xxl” got eight years ago.
When David Zaslav took over Warner Bros. after its merger with Discovery last year, he promised a recommitment to releasing films theatrically after the studio, under the direction of previous CEO Jason Kilar,...
- 2/9/2023
- by Jeremy Fuster
- The Wrap
What will it take to get older crowds back to movie theaters? It’s a question that’s been worrying the industry since the early days of the pandemic. Apparently, the answer is simple: unite four Hollywood icons in a feel-good film with a runtime that doesn’t test the bladder of audiences.
Buzzing along at a brisk 98 minutes, Paramount’s octogenarian comedy “80 for Brady” touched down on the higher end of expectations with 12.5 million in its opening weekend, landing impressively in second place on box office charts.
The film, starring Lily Tomlin, Jane Fonda, Rita Moreno and Sally Field as best friends whose obsession with Tom Brady brings them to the Super Bowl, marks one of the best starts in some time for a traditional comedy. It also bucks conventional wisdom about the film’s target demographic. Like 2018’s “Book Club,” another funny film catering to similar audiences,...
Buzzing along at a brisk 98 minutes, Paramount’s octogenarian comedy “80 for Brady” touched down on the higher end of expectations with 12.5 million in its opening weekend, landing impressively in second place on box office charts.
The film, starring Lily Tomlin, Jane Fonda, Rita Moreno and Sally Field as best friends whose obsession with Tom Brady brings them to the Super Bowl, marks one of the best starts in some time for a traditional comedy. It also bucks conventional wisdom about the film’s target demographic. Like 2018’s “Book Club,” another funny film catering to similar audiences,...
- 2/6/2023
- by Rebecca Rubin
- Variety Film + TV
Who says adults aren’t going to the movies?
Well, the numbers don’t exactly lie: Movies aimed at older audiences have majorly struggled at the box office in Covid times. For the most part, they aren’t going to the movies. But Sony’s “A Man Called Otto,” a heartfelt drama starring Tom Hanks as a cranky widower, has seemingly defied the odds with its 12.6 million debut from 3,802 North American theaters. It’s expected to reach 15 million through the Martin Luther King Jr. holiday frame, bringing its domestic tally to 21.2 million after playing in limited release for two weeks. That’s a better-than-expected result, at least in the pandemic era.
Will the 50 million-budgeted “Otto” remain a theatrical draw throughout the rest of winter? That’s far from a forgone conclusion. But already, box office watchers are feeling optimistic about the latest big-screen adventure from Hanks.
David A. Gross, who...
Well, the numbers don’t exactly lie: Movies aimed at older audiences have majorly struggled at the box office in Covid times. For the most part, they aren’t going to the movies. But Sony’s “A Man Called Otto,” a heartfelt drama starring Tom Hanks as a cranky widower, has seemingly defied the odds with its 12.6 million debut from 3,802 North American theaters. It’s expected to reach 15 million through the Martin Luther King Jr. holiday frame, bringing its domestic tally to 21.2 million after playing in limited release for two weeks. That’s a better-than-expected result, at least in the pandemic era.
Will the 50 million-budgeted “Otto” remain a theatrical draw throughout the rest of winter? That’s far from a forgone conclusion. But already, box office watchers are feeling optimistic about the latest big-screen adventure from Hanks.
David A. Gross, who...
- 1/15/2023
- by Rebecca Rubin
- Variety Film + TV
Will Smith sat down with Trevor Noah on Monday night’s edition of “The Daily Show”, marking his first late-night interview since he notoriously slapped Chris Rock onstage during the Academy Awards back in March.
During the interview, Smith attempted to offer an explanation for his actions.
Read More: Will Smith Says He’s Lost Sleep Worrying About Whether Oscars Slap Will Affect ‘Emancipation’ Team’s Success
“I guess what I would say, you just never know what somebody’s going through,” Smith told Noah. “You just don’t know what’s going on with people. And I was going through something that night. Not that that justifies my behaviour at all.”
People spoke with an array of Hollywood insiders about Smith’s interview, who offered their opinions on how effective Smith was at damage control.
“I thought he was doing a good job but he did two things that...
During the interview, Smith attempted to offer an explanation for his actions.
Read More: Will Smith Says He’s Lost Sleep Worrying About Whether Oscars Slap Will Affect ‘Emancipation’ Team’s Success
“I guess what I would say, you just never know what somebody’s going through,” Smith told Noah. “You just don’t know what’s going on with people. And I was going through something that night. Not that that justifies my behaviour at all.”
People spoke with an array of Hollywood insiders about Smith’s interview, who offered their opinions on how effective Smith was at damage control.
“I thought he was doing a good job but he did two things that...
- 11/30/2022
- by Brent Furdyk
- ET Canada
Quentin Tarantino has been blunt about the state of the movie business. On a recent episode of the director’s “Video Archives Podcast,” the man who helped usher in the golden age of indie film with “Pulp Fiction” declared this to be “the worst era in Hollywood history” matched only by other such nadirs as the 1950s and ’80s.
“The good thing about being in a bad era of Hollywood cinema is (the films) that don’t conform [are] the ones that stand out from the pack,” he added.
And that may be the case. The problem is that this crop of non-conformists may no longer have a commercial reason for existing, at least as theatrical propositions.
Take “She Said,” a sturdily made look at the pair of crusading New York Times journalists who helped expose Harvey Weinstein’s decades of sexual harassment and assault. The film earned strong reviews and awards buzz,...
“The good thing about being in a bad era of Hollywood cinema is (the films) that don’t conform [are] the ones that stand out from the pack,” he added.
And that may be the case. The problem is that this crop of non-conformists may no longer have a commercial reason for existing, at least as theatrical propositions.
Take “She Said,” a sturdily made look at the pair of crusading New York Times journalists who helped expose Harvey Weinstein’s decades of sexual harassment and assault. The film earned strong reviews and awards buzz,...
- 11/20/2022
- by Brent Lang
- Variety Film + TV
For decades, Steven Spielberg has been synonymous with the movie business. The filmmaker has created some of the big screen’s most enduring moments, delighting audiences by spinning fantasies involving lovable aliens, menacing dinosaurs and one very hungry shark. And he’s even done the unimaginable and made movies about brutal subjects like the Holocaust and the D-Day landing that find commercial success, as well as critical plaudits.
But with “The Fabelmans,” his semi-autobiographical look at growing up as a film-obsessed teenager in Arizona and Northern California, Spielberg is confronting a movie business that is unrecognizable from the one in which he came of age as a director. It’s an industry that is simultaneously offering more platforms than ever before for “content,” as well as an art form that is, at least in terms of its big screen incarnation, rapidly diminishing in cultural importance. Streaming services, not cinemas, are the dominant force these days.
But with “The Fabelmans,” his semi-autobiographical look at growing up as a film-obsessed teenager in Arizona and Northern California, Spielberg is confronting a movie business that is unrecognizable from the one in which he came of age as a director. It’s an industry that is simultaneously offering more platforms than ever before for “content,” as well as an art form that is, at least in terms of its big screen incarnation, rapidly diminishing in cultural importance. Streaming services, not cinemas, are the dominant force these days.
- 11/14/2022
- by Brent Lang
- Variety Film + TV
Marvel’s “Black Panther: Wakanda Forever” dominated the domestic box office in its debut, earning 180 million over the weekend and providing a much-needed lift to beleaguered cinemas. The sequel demolished the record for a November opening in North America, soaring past the previous high-water mark of 158 million set by 2013’s “The Hunger Games: Catching Fire.” Globally, the superhero adventure netted a spectacular 330 million with 150 million of that figure coming from 55 overseas markets.
Its success has a bittersweet undercurrent, however. That’s because the filmmakers behind the sequel faced a shocking off-screen tragedy before production even commenced when Chadwick Boseman, the actor who had given 2018’s “Black Panther” so much of its soul, died in 2020 of cancer. He was only 43 years old. In response, Ryan Coogler, the film’s director and co-writer, re-fashioned “Black Panther: Wakanda Forever” into a tribute for the late actor. In the movie, the kingdom of Wakanda...
Its success has a bittersweet undercurrent, however. That’s because the filmmakers behind the sequel faced a shocking off-screen tragedy before production even commenced when Chadwick Boseman, the actor who had given 2018’s “Black Panther” so much of its soul, died in 2020 of cancer. He was only 43 years old. In response, Ryan Coogler, the film’s director and co-writer, re-fashioned “Black Panther: Wakanda Forever” into a tribute for the late actor. In the movie, the kingdom of Wakanda...
- 11/13/2022
- by Brent Lang
- Variety Film + TV
Will Box Office Success Help ‘The Woman King,’ ‘Elvis’ and Other Studio Hits Stay in the Oscar Race?
It’s been proven time and time again that Academy Award attention has little to do with box office glory. Just look at recent winners like “Moonlight,” “The Hurt Locker,” or “Coda,” the first streaming movie to land the Oscar’s top prize, all of which were more beloved than seen, at least by the general public.
But during a year in which several commercial movies, including “Top Gun: Maverick” (1.44 billion globally and counting), “Elvis” (284 million globally) “Black Panther: Wakanda Forever” (scheduled for Nov. 11) and “Avatar: The Way of Water” (scheduled for Dec. 16), look to find themselves in the awards race, film industry analysts believe the box office may play a part in keeping movies from major studios in the conversation.
Another Oscar hopeful that has been well received by audiences is Sony’s historical action-epic “The Woman King,” which opened over the weekend to a strong 19 million. The studio...
But during a year in which several commercial movies, including “Top Gun: Maverick” (1.44 billion globally and counting), “Elvis” (284 million globally) “Black Panther: Wakanda Forever” (scheduled for Nov. 11) and “Avatar: The Way of Water” (scheduled for Dec. 16), look to find themselves in the awards race, film industry analysts believe the box office may play a part in keeping movies from major studios in the conversation.
Another Oscar hopeful that has been well received by audiences is Sony’s historical action-epic “The Woman King,” which opened over the weekend to a strong 19 million. The studio...
- 9/19/2022
- by Rebecca Rubin
- Variety Film + TV
Hollywood, which has faced plenty of highs and lows in its struggle to rebuild the box office after a long pandemic shutdown, faces new challenges as it heads into the last four months of the year: a shortage of wide-release studio movies to lure moviegoers back into theaters.
According to the box office database The Numbers, there are 34 wide releases scheduled to open between September and December this year — not only is that well under the 47 that opened in pre-pandemic 2019 but it’s also below the 42 wide releases that opened last year in the same period.
That may make it difficult to match the 2.36 billion domestic box office for the last four months of 2021. Sony’s “Spider-Man: No Way Home” alone accounted for a quarter of that September-to-December haul last year, while seven other films contributed at least 100 million each (including Disney/Marvel’s “Shang-Chi and the Legend of the Ten Rings...
According to the box office database The Numbers, there are 34 wide releases scheduled to open between September and December this year — not only is that well under the 47 that opened in pre-pandemic 2019 but it’s also below the 42 wide releases that opened last year in the same period.
That may make it difficult to match the 2.36 billion domestic box office for the last four months of 2021. Sony’s “Spider-Man: No Way Home” alone accounted for a quarter of that September-to-December haul last year, while seven other films contributed at least 100 million each (including Disney/Marvel’s “Shang-Chi and the Legend of the Ten Rings...
- 9/15/2022
- by Jeremy Fuster
- The Wrap
When “The Woman King” opens wide this Friday in theaters, it will be seeking to break new ground with American audiences, selling a story that Hollywood has almost never seen before: a female, Black African action drama.
The dilemma for the distributor, Sony, is: How do you sell a movie without a proven audience?
Most movies fall into clear-cut categories like action-adventure, horror, rom-com, sci-fi, thriller, comedy or drama. And after decades of Hollywood training, audiences immediately know if a movie is “for them.” Marketing campaigns have to aim for their core target before ever hoping to widen into the coveted four-quadrant audience.
But what about a movie that attempts to do something entirely different? With “The Woman King,” Sony has taken a 50 million leap with a story about African history, set in Africa, with a mostly unknown, mostly female Black cast, led by an Oscar-winning actress best known for non-muscled drama,...
The dilemma for the distributor, Sony, is: How do you sell a movie without a proven audience?
Most movies fall into clear-cut categories like action-adventure, horror, rom-com, sci-fi, thriller, comedy or drama. And after decades of Hollywood training, audiences immediately know if a movie is “for them.” Marketing campaigns have to aim for their core target before ever hoping to widen into the coveted four-quadrant audience.
But what about a movie that attempts to do something entirely different? With “The Woman King,” Sony has taken a 50 million leap with a story about African history, set in Africa, with a mostly unknown, mostly female Black cast, led by an Oscar-winning actress best known for non-muscled drama,...
- 9/14/2022
- by Sharon Waxman and Jeremy Fuster
- The Wrap
The milestones keep rolling in. “Top Gun: Maverick” has collected 679 million in North America, enough to overtake Marvel’s “Avengers: Infinity War” (678 million) as the sixth-highest grossing movie in domestic box office history.
It’s an especially impressive benchmark because 2018’s every-hero-but-the-kitchen-sink adventure “Avengers: Infinity War” had a little help in building up anticipation. It served as part one (2019’s “Endgame” was part two) of Marvel’s epic culmination of more than 20 movies — most of which were box office juggernauts in their own right — over 10 years. Talk about hype.
Sure, “Maverick” had Tom Cruise, a box office hero in his own right. But moviegoers hadn’t felt the need for speed in more than 30 years; the sequel to 1986’s “Top Gun” was far from a guaranteed hit.
Yet, thanks to stellar word-of-mouth and repeat customers, “Maverick” continues to defy the odds. And there’s a chance the movie will continue...
It’s an especially impressive benchmark because 2018’s every-hero-but-the-kitchen-sink adventure “Avengers: Infinity War” had a little help in building up anticipation. It served as part one (2019’s “Endgame” was part two) of Marvel’s epic culmination of more than 20 movies — most of which were box office juggernauts in their own right — over 10 years. Talk about hype.
Sure, “Maverick” had Tom Cruise, a box office hero in his own right. But moviegoers hadn’t felt the need for speed in more than 30 years; the sequel to 1986’s “Top Gun” was far from a guaranteed hit.
Yet, thanks to stellar word-of-mouth and repeat customers, “Maverick” continues to defy the odds. And there’s a chance the movie will continue...
- 8/20/2022
- by Rebecca Rubin
- Variety Film + TV
“Bullet Train,” a John Wick-ian romp with Brad Pitt in the aisle seat, arrived in theaters with a 30.1 million opening weekend. That’s enough to top the domestic box office chart, but it’s only a so-so result given “Bullet Train’s” 90 million price tag and Pitt’s star power. The Sony Pictures release will need to maintain its momentum in the coming weeks as it tries to break even or turn a profit.
“A big film like this with lot of expectations should have had stronger debut,” says Jeff Bock, senior media analyst with Exhibitor Relations. “That said, there’s not a lot of competition in August, so ‘Bullet Train’ should have a good window to make its mark in the coming weeks.”
“Bullet Train” is trying to prove that an action flick that isn’t based on a comic book or a toy-line can defy the odds and resonate with audiences.
“A big film like this with lot of expectations should have had stronger debut,” says Jeff Bock, senior media analyst with Exhibitor Relations. “That said, there’s not a lot of competition in August, so ‘Bullet Train’ should have a good window to make its mark in the coming weeks.”
“Bullet Train” is trying to prove that an action flick that isn’t based on a comic book or a toy-line can defy the odds and resonate with audiences.
- 8/7/2022
- by Brent Lang
- Variety Film + TV
Jordan Peele, of all filmmakers, shouldn’t be surprised that the conversation around “Nope’s” box office performance has stirred up several hot takes.
The director’s cerebral science-fiction thriller took in 44 million in its box office debut, easily leading domestic charts and impressively landing one of the biggest opening weekends in years for a film that’s not based on existing IP.
And yet, there’s still debate about the film’s first weekend in theaters, with suggestions that initial numbers for “Nope” were “disappointing” or “lackluster.” Like any good Peele movie, there’s plenty to unpack about opening weekend revenues for “Nope.” And in fairness, the movie — starring Daniel Kaluuya and Keke Palmer as siblings who discover something spooky around their family’s ranch — had a lot to live up to at the box office.
“The bar has been raised so high,” says Paul Dergarabedian, a senior ComScore analyst.
The director’s cerebral science-fiction thriller took in 44 million in its box office debut, easily leading domestic charts and impressively landing one of the biggest opening weekends in years for a film that’s not based on existing IP.
And yet, there’s still debate about the film’s first weekend in theaters, with suggestions that initial numbers for “Nope” were “disappointing” or “lackluster.” Like any good Peele movie, there’s plenty to unpack about opening weekend revenues for “Nope.” And in fairness, the movie — starring Daniel Kaluuya and Keke Palmer as siblings who discover something spooky around their family’s ranch — had a lot to live up to at the box office.
“The bar has been raised so high,” says Paul Dergarabedian, a senior ComScore analyst.
- 7/25/2022
- by Rebecca Rubin
- Variety Film + TV
It’s hard to escape the deflating sense that Disney’s “Lightyear” has remained stubbornly Earth-bound in its box office debut. At least, that’s the prevailing sentiment that’s greeted the latest Pixar film’s so-so 51 million opening weekend in North America.
For industry analysts, those lackluster ticket sales were confounding because Pixar had been box office royalty and “Lightyear,” a spinoff of the cosmically successful “Toy Story” franchise, landed decent — though not euphoric — reviews. Moreover, audiences (who awarded the film an “A-” CinemaScore”) seemed to be entertained by the animated otherworldly adventure, in which Chris Evans takes over from Tim Allen as the voice of Buzz Lightyear.
To be sure, a 51 million opening weekend is far from catastrophic; in fact, “Lightyear” landed one of the best debuts for an animated kid friendly film in Covid times. Family audiences have returned in fits and starts, but it’s a...
For industry analysts, those lackluster ticket sales were confounding because Pixar had been box office royalty and “Lightyear,” a spinoff of the cosmically successful “Toy Story” franchise, landed decent — though not euphoric — reviews. Moreover, audiences (who awarded the film an “A-” CinemaScore”) seemed to be entertained by the animated otherworldly adventure, in which Chris Evans takes over from Tim Allen as the voice of Buzz Lightyear.
To be sure, a 51 million opening weekend is far from catastrophic; in fact, “Lightyear” landed one of the best debuts for an animated kid friendly film in Covid times. Family audiences have returned in fits and starts, but it’s a...
- 6/20/2022
- by Rebecca Rubin
- Variety Film + TV
Warner Bros. has high hopes for “The Flash.”
The upcoming comic book adventure, which completed production in 2021 and is scheduled to debut in theaters in 2023, has been extraordinarily well received in early test screenings, according to sources close to the movie. Given DC Films’ inconsistent track record in fielding commercial hits, initial reception that “The Flash” could be a crowd-pleasing blockbuster is not only a relief, but a necessity to succeed at the box office.
And at a time when superhero adaptations are largely populated by straight actors, Ezra Miller, who stars in “The Flash” and is nonbinary and queer, feels like a refreshingly progressive choice to headline a big all-audience summer movie.
There’s only one glaring issue: Miller can’t seem to stay out of trouble. In recent months, the actor has been arrested or taken into custody several times for harassment, disorderly conduct and a traffic violation.
The upcoming comic book adventure, which completed production in 2021 and is scheduled to debut in theaters in 2023, has been extraordinarily well received in early test screenings, according to sources close to the movie. Given DC Films’ inconsistent track record in fielding commercial hits, initial reception that “The Flash” could be a crowd-pleasing blockbuster is not only a relief, but a necessity to succeed at the box office.
And at a time when superhero adaptations are largely populated by straight actors, Ezra Miller, who stars in “The Flash” and is nonbinary and queer, feels like a refreshingly progressive choice to headline a big all-audience summer movie.
There’s only one glaring issue: Miller can’t seem to stay out of trouble. In recent months, the actor has been arrested or taken into custody several times for harassment, disorderly conduct and a traffic violation.
- 6/2/2022
- by Rebecca Rubin
- Variety Film + TV
No studio exec in Hollywood likes when theaters put the hopes of a dramatic box office recovery on one of their films, but it’s safe to say that there’s a lot of people on all sides of the film industry praying for some good numbers this weekend for Focus Features’ “Downton Abbey: A New Era.” “Everybody is going to be watching this film very closely,” Exhibitor Relations analyst Jeff Bock told TheWrap. “It’s going to give us a lot of information about moviegoing interest from a subset of the audience that hasn’t gotten a lot of films that have appealed to them lately.” After a fall and winter in which films aimed at older moviegoers like “King Richard,” “West Side Story” and “Cry Macho” were left to die on the vine, exhibitors have been looking for any film that might be able to attract a demographic...
- 5/18/2022
- by Jeremy Fuster
- The Wrap
‘Doctor Strange 2’ Played More Than 60 Times in a Single NYC Theater on Thursday. Is That a Problem?
It’s May in New York City, and what better way to ring in the summer movie season than venturing to AMC Theaters in Times Square for opening night of “Doctor Strange in the Multiverse of Madness”?
If you and a friend wanted to be among the first to catch Marvel’s latest, the 3 p.m. screening was the earliest possible. But let’s say your friend ran a bit late, so maybe the 3:05 p.m. showtime was better. Needed a bit more time? How about 3:15 p.m.? 3:20 p.m.? Oops, it turns out all of those were sold out… but maybe you two could’ve squeezed into the 2 a.m. showtime that happened 11 hours and a whopping 45 screenings later.
AMC hosted more than 60 screenings of “Multiverse of Madness” last Thursday at New York’s AMC Empire 25, packing showtimes end-to-end over 12 hours. It’s only one of...
If you and a friend wanted to be among the first to catch Marvel’s latest, the 3 p.m. screening was the earliest possible. But let’s say your friend ran a bit late, so maybe the 3:05 p.m. showtime was better. Needed a bit more time? How about 3:15 p.m.? 3:20 p.m.? Oops, it turns out all of those were sold out… but maybe you two could’ve squeezed into the 2 a.m. showtime that happened 11 hours and a whopping 45 screenings later.
AMC hosted more than 60 screenings of “Multiverse of Madness” last Thursday at New York’s AMC Empire 25, packing showtimes end-to-end over 12 hours. It’s only one of...
- 5/10/2022
- by J. Kim Murphy
- Variety Film + TV
For the past two years, box office reports have been accompanied by a Covid-shaped asterisk: Ticket sales were [insert adjective of choice] for a pandemic.
After all, “Wonder Woman 1984,” “F9: The Fast Saga” and every would-be blockbuster in between could have generated more in ticket sales without a devastating global health crisis upending the movie theater landscape.
But as “Venom: Let There Be Carnage” debuted to 90 million last October (10 million more than its predecessor) and “Spider-Man: No Way Home” landed the second-highest domestic debut in history with 260 million, the caveats began to fade. Add in “The Batman” (134 million debut in March) and “Sonic the Hedgehog 2”, and those numbers weren’t just notable for a pandemic, they were plain notable.
And now “Doctor Strange in the Multiverse of Madness” opened to 187 million over the weekend, notching not only the second-best domestic launch since Covid-19, but the 11th-biggest North American opening weekend of all time.
After all, “Wonder Woman 1984,” “F9: The Fast Saga” and every would-be blockbuster in between could have generated more in ticket sales without a devastating global health crisis upending the movie theater landscape.
But as “Venom: Let There Be Carnage” debuted to 90 million last October (10 million more than its predecessor) and “Spider-Man: No Way Home” landed the second-highest domestic debut in history with 260 million, the caveats began to fade. Add in “The Batman” (134 million debut in March) and “Sonic the Hedgehog 2”, and those numbers weren’t just notable for a pandemic, they were plain notable.
And now “Doctor Strange in the Multiverse of Madness” opened to 187 million over the weekend, notching not only the second-best domestic launch since Covid-19, but the 11th-biggest North American opening weekend of all time.
- 5/9/2022
- by Rebecca Rubin
- Variety Film + TV
Hollywood is often skewered for no longer making large-scale original epics like “The Northman,” director Robert Eggers’ bloody Viking tale about a warrior’s quest to avenge his father’s death.
Yet Focus Features, Universal’s indie label, took a gamble, not only backing “The Northman” but releasing the film in theaters nationwide. Driven by positive reviews, the movie generated 12 million from 3,865 North American theaters over the weekend, enough to secure the No. 4 spot on domestic box office charts. Not bad for an arthouse film, huh?
Except for the pesky fact that “The Northman” was 10 times as expensive to produce as your average indie. How much the movie actually cost is up for debate; Eggers has been loudly and proudly touting its 90 million production budget in the press, much to the chagrin of its financial investors. They dispute Eggers’ math, privately saying the final figure was closer to 70 million after factoring in tax incentives.
Yet Focus Features, Universal’s indie label, took a gamble, not only backing “The Northman” but releasing the film in theaters nationwide. Driven by positive reviews, the movie generated 12 million from 3,865 North American theaters over the weekend, enough to secure the No. 4 spot on domestic box office charts. Not bad for an arthouse film, huh?
Except for the pesky fact that “The Northman” was 10 times as expensive to produce as your average indie. How much the movie actually cost is up for debate; Eggers has been loudly and proudly touting its 90 million production budget in the press, much to the chagrin of its financial investors. They dispute Eggers’ math, privately saying the final figure was closer to 70 million after factoring in tax incentives.
- 4/25/2022
- by Rebecca Rubin
- Variety Film + TV
A day prior to the glitzy world premiere of “Fantastic Beasts: The Secrets of Dumbledore,” Ezra Miller, who has a key role in the upcoming “Harry Potter” spinoff sequel, was arrested for disorderly conduct and harassment.
In another timeline, Miller, known for striking red carpet outfits and zany interviews, would have been front and center to promote “The Secrets of Dumbledore,” which opens in North American theaters on April 15. Instead, that incident and other eyebrow-raising events forced Warner Bros. to downplay Miller’s involvement in the film franchise. Complicating matters is the fact that Miller also headlines next year’s DC Comics adaptation “The Flash” for Warners.
It’s the latest in a long list of controversies plaguing “Fantastic Beasts.” The fantastical series was intended to wring newfound riches from author J.K Rowling’s sprawling Wizarding World after 2011’s “Harry Potter and the Deathly Hallows – Part 2” capped off a...
In another timeline, Miller, known for striking red carpet outfits and zany interviews, would have been front and center to promote “The Secrets of Dumbledore,” which opens in North American theaters on April 15. Instead, that incident and other eyebrow-raising events forced Warner Bros. to downplay Miller’s involvement in the film franchise. Complicating matters is the fact that Miller also headlines next year’s DC Comics adaptation “The Flash” for Warners.
It’s the latest in a long list of controversies plaguing “Fantastic Beasts.” The fantastical series was intended to wring newfound riches from author J.K Rowling’s sprawling Wizarding World after 2011’s “Harry Potter and the Deathly Hallows – Part 2” capped off a...
- 4/12/2022
- by Rebecca Rubin
- Variety Film + TV
Disney’s upcoming animated fantasy comedy “Turning Red” is skipping the big screen, marking the third Pixar movie in a row to debut directly on Disney Plus.
By the time “Turning Red” hits the streaming service on March 11, it’ll have been two years since a Pixar film — director Dan Scanlon’s magical adventure “Onward” in 2020 — played in North American theaters. The decision to keep relegating Pixar movies, arguably the gold standard of kid friendly fare, straight to streaming has been puzzling to industry observers and downright frustrating to beleaguered theater operators, who rely on family films to keep cash registers ringing in between the onslaught of superhero spectacles.
Yes, there’s still a pandemic raging. Yes, Disney Plus needs fresh content to boost its subscriber numbers. And yes, family audiences — the target demographic for Pixar — haven’t been eager to return to theaters.
But Disney hasn’t kept every...
By the time “Turning Red” hits the streaming service on March 11, it’ll have been two years since a Pixar film — director Dan Scanlon’s magical adventure “Onward” in 2020 — played in North American theaters. The decision to keep relegating Pixar movies, arguably the gold standard of kid friendly fare, straight to streaming has been puzzling to industry observers and downright frustrating to beleaguered theater operators, who rely on family films to keep cash registers ringing in between the onslaught of superhero spectacles.
Yes, there’s still a pandemic raging. Yes, Disney Plus needs fresh content to boost its subscriber numbers. And yes, family audiences — the target demographic for Pixar — haven’t been eager to return to theaters.
But Disney hasn’t kept every...
- 1/10/2022
- by Rebecca Rubin
- Variety Film + TV
In 1961, “West Side Story” dominated the box office and swept the Oscars.
Now, six decades later, Steven Spielberg’s long-delayed remake of the beloved musical, in theaters on Friday, looks to also find itself in the awards race after receiving rapturous reviews. But the film’s commercial prospects may be less certain.
On paper, the latest take on the oft-adapted Shakespearean love story is primed to be a smash because it’s based on one of the most cherished musicals in theater history and emanates from Hollywood’s most successful filmmaker in Spielberg. But “West Side Story” is returning to cinemas at a time when audiences have been hostile to movie musicals — even the well-received ones.
Playing in 2,800 North American theaters, “West Side Story” is tracking to generate $10 million to $15 million in its opening weekend. Some box office prognosticators believe ticket sales could reach $20 million, but others have cautioned that...
Now, six decades later, Steven Spielberg’s long-delayed remake of the beloved musical, in theaters on Friday, looks to also find itself in the awards race after receiving rapturous reviews. But the film’s commercial prospects may be less certain.
On paper, the latest take on the oft-adapted Shakespearean love story is primed to be a smash because it’s based on one of the most cherished musicals in theater history and emanates from Hollywood’s most successful filmmaker in Spielberg. But “West Side Story” is returning to cinemas at a time when audiences have been hostile to movie musicals — even the well-received ones.
Playing in 2,800 North American theaters, “West Side Story” is tracking to generate $10 million to $15 million in its opening weekend. Some box office prognosticators believe ticket sales could reach $20 million, but others have cautioned that...
- 12/8/2021
- by Rebecca Rubin
- Variety Film + TV
Movie theaters across the globe have been experiencing a kind of pent-up demand that hasn’t been seen in… a while.
At the center of stratospheric anticipation is everyone’s friendly neighborhood web-slinger, who takes the spotlight in Sony’s “Spider-Man: No Way Home.” The comic book epic, which serves as a culmination to the Tom Holland-led trilogy and co-stars Zendaya as Mj and Benedict Cumberbatch as Doctor Strange, hits theaters on Dec. 17.
When tickets went on sale on Nov. 29, some online sites crashed because they had trouble keeping up with demand. Hundreds of showtimes sold out immediately, leaving theater owners to hastily add as many additional screenings as their venues could realistically handle.
Immediately selling out showtimes? In this economy? It’s a welcome champagne problem for the beleaguered movie theater business. After big-budget tentpoles like “No Time to Die,” “Venom: Let There Be Carnage” and “Shang-Chi and the Legend of the Ten Rings...
At the center of stratospheric anticipation is everyone’s friendly neighborhood web-slinger, who takes the spotlight in Sony’s “Spider-Man: No Way Home.” The comic book epic, which serves as a culmination to the Tom Holland-led trilogy and co-stars Zendaya as Mj and Benedict Cumberbatch as Doctor Strange, hits theaters on Dec. 17.
When tickets went on sale on Nov. 29, some online sites crashed because they had trouble keeping up with demand. Hundreds of showtimes sold out immediately, leaving theater owners to hastily add as many additional screenings as their venues could realistically handle.
Immediately selling out showtimes? In this economy? It’s a welcome champagne problem for the beleaguered movie theater business. After big-budget tentpoles like “No Time to Die,” “Venom: Let There Be Carnage” and “Shang-Chi and the Legend of the Ten Rings...
- 12/1/2021
- by Rebecca Rubin and K.J. Yossman
- Variety Film + TV
Disney’s superhero adventure “Eternals” debuted to $71 million at the domestic box office, a tally that would typically be labeled a “disappointment” in the blockbuster Marvel Cinematic Universe.
Marvel movies rarely miss at the box office; all 26 movies have opened at No. 1 in North America and many recent installments have ultimately glided by the $1 billion mark globally with ease. Box office observers and comic book super-fans have come to expect the franchise’s entries to generate more than $100 million in their opening weekends. Anything less, by Marvel standards, tends to be classified as a misstep.
In that company, “Eternals” isn’t quite stacking up at the box office. The big-budget adaptation, featuring an ensemble cast of Angelina Jolie, Gemma Chan, Salma Hayek, Richard Madden and Kit Harington, notched one of the worst opening weekends in the MCU — including the pandemic-era releases “Black Widow” and “Shang-Chi and the Legend of the Ten Rings...
Marvel movies rarely miss at the box office; all 26 movies have opened at No. 1 in North America and many recent installments have ultimately glided by the $1 billion mark globally with ease. Box office observers and comic book super-fans have come to expect the franchise’s entries to generate more than $100 million in their opening weekends. Anything less, by Marvel standards, tends to be classified as a misstep.
In that company, “Eternals” isn’t quite stacking up at the box office. The big-budget adaptation, featuring an ensemble cast of Angelina Jolie, Gemma Chan, Salma Hayek, Richard Madden and Kit Harington, notched one of the worst opening weekends in the MCU — including the pandemic-era releases “Black Widow” and “Shang-Chi and the Legend of the Ten Rings...
- 11/9/2021
- by Rebecca Rubin
- Variety Film + TV
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.