Disney-Marvel’s “Black Panther” is continuing its super-heroic run, grossing a stunning $501.1 million in North America in only 17 days and becoming the 10th highest grosser of all time.
“Black Panther,” starring Chadwick Boseman, dominated domestic moviegoing in its third weekend with $65.7 million at 4,084 locations — the third-highest weekend of all time after “Star Wars: The Force Awakens” at $90.2 million and “Avatar” at $68.5 million.
“Black Panther” is now the second-highest grossing Marvel movie of all time at the domestic box office, surpassing “Avengers: Age of Ultron” this weekend at $459 million and trailing only “The Avengers” at $623.4 million. “Black Panther” has a realistic shot at reaching that level in the coming weeks and may eventually top “Jurassic World” at $652 million and “Titanic” at $659 million for the third highest domestic total of all time.
Two new titles opened with moderate results that might have been higher without a must-see title like “Black Panther” in multiplexes. Jennifer Lawrence’s spy thriller “Red Sparrow” launched with $17 million at 3,056 sites for Fox and Bruce Willis’ “Death Wish” debuted with $13 million at 2,847 venues for MGM.
Warner Bros.’ second weekend of comedy thriller “Game Night” followed in fourth with $10.7 million from 3,502 sites, edging Sony’s fourth weekend of CGI-live action “Peter Rabbit” with $10 million at 3,607 locations. “Peter Rabbit” has connected with family audiences for $84 million in its first 24 days.
Paramount’s second weekend of “Annihilation” finished in sixth with $5.7 million at 2,112 venues, followed by Sony’s 11th weekend of its sturdy action comedy “Jumanji: Welcome to the Jungle” with $4.5 million at 2,313 sites. “Jumanji” has now grossed $393.2 million in 75 days.
by Dave McNary via Variety.comDisney-Marvel’s “Black Panther” is re-writing the record books, topping “Star Wars: The Last Jedi” for the second-highest four-day domestic opening of all time, with $242 million at 4,020 North American locations.The superhero pic set a record for top Monday domestic gross ever, with $40.2 million, edging the previous high set by “Star Wars: The Force Awakens” at $40.1 million. The Monday total came in $7 million above the studio’s projections and lifted the four-day haul to $242 million.
“Black Panther” has grossed the second-highest four-day total of all time, behind only “Star Wars: The Force Awakens” at $288.1 million and $400,000 ahead of “Star Wars: The Last Jedi.”
Disney also reported Tuesday that the international total has reached $184.6 million to lift the worldwide take to $426.6 million, led by South Korea at $27.1 million and the U.K. at $26.7 million.
The tentpole, starring Chadwick Boseman and directed by Ryan Coogler, has blown past its original tracking. The film, which carries an estimated $200 million production budget, had been tracking to bring in between an impressive $100 and $120 million when first projections emerged on Jan. 25.
Since then, “Black Panther” has become a must-see event as it’s veered into record-setting territory and has continued to shatter all projections since then. It has the highest three-day debut ever for a February film and the fifth-biggest of all time behind only “Star Wars: The Force Awakens” at $248 million, “Star Wars: The Last Jedi” at $220 million, “Jurassic World” at $208.8 million, and “The Avengers” at $207.4 million.
“Black Panther” has demolished the record for the largest Presidents Day weekend, blowing past “Deadpool’s” 2016 mark of $152 million.
“Get Out,” a trenchant horror film about race relations, rode critical raves to a smashing box office debut. The low-budget film was the weekend’s top-grossing domestic release, earning $30.5 million, and propelling its director and writer Jordan Peele atop Hollywood’s A-list.
The film, which centers on a black man who discovers that his girlfriend’s liberal, lily-white hometown is guarding a sinister secret, marks a departure for Peele, best-known for his work on the Comedy Central series “Key & Peele.” It proves he can handle scares, as well as laughs, supplying sly social commentary in both genres.
“Get Out” also extends Blumhouse Productions’ hot hand. The film company scored earlier this year with “Split,” a thriller about a man with a personality disorder that racked up $130.8 million stateside on a $9 million budget. Universal distributed, marketed, and partnered on both movies.“It’s entertaining, it’s thought-provoking, and it’s subversive,” said Nick Carpou, Universal’s domestic distribution chief. “I have seen [‘Get Out’] play with audiences. They enjoy themselves and they’re telling their friends.”
It wasn’t just word-of-mouth that accounted for the robust opening. “Get Out” benefited from being embraced by reviewers, earning a rare 100% “fresh” rating on Rotten Tomatoes, with the likes of the Wall Street Journal’s Joe Morgenstern hailing its “explosive brilliance” and the New York Times’ Manohla Dargis praising it as “exhilaratingly smart.” The last horror film to receive that type of unanimous praise was Roman Polanski’s “Repulsion” in 1965.
Fox 2000 and Chernin Entertainment’s “Hidden Figures” dominated the domestic box office, topping charts for the second straight weekend after earning $26 million. The film’s message of empowerment and triumph over prejudice was amplified by the Martin Luther King Jr. holiday weekend.
“This continues to be a movie for everyone,” said Chris Aronson, Fox’s head of domestic distribution. “It’s not just entertaining. It’s life affirming. It celebrates the triumph of the human spirit and that’s so important in these times.”
“Hidden Figures” is a latecomer to the awards season race, but the film, which stars Taraji P. Henson, Octavia Spencer and Janelle Monae as African-American scientists and mathematicians in the early days of the space program, ranks as one of the most successful dramas of 2016. So far, it has earned $60.4 million. That commercial success could translate into Oscar attention when Academy Award nominations are announced next week.
It will likely face fierce competition from “La La Land,” a critically beloved movie musical with Emma Stone and Ryan Gosling. Fresh off its sweep of the Golden Globe awards, “La La Land” sang and danced its way to $17.5 million over the holiday period, good enough for a third place finish. That brings the Lionsgate release’s domestic total to $77 million and more than $132 million globally.
“Straight Outta Compton” may take place more than two decades ago, but its themes of racial tension, poverty and police brutality still speak to moviegoers living in a post-Ferguson world.
The biopic about rap group N.W.A. debuted to a blistering $56.1 million this weekend in 2,757 theaters, surpassing “American Pie 2” to become the biggest-ever August debut for an R-rated movie. It’s the kind of opening usually reserved for so-called tentpole movies that trade in costumed heroes and special effects, not urban violence.
“The movie tapped into something in our culture and that made it more of a must-see,” said Phil Contrino, vice president and chief analyst at BoxOffice.com.
Its debut nearly doubles “Straight Outta Compton’s” budget of $29 million in a single weekend, meaning the film could be among the most profitable releases of the summer. N.W.A members Ice Cube and Dr. Dre helped produce the film about the early days of gansta rap and were integral to its marketing campaign.
Universal, the studio behind the music biopic, has been having a year for the ages, as a steady stream of hits such as “Jurassic World,” “Fifty Shades of Grey,” “Pitch Perfect 2,” “Furious 7” and “Minions” have pushed its grosses to record heights. Legendary Pictures co-financed “Straight Outta Compton.”
“Straight Outta Compton’s” success overshadowed the weekend’s other new release, Warner Bros.’ “The Man From U.N.C.L.E.” The stylish action-adventure wilted at the megaplexes, bringing in an etiolated $13.5 million from 3,638 theaters. That’s a particularly rough start considering that “The Man From U.N.C.L.E.” cost a sizable $75 million to produce.
Universal domestic distribution chief Nick Carpou labeled “Straight Outta Compton” as a “labor of love” that benefited from being dramatically different from the kind of films flooding cinemas in recent months.
“The public was ready for something with a bit more substance that they could identify with,” he said.
The film’s opening weekend crowd was 52% female, 51% under the age of 30, 46% African-American, 23% Caucasian, 21% Hispanic and 4% Asian. It did not play in Imax or 3D, but did score in premium large format locations, where it grossed $5.1 million, representing 9% of the film’s weekend receipts.
In second place, Paramount’s “Mission: Impossible – Rogue Nation” continued to get a lift from strong word-of-mouth, picking up $17 million in its third weekend. That brings the fifth film in the spy franchise’s North American haul to $138.1 million.
Fox’s “Fantastic Four” dropped steeply in its second weekend, falling nearly 70% from its debut and mustering a paltry $8 million. The film ranks as one of the biggest comicbook movie flops in history, having earned a meagre $42 million Stateside.
STX Entertainment’s “The Gift” rounded out the top five, earning $6.5 million this weekend and pushing its domestic total to $23.6 million.
Final numbers are still being tallied, but it looks as though “Straight Outta Compton” will bolster ticket sales over the year-ago period when “Teenage Mutant Ninja Turtles” and “Guardians of the Galaxy” were drawing the biggest crowds.
Denzel Washington still has plenty of firepower at the box office as his latest action film “The Equalizer” looks to be heading to an opening weekend in the $35-$37 million range.With $12.6 million on Friday from 3,236 locations, the Sony release is performing significantly better than the studio’s initial estimates of an opening in the high-$20 millions. That’s the best opening ever for director Antoine Fuqua and one of Washington’s top debuts as well.Produced for $55 million by Columbia Pictures, LStar Capital and Village Roadshow Pictures, “The Equalizer” also benefited from a glowing A- Cinemascore.
The weekend’s other wide opener, “The Boxtrolls” from Focus Features and Laika, took $4.93 million on Friday heading for a weekend of $16 million, which is in line with expectations. The stop-motion animated film opened in 3,464 locations.
Fox’s “The Maze Runner” will fight it out with “Boxtrolls” for the no. 2 spot. The young adult sci fi pic took $5 million Friday for a weekend also in the $16 million range, putting its cume after two weeks near $57 million.
Warner Bros. “This is Where I Leave You” took in another $2.2 million Friday for a possible $7 million weekend, heading to a $22 million cume in its second week.
A pair of pics in their third weekend should top last week’s opener “Walk Among the Tombstones” — Screen Gems “No Good Deed” is hanging in there with $1.35 million Friday for a projected $4.5 million weekend, finishing with a $46.5 million cume by Sunday, while Warner Bros. “Dolphin Tale 2″ took $1.26 Friday for a weekend total of about $5 million.
“No Good Deed” lead the box office this weekend by taking in $24.5 million from 2,175 theaters, easily beating expectations. Going into the weekend, analysts expected the home invasion thriller to hover around $20 million. Females made up the bulk of the audience, taking up 60% of the seats in theaters, and 41% of ticket-buyers were under 30 years old.
“It’s not a full reversal of the weakness at the box office, but it’s a step in the right direction,” said Phil Contrino, vice president and chief analyst at BoxOffice.com. “It’s good to see new films enter the marketplace and do all right.”
“No Good Deed’s” success is a feather in the cap of stars IdrisElba and Taraji P. Henson, both of whom actively hawked the film on social media.
“They absolutely elevated it,” said Rory Bruer, Sony Pictures’ president of worldwide distribution. “They’re so hard working. It was a great collaboration.”
It also helps that “No Good Deed” cost a mere $13 million to produce. “It’s going to be hugely successful for the studio,” said Bruer.
Both actors will likely see their stars rise as a result. Elba has had showy supporting roles in “Thor” and “Prometheus,” but hasn’t carried a film to these kind of heights on his own shoulders since 2009’s “Obsessed.” He retains a passionate following from his days playing a drug kingpin on HBO’s “The Wire.”
Henson has an Oscar nomination on her resumé thanks to 2008’s “The Curious Case of Benjamin Button” and was part of the “Think Like a Man” ensemble, but hasn’t been front-and-center in a promotional campaign like she was here.
“I wouldn’t call them full on movie stars in their own right,” said Phil Contrino, vice president and analyst with BoxOffice.com. “They’re not bankable on their own terms, but this could certainly change that. Sometimes all it takes is one film.”
The concept of movie stardom has taken its knocks in recent years, as Hollywood has tried and failed to launch a new generation of A-listers to rival the Tom Cruises and Julia Roberts of an earlier era. The old days where an actor’s name above the title was enough to guarantee a big opening weekend have vanished. However, pairing the right actor with the right vehicle can still reap dividends, as evidenced by Liam Neeson’s success playing avenging angels and Melissa McCarthy’s track record with R-rated comedies.
“Taraji and Idris are terrific actors and they both so own their roles in this film,” said Rory Bruer, Sony Pictures’ president of worldwide distribution. “In spots and trailers, they delivered such a great intensity. It’s a terrific opening.”
Sony didn’t rely on star power alone to sell “No Good Deed.” It also orchestrated a clever social media campaign that unspooled across Twitter and Instagram.
On Twitter, the studio put a fresh spin on the Choose Your Own Adventure book series, presenting users with a set of challenges that dared them to outwit a murderer. For fans of Instagram, Sony created an interactive experience made up of images and videos that teased out parts of the film’s plot. That’s cheaper and potentially more potent than a costly television campaign.
“In this new world we live in, you want to be aggressive, and there are more means to do that and interact directly with fans than ever before,” said Contrino.
article by Brent Lang via variety.com (additions by Lori Lakin Hutcherson)
Continuing its high-flying ride at the domestic box office, Universal’s stalwart holdover Ride Along posted its third straight weekend victory, estimating $12.3 million for a Stateside cume of $93 million and counting. The Super Bowl weekend’s only two wide releases — Focus Features’ That Awkward Moment and Paramount’s Labor Day, both of which are targeted squarely at female audiences — underperformed, grossing $9 million and $5.3 million, respectively.
Internationally, Disney had another standout weekend with its toon all-star Frozen, which grossed an estimated $24 million from 45 territories, representing approximately 90% of the overseas market place. So far, the film has collected north of $504 million internationally, with $360 million Stateside (pic’s sing-along re-release contributed $2.2 million out of a total estimated $9.3 million this weekend), making Frozen the second-highest grossing original toon of all time globally, behind Finding Nemo. Domestic totals managed to stay in line roughly with this time last year, down just 2%, though first-quarter 2013 box office was especially mopey.
As the clear highlight so far this year, Ride Along’s third-straight win at the domestic box office matches what only three films total managed last year — The Butler, Gravity and The Hobbit: The Desolation of Smug — none of which bowed during the first quarter.
Speaking of Gravity, Warner Bros.’ large-screen re-release of the Oscar-nominated 3D epic earned more than half of its $2 million three-day gross in Imax. Gravity has cumed nearly $264 million domestically in over four months. Among the other Academy Award contenders, both American Hustle and The Wolf of Wall Street became milestone box office achievements for their respective directors: Hustle now stands as David O. Russell’s highest-grossing film, with $133.6 million, while Martin Scorsese’s Wolf is the director’s third-highest, at $104.1 million, surpassing The Aviator.
Film (Weeks in release): 3-day gross*; Locations; Per-theater average; Cume*; Percentage change
Ride Along (3): $12.3; 2,867; $4,295; $93.0; -42%
Frozen (11): $9.3; 2,754; $3,381; $360.0; +2%
That Awkward Moment (1): $9.0; 2,809; $3,208; $9.0; –
Vin Diesel helped light up what is usually a dark post-Labor Day box office period, with Universal’s franchise pic “Riddick” scoring a solid estimated $18.7 million domestically. The film claimed the weekend’s No. 1 spot, unseating the Weinstein Co.’s “Lee Daniels’ The Butler,” which stayed strong in second place with $8.9 million. The three-week champ, which fell just 40% in its fourth frame, reached $91.9 million Stateside through Sunday.
Total domestic box office was up over this time last year by roughly 25%, thanks also to a excellent expansion for Lionsgate-Pantelion’s “Instructions Not Included.” The Hispanic-targeted crowdpleaser earned $8.1 million from just 717 locations, up from 384 last weekend, for a U.S. cume now past $20 million.
It was a sci-fi-themed weekend globally: Sony’s futuristic pic “Elysium” ranked first overseas with an estimated $21.2 million, of which China contributed $11.7 million in its first weekend locally. In total, “Elysium” has cumed $127 million internationally and $212 million worldwide.
While “Riddick” defied the post-Labor Day slump, the film still came in on the low-side of expectations. Pic opened with less than its predecessor’s $24 million debut in 2004, but the $38 million three-quel outperformed the original film, 2000′s “Pitch Black,” which grossed $11.6 million during opening weekend.
“We always try to find the right time for the right films,” said Universal distribution prexy Nikki Rocco. “This was an inexpensive venture for Universal, and we wanted Vin to have the No. 1 film.”
Not surprisingly, “Riddick” earned most of its opening from men, at 59%, with Hispanics contributing a sizable 37% of the gross. Imax also helped with fanboy appeal, posting $2.5 million of the domestic opening.
According to box office estimates, Lee Daniels’ The Butler the film beat out One Direction: This Is Us to win the Labor Day weekend box office race and become the first movie this year to finish No. 1 three consecutive weeks, according to TheWrap.
It appears the civil rights saga, starring Oprah Winfrey and Forest Whitaker, will bring in a little more than $20 million over the four-day holiday weekend. After looking as if it was going to finish in the top spot, Sony’s boy band music documentary ended the Labor Day weekend with $18 million.
“We’re surprised,” The Weinstein Company’s distribution chief Erik Lomis told TheWrap, “and very proud. We weren’t expecting to come away with this one, especially after starting out $5 million behind ‘One Direction’ after Friday.”
Lomis said “The Butler,” which has now brought in nearly $80 million domestically, was continuing to broaden its demographic base by playing younger.
“With the kids getting back to school, we’re hoping the word of mouth gets even stronger,” said Lomis. There’s not much room to expand in terms of theaters; it’s on 3,330 screens and averaged just over $6,000.
Two other wide openers – the Selena Gomez-Ethan Hawke thriller “Getaway” and the Eric Bana spy tale “Closed Circuit” – were both non-starters. But “Instructions Not Included,” a family comedy starring Eugenio Derbez, recorded the biggest domestic opening ever for a Spanish-language movie – on just 347 screens – and finished fifth with $10 million for the four days.