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US Box Office Thread - Jan 24: 'Scream' vs. 'Spider-Man' Round 2

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  • Benny
    replied
    'Spider-Man' Bumps Off 'Scream'

    He’s back…and it didn’t take very long for his return either. A week after getting bumped from the top spot at the domestic box office by the latest Scream installment, Sony’s Spider-Man: No Way Home retook first place in its sixth weekend in theaters, racking up $14.1 million in receipts. Not bad for a movie that’s already been around for a month and a half. Meanwhile, there were two new wide releases over the weekend…not that anyone would notice. Universal’s faith-based romance, Redeeming Love, snuck into fourth place with a $3.7 million debut while the mothball-scented historical fantasy, The King’s Daughter, was finally unspooled after sitting on the shelf for seven years and proceeded to belly-flop into eighth place.

    After letting another movie see what a first-place opening feels like, Spider-Man: No Way Home resumed its reign as the number one film in North America after retaking its crown from Paramount’s Scream. In its sixth week of release, the PG-13-rated blockbuster slipped -29.7% from the previous session and earned a $3,812 per-screen average at 3,705 locations. Spidey’s domestic box-office total now stands at $721 million, which puts it in fourth place on the list of the highest-grossing domestic releases of all time. The three films still ahead of it are 2009’s Avatar ($760.5 million), 2019’s Avengers: Endgame ($858.4 million), and 2015’s Star Wars: Episode VII --The Force Awakens ($936.7 million). Also, with its $1.69 billion in worldwide ticket sales, the Tom Holland-led superhero epic has become the sixth-highest grosser of all time globally.

    In the runner-up spot was last week’s top dog, Scream, which scared up $12.4 million in its sophomore frame—a -58.7% drop-off from its opening weekend. The R-rated sequel (or “requel” as the filmmakers want you to call it) starring franchise OGs Neve Campbell, Courteney Cox, and David Arquette, scored a $3,382 per-screen average in 3,666 theaters. Its total domestic haul after two weeks is $51.3 million, which already far outstrips the $38.2 million that the previous installment, Scream 4, made during its entire domestic run back in 2011. The latest chapter has also racked up an additional $33.6 overseas, which places its current worldwide total at $84.9. Pretty decent numbers for a franchise that many thought was dead and buried for good.

    In third place was Universal’s Sing 2 with $5.7 million. The PG-rated sequel fell -28.5% from the prior weekend. Scoring a $1,662 per-screen average in 3,434 theaters, the animated musical featuring the voices of Reese Witherspoon, Matthew McConaughey, and Bono has collected $128.4 million to date domestically. Sing 2 has tacked on $112.8 million internationally so far, bringing its five-week global total to $241.2 million, which now makes it the highest-grossing animated movie of the pandemic era after surpassing The Croods: A New Age’s $215.9 million.

    Finishing in fourth was the weekend’s top newcomer: Universal’s under-the-radar romantic drama, Redeeming Love, with $3.7 million. Adapted from Francine Rivers’ 1991 bestselling book, the film stars Abigail Cowen as a prostitute who falls in love with Tom Lewis’ man of faith during the time of the California gold rush. While critics gave the film a chorus of raspberries and an 11% fresh rating on Rotten Tomatoes, the movie’s audience was far kinder, awarding it a ‘B+’ grade from CinemaScore. The PG-13-rated rookie earned a $1,949 per-screen average at 1,903 locations. It has not opened yet internationally.

    Rounding out the top five was 20th Century Studios’ The King’s Man, which is miraculously still hanging around after five weeks, pulling in $1.8 million over the weekend. The R-rated action franchise’s origin story starring Ralph Fiennes slipped -19.7% from the previous frame and earned a $753 per-screen average in 2,360 theaters. The King’s Man’s domestic box-office total now sits at $31.5 million, but its biggest audience has been overseas, where it has scored $73.8 million, putting its cumulative global tally at $105.3 million.

    Of note outside of the top five was the dismal (and belated) arrival of Gravitas Ventures’ fantasy-adventure The King’s Daughter, which scraped up just $750,000 over its opening weekend. The PG-rated film, which stars Pierce Brosnan as Louis XIV, struggled out of the box with a grim $345 per-screen average in 2,170 theaters. The movie, which original studio Paramount had scheduled for release way back in 2015 only to let it gather dust on its shelves, was picked up by Gravitas last year. It has not yet opened internationally.

    https://www.boxofficemojo.com/articl...?ref_=bo_hm_hp

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  • Benny
    replied
    'Spider-Man' Finally Meets His Match as 'Scream' Reboot Scares Up a $30.6 Million Number One Debut

    After a full month atop the charts and a string of shattered box-office records in its wake, Spider-Man: No Way Home was finally toppled from its box-office throne over Martin Luther King Jr. weekend. The culprit: A reboot of (or sequel to, take your pick) the seemingly dead-and-buried Scream horror franchise, which seemed to gasp its last breath after the disappointing Scream 4 just over a decade ago. With returning stars Neve Campbell, Courteney Cox, and David Arquette, the fifth Ghostface meta-chiller, simply titled Scream, scared up $30.6 million during its opening weekend and is projected to earn $35 million by the time the Monday holiday is factored in.

    When the first Scream debuted back in 1996, it was a surprise hit with teenage ticket-buyers and horror aficionados who appreciated its one-two punch as both a bloody good slasher movie and a send-up of that genre thanks to original director Wes Craven. Twenty-five years and three diminishing-returns sequels later, no one was quite sure what to expect with 2022’s Scream. Was there anything left to squeeze out of this jokey body-count franchise? This weekend we finally got the answer: A resounding yes. With a production budget of just $25 million, Paramount’s new Scream already appears to be in the black—or close to it. With its $30.6 million haul between Friday and Sunday, the R-rated film earned an $8,351 per-screen average in 3,664 theaters. Internationally, the movie tacked on a negligible $310,000, bringing its worldwide three-day total to $30.9 million. Not surprisingly, it was younger audiences who turned out for the slasher sequel, with 67% of Scream’s audience falling into the 18-35 age demographic. Even with the ongoing COVID pandemic, the new Scream far exceeded its predecessor, Scream 4, which bowed to $18.7 million in April 2011.

    In the runner-up spot was Sony’s Spider-Man: No Way Home, which raked in $20.8 million between Friday and Monday. It is projected to make $26 million by the end of the Monday holiday. In its fifth week of release, the PG-13-rated smash fell -36.2% from the previous frame and earned a $5,299 per-screen average at 3,925 locations. Spidey’s North American total now stands at $698.7 million, putting it now in fourth place on the list of the highest-grossing domestic releases of all time. The three films still ahead of the Tom Holland-led blockbuster are 2009’s Avatar ($760.5 million), 2019’s Avengers: Endgame ($858.4 million), and 2015’s Star Wars: Episode VII --The Force Awakens ($936.7 million).

    In third place was Universal’s Sing 2 with $8.3 million between Friday and Sunday. It is projected to finish the long weekend with $11 million. The PG-rated sequel dipped -28.7% from the prior frame. Earning a $2,309 per-screen average in 3,581 theaters, the animated musical featuring the voices of Reese Witherspoon, Matthew McConaughey, and Bono has collected $119.4 million to date. Sing 2 has added $96.3 million internationally so far, bringing its four-week global total to $215.7 million. For comparison, the first Sing finished its run with $270.4 million domestically in 2016.

    Finishing in fourth was Universal’s disappointing female-led thriller The 355 with an anemic $2.3 million between Friday and Sunday. In its sophomore weekend, the distaff espionage ensemble starring (Jessica Chastain, Lupita Nyong’o, Penelope Cruz, Diane Kruger, and Fan Bingbing) continued its slump, slipping 49.4% from the prior frame. The PG-13-rated film is projected to pull in $2.8 million by the end of the long holiday weekend, only managing a $744 per-screen average in 3,125 theaters. Its two-week domestic box office total now stands at a brutal $8.4 million. Overseas, the film has added $2.6 million to date, pushing its combined worldwide total to $11 million.

    Barely edged out for fourth place was the weekend’s fifth-highest grosser, 20th Century Studios’ The King’s Man, which, like The 355, also finished with $2.3 million between Friday and Sunday, but had slightly lower numbers in the columns further to the right. The R-rated origin story of the natty action franchise starring Ralph Fiennes dropped -28.1% from the previous weekend and earned a $923 per-screen average in 2,510 theaters. It is projected to make $3 million by the end of Monday. The King’s Man’s domestic box-office total now sits at $28.7 million. The movie has done more than double its North American business overseas, where it has rounded up $63.8 million, putting its cumulative global haul at $92.5 million.

    Finally, finishing just outside of the running was the weekend’s only new debut of note. The anime import Belle bowed in sixth place. The PG-rated offering from GKIDS opened to $1.6 million between Friday and Monday, tallying a $1,241 per-screen average at 1,326 locations. It is expected to make $2 million by the end of the four-day holiday weekend and has a 95% fresh rating with both critics and audiences on Rotten Tomatoes. The film, which chronicles the story of a teenage girl who enters a virtual world and becomes a singing sensation, has done solid business overseas, where it has already pulled in $58.3 million and counting.

    https://www.boxofficemojo.com/articl...?ref_=bo_hm_hp

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  • Benny
    replied
    'Spider-Man: No Way Home' Keeps Smashing Records While 'The 355' Shoots Blanks

    Buffeted by bad reviews and bleak box-office predictions, the star-studded female spy thriller, The 355, never really stood a chance against Spider-Man: No Way Home—not even in the blockbuster’s fourth weekend in theaters. Even so, Universal’s globe-trotting espionage flick fell short of expectations, pulling in a paltry $4.8 million in its domestic debut. Meanwhile, Peter Parker and company continued their miracle run at the multiplex, not just taking the top spot again with ease (thanks to its $33 million North American haul over the weekend), but also continuing their assault on the record books, where the Tom Holland tentpole became the sixth highest-grossing film of all time at the domestic box office and the eighth-biggest worldwide.

    Let’s kick things off with the good news: After a month in theaters, Spider-Man: No Way Home continues to be one of the few Hollywood films to succeed despite of the pandemic. For years, superhero movies were said to be critic-proof, but now they seem to be immune to anything Mother Nature throws in their path, too. In its fourth week of release, Sony’s PG-13 smash fell -41.1% from the previous frame. Its $33 million in domestic receipts came from 4,012 theaters, which translates to a $8,229 per-screen average. Spidey’s North American total now stands at just under $668.8 million. No Way Home continues to smash box-office records left and right. A week after breaking into the top 10 domestic earners of all time, it has already jumped up to sixth place, most recently leapfrogging year 2015’s Jurassic World ($652.4 million) and 1997’s Titanic ($659.4 million). Next to fall will be fifth-place holder, 2018’s Avengers: Infinity War ($678.8 million). Overseas, the webslinger has piled on another $867.5 million so far, putting its global total at just a hair under $1.54 billion—enough to slot it in eighth place worldwide, just ahead of 2102’s The Avengers ($1.52 billion).

    In second place was another new record-breaker, albeit of a slightly more modest variety. In its third frame, Universal’s Sing 2 continues to hit some harmonious high notes with family audiences. The PG-rated sequel collected a hair less than $12 million, dipping -40.7% from the prior weekend. Earning a $3,218 per-screen average in 3,713 theaters, the animated musical featuring the voices of Reese Witherspoon, Matthew McConaughey, and Bono has accrued $109 million to date. Zipping past $100 million over the weekend, Sing 2 became the only animated film to pass that hallowed threshold since Disney’s Frozen II back in 2019. Sing 2 has added $81.8 million internationally so far, bringing its three-week global total to $190.8 million. For comparison, the first Sing eventually topped out at $270.4 million domestically in 2016.

    Finishing in third was the aforementioned, sad-trombone debut of The 355. The distaff espionage ensemble starring a Who’s Who of cinema’s top leading ladies (Jessica Chastain, Lupita Nyong’o, Penelope Cruz, Diane Kruger, and Fan Bingbing) couldn’t surmount the film’s bad buzz. With its bright-green 37% splat from critics on Rotten Tomatoes, Universal’s PG-13-rated thriller about a group of international agents who band together to battle a common villain, limped into theaters, taking in just $4.8 million in its opening session. While those who did pay to see it (56% of whom were women) gave the film a ‘B+’ CinemaScore grade, the globe-trotting actioner only managed a $1,526 per-screen average in 3,145 theaters. The only silver linings of note are: a). The film will soon be seen by a lot more people since it will be available to stream on Peacock in just 45 days, and b.) it has not opened overseas yet, where its internationally high-profile cast may be able to move more tickets.

    In fourth place this week was 20th Century Studios’ The King's Man with $3.3 million in its third frame. The R-rated origin story of the natty action franchise stars Ralph Fiennes and slipped -28.3% from the prior weekend, earning a $1,076 per-screen average in 3,040 theaters. The King’s Man’s domestic box-office total now sits at $25.1 million. The movie has nearly done double its North American business overseas, where it has rounded up $49.2 million, putting its cumulative global haul at $74.3 million.

    Rounding out the top five was Lionsgate’s American Underdog with $2.4 million in its third weekend. The PG-rated sports drama about real-life NFL star Kurt Warner and his unlikely rise from supermarket check-out clerk to Super Bowl quarterback fell -38.2% from last weekend, nabbing a $884 per-screen average in 2,728 theaters. The inspirational crowd-pleaser has taken in $18.7 million in its first three weeks of domestic release. It has not opened outside of North America yet.

    https://www.boxofficemojo.com/articl...?ref_=bo_hm_hp

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  • Benny
    replied
    'Spider-Man' Keeps Swinging, This Time Past $600 Mio at US Box Office

    In like a lamb and out like a lion. That saying pretty much sums up 2021 at the box office. After an unpredictable twelve-month period of peaks and valleys in the theatrical movie business due to the ongoing COVID-19 pandemic, the year ended on a triumphant note thanks to Sony’s mega-blockbuster, Spider-Man: No Way Home. Adding another $52.7 million to its coffers over New Year’s weekend, the superhero tentpole soared past the $600 million mark in North America, making it the tenth-highest grossing movie domestically of all time, helping to push the year’s total box-office numbers up significantly from 2020—but still a long way off from the pre-pandemic good old days.

    With no major new competition hitting multiplexes over the holiday frame, No Way Home had another clear path to the top spot. In its third week of release, the PG-13 smash dropped -37.7% from the previous weekend, earning a $12,529 per-screen average in 4,206 theaters and putting its total domestic haul at a staggering $609 million. The film, which stars Tom Holland, Zendaya, Marisa Tomei, and Benedict Cumberbatch, continues to shatter box-office records left and right. Its latest triumph: leapfrogging Disney’s Incredibles 2 to join the elite list of the Top 10 domestic earners of all time. Next to fall is ninth-place holder, Star Wars: The Last Jedi. Spidey’s feat is especially significant since it comes in the midst of the latest spike in the coronavirus pandemic. On the international front, Peter Parker and company’s latest outing has raked in $759 million from overseas markets, bringing its worldwide cume to $1.37 billion…and counting.

    Overshadowed by all of the Spider-Man record breaking was the continued success of Universal’s Sing 2, which once again did boffo business in its sophomore weekend in theaters, finishing in second place. The PG-rated sequel collected $19.6 million and dipped only -12.2% from the prior session. Earning a $5,036 per-screen average at 3,892 locations, the animated musical featuring the voices of Reese Witherspoon, Matthew McConaughey, Scarlett Johansson, Nick Kroll, and Bono has racked up $89.7 million after two weeks of domestic release. Sing 2 has added $54.9 million internationally so far, bringing its two-week global total to $144.6 million. As rosy as that news is, though, the sequel is still tracking well behind the grosses of its 2016 franchise-starter, which ultimately pulled in $270.4 million in North America and $634.2 million worldwide.

    In third place this week was 20th Century Studios’ prequel to the dapper Kingsman action franchise,The King's Man, with $4.5 million in its second frame. The R-rated origin story, which stars Ralph Fiennes, fell off only -23.9% from the prior weekend and earned a $1,415 per-screen average in 3,180 theaters. The King’s Man hold was better than expected as the film saw its two-week domestic haul reach $19.5 million. The latest chapter has done slightly better abroad, where it has pulled in $28.3 million, putting its cumulative global box-office at $47.8 million.

    Finishing in fourth place was Lionsgate’s American Underdog with just under $4.1 million in its second weekend. The PG-rated sports drama about real-life NFL star Kurt Warner and his inspirational rise from supermarket check-out clerk to Super Bowl quarterback slid -30.8% from its opening frame, nabbing a $1,448 per-screen average in 2,813 theaters. Thanks to its solid word of mouth from appreciative audiences, the crowd-pleaser has taken in $15 million in its first two weeks of domestic release. It has not opened outside of North America yet.

    Rounding out the top five was Warner Bros.’ The Matrix Resurrections, which continues to limp along, falling a hefty -68.1% in its second weekend while taking in an underwhelming $3.8 million in domestic receipts. The fourth film in the trippy, down-the-rabbit-hole saga starring Keanu Reeves and Carrie-Anne Moss earned a $1,076 per-screen average at 3,552 locations. After two weeks, the R-rated Resurrections has scraped up just $30.9 million in North America, where its haul has no doubt been diminished by the film’s simultaneous availability on HBO Max. Overseas, where the at-home streamer is not an option, the film fared much better (but still not great), pulling in $75.1 million to date. Its two-week worldwide theatrical cume is $106 million On one final, year-capping note: as the curtain on 2021 finally closed and the previous twelve months’ total domestic box-office numbers were tallied up, overall North American revenues finished at $4.4 billion for the year. That figure marked a sorely needed rebound from the red ink-stained annus horribilis of 2020 as the domestic box office rose 91%. However, 2021’s slow recovery is still a long way off from the pre-pandemic boom times, as this year’s box-office total was down -61% from the pre-COVID year of 2019. Here’s to a booming 2022!

    https://www.boxofficemojo.com/articl...?ref_=bo_hm_hp

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  • Spartan
    replied
    Not that surprised to see Spider-Man excel - he’s always been everyone’s favourite superhero. Plus it’s a fantastic movie​​​​​​.

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  • Benny
    replied
    'Spider-Man' Swings Past $1 Billion Worldwide

    It was a Merry Christmas and then some for Peter Parker as the skyscraper-swinging superhero’s latest adventure, Spider-Man: No Way Home, soared past the $1 billion barrier at the global box office in just its second week of release. That makes Sony’s smash hit not only the fastest blockbuster to accomplish that ten-figure feat since 2015’s Star Wars: The Force Awakens, but also the first billion-dollar grosser worldwide since the pandemic began.But while Spidey was busy fighting crime (and raking in loot), the holiday’s slate of new releases—Sing 2, The Matrix Resurrections, The King's Man, American Underdog, and A Journal for Jordan—were left to divvy up the box-office leftovers with varying degrees of success. A week after becoming the first film of 2021 to rake in more than $100 million in its opening frame, No Way Home continued to rule the multiplex, crossing the billion-dollar benchmark in a mere 12 days. That pace puts the film in some pretty elite company—only two films have reached $1 billion in receipts faster: 2018’s Avengers: Infinity War and 2019’s Avengers: Endgame. But Spidey’s feat is especially impressive considering what’s going outside of theaters this winter, as the Omicron variant of COVID-19 continues to spread like wildfire. But apparently that appears to be just one more foe that Spidey doesn’t mind going up against.

    In its sophomore weekend, Sony’s PG-13-rated blockbuster, which stars Tom Holland, Zendaya, Marisa Tomei, and Benedict Cumberbatch, made $85.1 million, representing a drop off -68.7% from the previous session. Playing in 4,336 theaters, No Way Home scored an $18,796 per-screen average. Its two-week domestic total now stands at $467.3 million (already double the total domestic haul of this year’s next-highest grosser, Shang-Chi and the Legend of the Ten Rings!). No Way Home’s $587.1 million from overseas puts its current cumulative worldwide gross at $1.05 billion—and it hasn’t even opened in China yet.

    As for the rest of the Top 5, a slew of new releases was forced to fight over Spider-Man’s box-office crumbs. Since the Christmas holiday is traditionally a launchpad for new releases aimed at either school kids on vacation or grown-ups paying attention to last-minute Oscar hopefuls, there was no shortage of new titles in theaters. Universal’s Sing 2 took the prize for the best debut amongst the incoming class of new releases. The sequel to 2016’s Sing bowed to just under $23.8 million over its first weekend and took in $41.1 million in its first five days. The PG-rated animated musical featuring the voices of Reese Witherspoon, Matthew McConaughey, Scarlett Johansson, Nick Kroll, and Bono, unspooled in 3,892 theaters and snagged a $6,104 per-screen average. Audiences were smitten with the film, giving it a rare ‘A+’ CinemaScore grade. The first Sing opened to $54.9 in its first five days back in 2016. Overseas, the family-friendly sequel pulled in an additional $24.8 million, bringing its total worldwide gross to roughly $65.8 million.

    Finishing in third place over the holiday was Warner Bros.’ sci-fi sequel The Matrix Resurrections, which walked off with a less-than-expected $12 million over the weekend and $22.5 million in its first five days. Audiences gave the film a less-than-stellar ‘B-‘ CinemaScore grade. The fourth film in the trippy, down-the-rabbit-hole saga once again starring Keanu Reeves and Carrie-Anne Moss earned a $3,378 per-screen average in 3,552 locations. No doubt those numbers would have been higher had the film not aired on HBO Max simultaneous to its theatrical release, but with the studio keeping their viewership data close to its vest, it’s difficult to know for sure how many people caught up with Neo’s latest red pill/blue pill adventure. Overseas, however, the film fared better, pulling in $47.3 million. Resurrections’ one-week worldwide cume currently stands at $69.8 million. In fourth was 20th Century Studios’ prequel to the dapper Kingsman action franchise, The King’s Man, with just under $6.4 million in its opening weekend and $10 million in its first five days. The R-rated table-setter, which stars Ralph Fiennes and chronicles how the secret society came to be, earned a $1,996 per-screen average at 3,180 locations and piled on an additional $6.9 million abroad, bringing its global box-office total to $16.9 million in receipts after one week.

    In fifth place was Lionsgate’s American Underdog with $6.2 million in its first frame. The PG-rated sports drama about real-life NFL star Kurt Warner and his inspirational rise from supermarket check-out clerk to Super Bowl quarterback has not opened outside of North America yet. Meanwhile, bubbling below the Top 5 were three more titles of note this weekend: After posting eye-popping per-screen numbers in limited release the past month, writer-director Paul Thomas Anderson’s ‘70s-set coming-of-age awards hopeful, Licorice Pizza, finally opened wide on Christmas day and landed in seventh place, pulled in $2.3 million over the weekend; the Denzel Washington-directed drama A Journal for Jordan, starring Michael B. Jordan as a soldier who leaves written advice behind for his son before heading off to war, opened in the eighth slot with $2.2 million; and legendary Spanish director Pedro Almodovar’s latest import, Parallel Mothers, starring Penelope Cruz, opened in just three theaters and slid into seventeenth place with an impressive $13,692 per-screen average. Happy New Year, everyone!

    https://www.boxofficemojo.com/articl...?ref_=bo_hm_hp

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  • Benny
    replied
    'Spider-Man: No Way Home' Shatters Box-Office Records Galore with Swinging $587.2 Mio Worldwide Bow

    Christmas arrived a week early for Peter Parker as his latest web-slinging adventure, Spider-Man: No Way Home, shattered records at home and abroad, pandemic be damned. Box-office watchers knew going into the frame that Tom Holland’s third standalone outing as the Marvel superhero would be big, the only question was how big? Well, the answer is…absolutely massive. In its debut weekend, the Sony tentpole raked in $253 million in North America and another $334.2 million from overseas, putting its mind-blowing bow at $587.2 million worldwide—the third-biggest global debut of all-time, trailing only the two most recent Avengers outings.

    Considering all of the alarming news stories this past week about a new surge in COVID infections spurred by the Omicron variant, the hand-over-fist success of No Way Home caught many industry trackers off guard. Before the weekend kicked off, the latest Spidey installment (which also stars Zendaya, Marisa Tomei, and Benedict Cumberbatch as Doctor Strange) was forecast to open at between $130 and $150 million domestically. But those low-ball estimates were quickly left in the dust as No Way Home took in $121 million on its first day alone. In fact, after its first weekend, the film’s $253 million domestic gross already make it the top-grossing movie of the year in North America. Need another metric proving the film’s box-office might? Holland’s previous Spidey chapters—2017’s Homecoming and 2019’s Far From Home—opened to $117 million and $92.6 million domestically.

    With overwhelmingly positive reviews from critics, who gave the friendly neighborhood Spider-man’s latest a 94% fresh rating on Rotten Tomatoes, and audiences, who bestowed it with a rare ‘A+’ grade from CinemaScore (it’s only the fourth live-action superhero film to pull off that untoppable score alongside 2012’s The Avengers, 2018’s Black Panther, and 2019’s Avengers: Endgame), No Way Home became the first film to open to more than $100 million domestically since the pandemic began (the closest was Venom: Let There Be Carnage’s $90 million back in October). The PG-13-rated film’s $253 million three-day North American take came from 4,336 theaters where it earned a $58,348 per-screen average. It piled up an additional $334.2 million from 60 overseas markets, the biggest of which was the U.K. with $41.4 million. More good news on the foreign front: No Way Home has not even opened in China yet, where all things Marvel tend to do boffo business.

    Not that you’d know it, but yes, there actually were some other movies playing in theaters this weekend. Finishing in the runner-up spot was Disney’s Encanto, which pulled in $6.5 million in its fourth weekend. The PG-rated animated movie fell -34.6% from the previous frame. Playing at 3,525 locations, the movie scored a $1,851 per-screen average. After four weeks, the animated film about a family living in a magical mountain village in Colombia, featuring the voice of Stephanie Beatriz and songs written by Lin-Manuel Miranda, has a domestic total of $81.5 million. Overseas, the film has added $94 million, bringing its cumulative worldwide total to $175.5 million.

    As for third place this weekend, the bronze spot was decided by the narrowest of margins, with 20th Century Studios’ West Side Story taking it (just barely) despite another disappointing showing. In its sophomore weekend, director Steven Spielberg’s modern take on the classic Broadway musical starring Ansel Elgort and Rachel Zegler took in a hair over $3.4 million domestically in 2,820 locations—which translates to a $1,211 per-screen average. The PG-13-rated film fell -67.7% from the previous frame and has now scraped up $18 million at the domestic box office after two weeks. The musical has also fared poorly abroad, where it has taken in $9.1 million to date, bringing its worldwide cume to $27.1 million.

    Just below in fourth place was Sony’s Ghostbusters: Afterlife with $4 million on the dot. The latest entry in the who-ya-gonna-call franchise starring Paul Rudd, Finn Wolfhard, Mckenna Grace, and Carrie Coon, slipped -52.1% from the prior weekend and earned a $1,035 per-screen average in 3,282 locations. After five weeks, the PG-13-rated title has scared up $117.2 million domestically and another $56.4 million internationally. Its global box-office cume now stands at $173.6 million.

    Rounding out the top five was the week’s only other high-profile newcomer, director Guillermo del Toro’s Nightmare Alley. The dark psychological thriller from Searchlight bowed to a dispiriting $3 million. Based on the same source material as the masterful 1947 film noir of the same name featuring Tyrone Power, the new Nightmare Alley stars Bradley Cooper as a con-man pretending to be a psychic alongside Cate Blanchett, Rooney Mara, and Toni Collette. The R-rated film earned a $1,379 per-screen average in 2,145 theaters. It has not opened yet internationally. With a reported budget of $60 million, the movie seems doomed from the get-go despite a respectable 81% fresh rating from critics on Rotten Tomatoes and a smattering of awards buzz for its leading man. It will be interesting to see how—and if—the film can recover from its nightmare debut.

    https://www.boxofficemojo.com/articl...?ref_=bo_hm_hp

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  • Spartan
    replied
    It’s a shame that WSS is flopping - it’s fantastic. I just feel the general public aren’t into movie musical remakes no matter what quality.

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  • Benny
    replied
    Steven Spielberg's 'West Side Story' Hits a Flat Note with Lackluster $10.5 Million Debut

    Steven Spielberg’s razzle-dazzle reinterpretation of the classic Broadway musical-turned-Best Picture winner, West Side Story, hit a flat note with ticket-buyers, pulling in a lackluster $10.5 million at North American box office over its opening weekend despite being one of the best-reviewed films of the year. As older moviegoers continue to steer clear of multiplexes during what is shaping up to be another long COVID winter, the 20th Century Studios title’s dismal debut is an ominous sign for titles aimed at grown-ups heading into Oscar season. Meanwhile, the frame’s only other rookie wide release, STX Entertainment’s National Champions, was dead on arrival, entering the charts well below the Top 10.

    The beloved tale of about young love blossoming amidst the strife between two rival New York street gangs, the white Sharks and the Puerto Rican Jets, West Side Story originated as a hit Broadway musical in 1957. In 1961, it was adapted by Hollywood into in a song-and-dance Oscar winner. But the story was a creature of its era and its depictions of ethnicity became outdated. Spielberg’s new update was intended to keep what worked in the story and modernize its more problematic elements. Considering its source, it instantly became one of the most anticipated films of 2021. But while critics swooned at the film, giving it a 93% fresh rating on Rotten Tomatoes, that simpy wasn’t enough to lure its older target demo back to theaters.

    In its debut frame, the PG-13 rated film starring Ansel Elgort and Rachel Zegler pulled in just $10.5 million domestically in 2,820 locations—which translates to an anemic $3,723 per-screen average. It fared even worse overseas, where it scraped up just $4.4 million in 37 foreign markets, bringing its first-week global total to $14.9 million. No matter how you look at it, these numbers are dispiriting news for a movie from a hand-over-fist box-office Midas such as Spielberg (and one with a budget in the neighborhood of $100 million). However, there is still hope if you squint hard enough. For example, the film received a straight-A grade from CinemaScore. And while it came up short compared to another recent musical, In the Heights (which bowed to $11.5 million despite also airing on HBO Max), there is a history of movie musicals opening softly only to later find their groove: 2002’s Chicago bowed to weaker numbers than the new West Side Story and wound up making $170.7 million domestically (and winning Best Picture), and more recently there was 2017’s The Greatest Showman, which opened to $8.8 million and eventually racked up $174.3 million domestically. But let’s not sugarcoat it, Spielberg’s movie has an uphill road ahead of it. And it certainly doesn’t help that a new superhero tentpole is hitting theaters next weekend—Spider-Man: No Way Home.

    Elsewhere, the rest of the top five remained largely unchanged from last weekend. After two consecutive weekends at No. 1, Disney’s Encanto got knocked down a peg to second place, where it pulled in $9.4 million. The PG-rated animated movie fell -28.3% from the previous frame. Unspooling in 3,750 theaters, Encanto scored a $2,513 per-screen average. After three weeks, the film about a family living in a magical mountain village in Colombia featuring the voice of Stephanie Beatriz and songs written by Lin-Manuel Miranda has a domestic total of $71.3 million. Overseas, the film has tacked on $80.5 million, bringing its cumulative worldwide total to $151.8 million. Encanto will arrive on Disney Plus after its 30-day theatrical-exclusive window closes before the end of the month.

    Finishing in third place was Sony’s Ghostbusters: Afterlife with $7.1 million. The fourth and latest entry in the specter-hunting franchise starring Paul Rudd, Finn Wolfhard, McKenna Grace, Carrie Coon, slipped -31.5% from the prior weekend and earned a $1,861 per-screen average in 3,815 locations. After four weeks, the PG-13-rated title has scared up $112 million domestically and another $52.7 million from abroad. Its global box-office cume now stands at $164.7 million.

    In fourth place was United Artists’ House of Gucci, which took in just under $4.1 million in its third session. The R-rated dysfunctional family drama tracing the downfall of the renowned Italian fashion dynasty and starring Lady Gaga, Adam Driver, Jared Leto, Al Pacino, Salma Hayek, and Jeremy Irons, fell -42% from the previous weekend. Gucci snagged a $1,191 per-screen average in 3,407 theaters. To date, the Ridley Scott-directed film has pulled in $41 million domestically and a more robust $52 million from overseas, putting its worldwide cume at $93 million.

    Rounding out the top five was Disney’s Eternals with $3.1 million. The PG-13-rated Marvel tentpole, which stars Angelina Jolie, Gemma Chan, and Richard Madden, fell -24.3% from last weekend, playing in 3,030 theaters and scoring a $1,023 per-screen average. After six weeks, Eternals has piled up $161.2 million in North America and another $234.1 million from foreign markets, bringing its current worldwide gross to $395.3 million.

    There were two other newcomers in theaters this weekend…with two very different results. STX Entertainment’s football-labor drama National Champions, starring J.K. Simmons, was sacked on arrival. The R-rated indie opened in thirteenth place, earning just $300,000 in 1,197 theaters—a woeful $250 per-screen average. Meanwhile, A24’s downbeat-but-buzzy specialty title about an aimless and manipulative former porn star, Red Rocket, starring Simon Rex, did well in art houses. The-rated festival favorite bowed in eighteenth place, earning $96,593 in just 6 theaters—an impressive $16,098 per-screen average.

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  • Benny
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    Disney's 'Encanto' Holds Top Spot with $12.7 Million in Sleepy Sophomore Weekend

    Even if you didn’t have a calendar, you’d know it was December. How? Because this weekend the box office felt a lot like that old holiday tale where not a creature is stirring, not even a mouse. With no major new releases hitting multiplexes there wasn’t a lot of movement on the charts, as Disney’s family-friendly Encanto once again finished in the top spot with a $12.7 million haul in its sophomore session. Consider it the quiet before the storm—what with West Side Story, Spider-Man: No Way Home, and The Matrix: Resurrections all ready to be unwrapped in the coming weeks.

    With the new Omicron variant making headlines and folks hustling to shop for the holidays, movie ticket sales were especially light over the weekend—roughly half of what they were over the Thanksgiving frame. Of course, the drop off in attendance probably also had a lot to do with the lack of splashy new titles on offer. Encanto’s $12.7 million, for example, was enough to win the weekend again despite representing a -53.2% dip from its Turkey Day debut. And while that decline may sound steep, it’s actually historically in line with Disney’s previous Thanksgiving animated roll-outs: 2019’s Frozen II, 2018’s Ralph Breaks the Internet, 2017’s Coco, and 2016’s Moana.

    Playing in 3,980 theaters, Encanto scored a $3,200 per-screen average. After two weeks, the PG-rated movie about a family living in a magical mountain village in Colombia features the voice of Stephanie Beatriz and songs written by Lin-Manuel Miranda has a domestic total of just a hair under $58 million. Overseas, the film has tacked on $58.1 million, bringing its cumulative worldwide total to $116.1 million. Encanto will arrive on Disney Plus after its 30-day theatrical-exclusive window closes before the end of the month. It should easily become the highest-grossing animated film of 2021 before then.

    Finishing in the runner-up spot (again) was Sony’s Ghostbusters: Afterlife with $10.4 million. The fourth and latest entry in the specter-hunting franchise starring Paul Rudd, Finn Wolfhard, McKenna Grace, Carrie Coon, slipped -57.2% from the previous weekend and earned a $2,549 per-screen average in 4,059 locations. After three weeks, the PG-13-rated title finally pushed past the $100-million mark, landing at $102.2 million domestically; it tacked on another $42.9 million from abroad. Its three-week global cume now stands at $145.1million.

    In third place (also again) was United Artists’ House of Gucci, which racked up $6.8 million in its sophomore frame. The R-rated dysfunctional family drama tracing the downfall of the renowned Italian fashion dynasty and starring Lady Gaga, Adam Driver, Jared Leto, Al Pacino, Salma Hayek, and Jeremy Irons, fell -53% from the prior weekend. Gucci snagged a $1,948 per-screen average in 3,477 theaters, which makes it a solid performer amongst adult-oriented dramas this year. Whether it will get very far beyond its $75 million budget is another question. To date, the Ridley Scott-directed film has pulled in $33.6 million domestically and a matching $33.6 million from overseas, putting its worldwide box-office cume at $67.2 million.

    In fourth place was the weekend’s only new entry in the top 15. Fathom Events’ musical program about the life of Jesus Christ, Christmas with the Chosen: The Messengers, made $4.1 million over its first weekend. Unspooling in 1,700 locations, the religious film earned a $2,411 per-screen average. It has accumulated $8.8 million in North America since opening on Wednesday and is not playing overseas. Fathom reportedly sold $1.5 million in pre-sales during the first 12 hours that tickets were available, which led the specialty distributor to expand the movie’s run. It is Fathom’s most successful in-cinema event to date.

    Rounding out the top five was Disney’s Eternals with $3.9 million. The PG-13-rated Marvel tentpole, which stars Angelina Jolie, Gemma Chan, and Richard Madden, fell -50.3% from the previous weekend, playing in 3,230 theaters and scoring a $1,219 per-screen average. After five weeks, Eternals has piled up $156.5 million domestically and another $227.8 million from foreign markets, bringing its current worldwide gross to $384.3 million.

    In further factoids and footnotes… Bubbling below the top 10 were the debuts of two notable indies: Director Paul Verhoeven’s provocative, R-rated comedy/drama/nunsploitation film Benedetta arrived from IFC to land in sixteenth place with $145,000 in 202 theaters; while Focus Features rolled out Wolf, its off-kilter R-rated drama about a young man (George MacKay) who thinks he’s a lupine. The film bowed in eighteenth place with $81,000 in 308 theaters. Finally, writer-director Paul Thomas Anderson’s coming-of-age awards hopeful Licorice Pizza continues to pack houses in its four-theater limited run in New York and Los Angeles. In its second weekend, the film starring Alana Haim, Cooper Hoffman (son of the late Philip Seymour Hoffman), Bradley Cooper, and Sean Penn finished in thirteenth place and added another $223,328 to its coffers. The buzzy title is slated to open nationwide on Christmas day, but with its still-staggering $55,832 per-screen average in its sophomore weekend, you have to wonder: What exactly is United Artists waiting for?

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  • Million
    replied


    #1 movie in the US!!!

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  • Nost
    replied
    The covid really ruined everything

    Just 43M for new Disney ?

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  • Benny
    replied
    'Encanto' Enchants Thanksgiving Box Office with $40.3 Million Bow

    The nation’s multiplexes were as crowded as Thanksgiving tables as four new releases battled for a piece of the box-office pie over the five-day holiday weekend. As expected, Disney’s latest animated offering, Encanto, won the festive frame, debuting in the top spot with a $40.3 million bow. Meanwhile, United Artists’ star-studded House of Gucci entered the charts in third place with $21.8 million and Screen Gems’ Resident Evil: Welcome to Raccoon City finished in fifth with $8.8 million as Paul Thomas Anderson’s buzzy indie, Licorice Pizza, set a new pandemic-era specialty-release record with a supersized $84,000 per-screen-average.

    Normally a period when tryptophan-dazed families flock to theaters in droves, the five-day Thanksgiving window has been anything but normal since the arrival of the COVID virus. But at least this year’s ticket sales signaled a significant rebound from 2020’s disastrous holiday frame—even if the marketplace still hasn’t quite returned to the pre-pandemic norm. Disney, which chose to sit out last turkey day, got back in the holiday spirit trying to repeat the success of its previous kid-friendly Thanksgiving smashes: 2019’s Frozen II, 2018’s Ralph Breaks the Internet, 2017’s Coco, and 2016’s Moana. And the studio’s latest, Encanto, didn’t quite match those blockbuster predecessors, it did manage to debut in the top spot with relative ease.

    The PG-rated movie about a family living in a magical mountain village in Colombia featuring the voice of Stephanie Beatriz and songs written by Lin-Manuel Miranda scored with critics and audiences alike, earning a 92% fresh rating on Rotten Tomatoes and a straight ‘A’ grade from CinemaScore. And its first-place finish marks the best opening for an animated film since the pandemic began. The film took in $27 million over the three-day weekend and $40.3 million since Wednesday. Playing in 3,980 theaters, Encanto scored a $6,783 per-screen average. Overseas, it tacked on another $29.3 million (not including China, where it has not debuted yet), bringing its five-day cumulative worldwide total to $69.6 million.

    Finishing in the runner-up spot was Sony’s Ghostbusters: Afterlife with $24.5 million over the weekend and just a hair under $35.3 million during the five-day frame. The fourth and latest entry in the specter-hunting franchise starring Paul Rudd, Finn Wolfhard, Mckenna Grace, Carrie Coon, and a few old, familiar faces in cameo roles, slipped a very respectable -44.3% from last weekend and earned a $5,677 per-screen average in 4,315 locations. After two weeks, the PG-13-rated title has scared up $87.8 million domestically and another $28 million from abroad. Its two-week global cume now stands at $115.8 million.

    In third place was United Artists’ House of Gucci, which pulled in $14.2 million over the weekend and $21.8 million over the five-day period. The R-rated dysfunctional family drama tracing the downfall of the renowned Italian fashion dynasty and starring Lady Gaga, Adam Driver, Jared Leto, Al Pacino, Salma Hayek, and Jeremy Irons, scored mixed reviews from critics and currently has an underwhelming 61% barely-fresh rating on Rotten Tomatoes. Still, audiences were drawn to the dastardly deeds of the rich and famous, giving the rookie $4,092 per-screen average in 3,477 theaters—especially impressive considering the dismal fates of such recent adult-oriented dramas as The Many Saints of Newark. So far, House of Gucci has racked up $12.9 million from overseas, bringing its worldwide box-office tally to $34.7 million.

    In fourth place was Disney’s Eternals, which stacked $7.9 million over the weekend and $11.4 million over the five-day extended session. The PG-13-rated Marvel tentpole, which stars Angelina Jolie, Gemma Chan, and Richard Madden, fell -28.7% from the previous weekend, playing in 3,165 theaters and scoring a $2,496 per-screen average. After four weeks, Eternals has drawn $150.6 million domestically and another $217.8 million from foreign markets, bringing its current worldwide gross to $368.4 million.

    Rounding out the Top Five was Screen Gems’ Resident Evil: Welcome to Raccoon City, which debuted to just under $5.3 million over the weekend and to $8.8 million in its first five days. The R-rated reboot of the six-film franchise based on the popular video game series stiffed with critics (no shocker there), earning a 24% green splat on Rotten Tomatoes. Raccoon City managed a $1,881 per-screen average at 2,803 locations and reaped another $5.1 million from overseas, bringing its first-week worldwide haul to $13.9 million.

    Meanwhile, in just four theaters in New York and Los Angeles, writer-director Paul Thomas Anderson’s coming-of-age awards hopeful Licorice Pizza shattered the previous pandemic-era record for the best first-week performance of an indie film, amassing a staggering $84,000 per-screen average out of the gate. That eye-popping stat was more than triple what the previous record holder, C'mon C'mon, racked up just last weekend. The R-rated film set in the California’s San Fernando Valley during the freewheeling ‘70s stars Alana Haim, Cooper Hoffman (son of the late Philip Seymour Hoffman), Bradley Cooper, and Sean Penn. Licorice Pizza opened on Friday and earned $336,000. It will expand nationwide on Christmas day.

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  • daniel110
    replied
    Priyanka, who was missing from the first poster of the film but made an intriguing appearance in the trailer, unveiled her character look on Instagram. “And she’s here. Re-enter #TheMatrix 12.22.21,” she wrote alongside the poster which features her dressed in a printed jacket teamed up with loose pants and knee-high boots and her hair tied in braided short buns.

    priyanka chopra

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  • Benny
    replied
    'Ghostbusters: Afterlife' Slimes the Competition with a $44 Million Bow

    Turns out there’s still some life left in those proton packs after all. Following a poorly received, all-female reboot in 2016, Sony’s Ghostbusters: Afterlife slimed the competition at the pre-Thanksgiving box office this weekend, debuting to a much stronger-than-expected $44 million domestic haul. Meanwhile, Warner Bros.’ Will Smith-led awards-hopeful, King Richard, stumbled out of the gate, bowing in fourth place with an underwhelming $5.7 million as the Joaquin Phoenix heartstring-puller C'mon C'mon.soared in limited release.

    Thirty-seven years after the first Ghostbusters became the top-grossing film of 1984, the fourth and latest entry in the specter-hunting franchise easily blew past box-office predictions that had it opening in the $27-$35 million range. The PG-13-rated sci-fi comedy directed by Jason Reitman (son of the original Ghostbusters’ director, Ivan Reitman) and starring Paul Rudd, Finn Wolfhard, Mckenna Grace, Carrie Coon, and a few old, familiar faces in cameo roles, unspooled in 4,315 locations and earned a $10,196 per-screen average. That bow was just shy of the 2016 version’s $46 million opening, however the latest version cost considerably less to produce. On a more positive note, though, Afterlife merited an ‘A-’ CinemaScore grade and a 62% fresh rating from critics. And while it is highly unlikely that the new chapter will get close to the original’s $243 domestic tally, its theatrical exclusivity should keep it in multiplexes for a while, where it could threaten the 2016’s $128 million North American take. Meanwhile, in 31 overseas markets, Afterlife tacked on an additional $16 million, bringing its cumulative first-week worldwide total to $60 million.

    Finishing in second place was Disney’s Eternals, which racked up $10.8 million in its third week of release at home. The PG-13-rated Marvel tentpole, which stars Angelina Jolie, Salma Hayek, Gemma Chan, and Richard Madden among others, fell -59.7% from the previous frame, playing in 4,055 theaters and scoring a $2,669 per-screen average. After three weeks, the blockbuster-wannabe has racked up $135.8 million domestically and has pulled in another $200.3 million from abroad, bringing its current worldwide gross to $336.1 million.

    In third place was Paramount’s Clifford the Big Red Dog with $8.1 million. The PG-rated live-action film based on the popular kids’ book series about a giant, loveable canine dipped -51.3% from the previous weekend and has accumulated $33.5 million domestically after two weeks. The tail-wagging tale, which is also currently streaming on Paramount+ and stars Jack Whitehall, Darby Camp, Tony Hale, and SNL’s Kenan Thompson, played in 3,628 theaters and earned a $2,232 per-screen average. The film will not open internationally until next month.

    Limping into fourth place was Warner Bros.’ King Richard with $5.7 in its opening set. The inspirational drama starring Will Smith as Richard Williams and Saniyya Sidney and Demi Singleton as his tennis-sensation daughters Venus and Serena Williams, lagged behind industry expectations which had the awards-hopeful bowing in the vicinity of $10 million. Some of that disappointment, no doubt, can be attributed to the fact that the film debuted simultaneously on HBO Max, but its first-week performance still feels like an unforced error. The PG-13-rated movie bowed in 3,302 theaters and eked out a $1,726 per-screen average. Still, with a straight ‘A’ grade from CinemaScore and a 92% fresh rating on Rotten Tomatoes, the film should have fared better. King Richard added $2.5 million overseas, bringing its cumulative worldwide tally to $8.2 million after its first weekend.

    Rounding out the Top Five was Warner Bros.’ sci-fi spectacle Dune, which pulled in a little under $3.1 million in its fifth week in theaters. The PG-13-rated film, which is also playing on HBO Max and stars Timothee Chalamet, Rebecca Ferguson, and Oscar Isaac dropped off -44.7% from the prior weekend, earning a $1,242 per-screen average at 2,467 locations. Its total domestic take now stands at $98.2 million, putting it on track to break the $100 million barrier later this week. So far, Dune has pulled in a far spicier $268.9 million from abroad, bringing its combined worldwide total to $367.1 million.

    Meanwhile, in just five theaters in New York and Los Angeles, writer-director Mike Mills’ buzzy black-and-white drama C’mon C’mon opened in seventeenth place with $134,447. That may not sound like much, but the R-rated indie from A24, which chronicles the relationship between a radio journalist (Joaquin Phoenix) and his young nephew (Woody Norman), snagged a $26,889 per-screen average—which is the strongest per-location showing of the year, beating out The French Dispatch’s $25,938. And finally, there was one other factoid of note: MGM’s latest 007 installment, No Time to Die, finally vaulted past F9: The Fast Saga to become the highest-grossing Hollywood movie of 2021. After seven weeks, the spy sequel has pulled in $734.1 million worldwide (versus F9’s $721.1 million). Well done, Mr. Bond.

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  • Benny
    replied
    Marvel's 'Eternals' Hold Off 'Clifford the Big Red Dog' for the Top Spot

    There were no massive surprises at the box office this weekend as Marvel’s splashy superhero tentpole, Eternals, added $27.5 million in its sophomore outing, holding off a surprisingly strong $16.4 million debut from Paramount’s family-friendly canine film, Clifford the Big Red Dog, atop the domestic charts during an otherwise sleepy weekend. Meanwhile, Kenneth Branagh’s buzzy coming-of-age drama, Belfast, officially entered the awards-season derby in limited release, snagging an eighth-place finish with $1.8 million.

    Despite less-than-stellar reviews (it’s the first Marvel film with a “rotten” rating on the Rotten Tomatoes aggregator site) and mediocre word of mouth (based on its soft ‘B’ CinemaScore grade), director Chloe Zhao’s Eternals remained the No. 1 film in North America in its second weekend, despite sliding -61.4% from the previous frame. That sophomore slump places the film between the second-weekend dips of its recent Marvel stablemates Shang-Chi and the Legend of the Ten Rings (-52%) and Black Widow (-67%). The PG-13-rated film, which stars Angelina Jolie, Salma Hayek, Gemma Chan, and Richard Madden among others, played in 4,090 locations and earned a $6,723 per-screen average. After two weeks, the blockbuster-wannabe has racked up $118.8 million domestically and has pulled in another $162.6 million from overseas, bringing its current worldwide haul to $281.4 million.

    Finishing in the runner-up spot was Paramount’s Clifford the Big Red Dog, the only new contender with a wide release. The PG-rated live-action film based on the popular kids’ book series about a giant, lovable canine bowed (or bow-wowed) to $16.4 million over its first weekend. A Wednesday-opening head start pushed its first-week total to $22 million (those numbers were, no doubt, diminished by the movie’s simultaneous release on the Paramount+ streaming platform). The tail-wagging tale, which stars Jack Whitehall, Darby Camp, Tony Hale, and SNL’s Kenan Thompson, earned a 48% green splat from reviewers on Rotten Tomatoes and an ‘A’ grade from its largely pint-sized audience on CinemaScore. Clifford unspooled in 3,700 theaters and earned a $4,437 per-screen average. The film will not open overseas until next month. However, it has the North American children’s market mostly to itself until Disney’s Encanto hits multiplexes on November 24.

    In third place was Warner Bros.’ Dune, which added $5.5 million in its fourth weekend in theaters (the sci-fi spectacle is also currently airing on HBO Max). The PG-13-rated film’s weekend gross fell off -29.4% from the prior frame. Playing in 3,282 locations, the adaptation of Frank Herbert’s cult novel starring Timothee Chalamet, Rebecca Ferguson, and Oscar Isaac scored a $1,675 per-screen average. To date, Dune has racked up $93.1 million at the domestic box office and a far spicier $258.1 million from overseas, bringing its combined worldwide tally to $351.2 million.

    In fourth place was MGM’s 007 sequel, No Time to Die, which tacked on $4.6 million in its sixth session. The latest 007 adventure (starring Daniel Craig in his swan song as the superspy), slipped -23.5% from the previous weekend, scoring a $1,611 per-screen average in 2,867 venues. The PG-13-rated film has now earned $150.5 million at the domestic box office and a whopping $558.2 million abroad. Its combined worldwide box office is $708.7 million—making it only the second Hollywood film of the pandemic era to surpass the $700 million global milestone, putting in the rarefied company of F9: The Fast Saga, which topped out at $721 million.

    Rounding out the Top five was Sony’s Venom: Let There Be Carnage. The PG-13-rated supervillain sequel starring Tom Hardy, dipped -10.4% from the previous weekend, pulling in $4 million in North America. Playing in 2,538 theaters, the movie scored a $1,576 per-screen average in its seventh weekend, putting its total domestic haul at $202.7 million, making it only the second major-studio film of 2021 to pass $200 million at the North American box office along with Shang-Chi. Venom 2 has added $238.8 million in foreign ticket sales, bringing its current global box-office total to $441.5 million.

    Finally, the arrival of the festival-circuit favorite, Belfast, opened in limited release, landing in eighth place. The PG-13-rated coming-of-age story based on writer-director Branagh’s childhood debuted to $1.8 million in just 580 theaters, putting its per-screen average at $3,103. The black-and-white critics’ darling from Focus Features, which has become an early favorite in the Oscars race, has not opened overseas yet. The film, which features Caitriona Balfe, Jamie Dornan, Judi Dench, and Ciaran Hinds, currently has a 88% fresh rating from critics on Rotten Tomatoes and grabbed an ‘A-‘ from CinemaScore.

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  • Benny
    replied
    'Eternals' Opens to a Strong $71 Million in North America

    When it comes to the box office, success is relative. For most Hollywood studios, a $71 million domestic opening would be cause to bust out the bubbly and do a victory dance. But when your movie carries the Marvel banner, expectations are sky high. That’s why the debut of the superhero studio’s latest tentpole, Eternals, may seem like a bit of a mixed bag. Yes, the rookie’s $161.7 million global haul over the weekend was the second-biggest worldwide bow of 2021 (behind onlyF9: The Fast Saga’s $163 million), but its less-than-Marvel-ous reception among critics and audiences raises nagging questions about whether Eternals will have the same long theatrical legs as Marvel’s other recent hits.

    With early projections putting Eternals’ North American opening somewhere in the neighborhood of $75-$80 million, the star-studded epic about a race of immortal beings fell slightly short of predictions. Still, its $71 million bow ($7.6 million of which came from IMAX screens) is nothing to sneeze at, as it represents the fourth-best domestic debut of the pandemic era, edged out only by three other Marvel and Marvel-affiliated properties: Venom: Let There Be Carnage ($90 million), Black Widow ($80.4 million), and Shang-Chi and the Legend of the Ten Rings ($75.4 million). Directed by Chloe Zhao, whose previous film was the Oscar-winning indie Nomadland, Eternals debuted in 4,090 theaters domestically, earning a $17,359 per-screen average. The PG-13-rated film, which stars Angelina Jolie, Salma Hayek, Gemma Chan, and Richard Madden among others, added $90.7 million overseas (with the strongest returns coming from South Korea, the United Kingdom, and France). It has not opened in the all-important Chinese market yet. However, it’s worth nothing that several Arab countries, including Saudi Arabia, Kuwait, and Qatar, halted the film’s release on religious grounds since it features the MCU’s first gay superhero. The film earned a ‘B’ CinemaScore grade (the lowest of any Marvel film to date) and currently has a 48% rating on Rotten Tomatoes, making it the only MCU film to be tagged with a green splat.

    With the arrival of Eternals, the previous box-office champ, Dune, was knocked down to second place. Warner Bros.’ PG-13-rated futuristic adventure pulled in $7.6 million in its third weekend, falling off -50.6% from the previous frame. Unspooling at 3,546 locations, the adaptation of Frank Herbert’s cult sci-fi novel starring Timothee Chalamet, Rebecca Ferguson, and Oscar Isaac scored a $2,148 per-screen average. To date, the film which is also playing on HBO Max has racked up $83.9 million at the domestic box office and a far more robust $246.5 million overseas, bringing its combined worldwide gross to $330.4 million.

    In third place was MGM’s 007 sequel, No Time to Die, which tacked on $6.2 million in its fifth weekend. The latest 007 adventure (starring Daniel Craig in his last turn in the tux), slipped -20.3% from the prior session, scoring a $2,055 per-screen average in 3,007 venues. The PG-13-rated film has now earned $143.2 million at the domestic box office and $524.3 million abroad. Its combined worldwide box office is $667.5 million. The biggest Bond news of the weekend was the announcement that No Time to Die would become available for rental on premium VOD outlets this week for $19.99.

    In fourth place was Sony’s Venom: Let There Be Carnage. The PG-13-rated supervillain sequel starring Tom Hardy, dipped -22.4% from the previous weekend, pulling in $4.5 million in North America. Playing in 2,640 theaters, the movie scored a $1,691 per-screen average in its sixth session, putting its six-week domestic tally at $197 million. The film has added another $227.6 million in foreign ticket sales, bringing its global box-office total to $424.6 million.

    Rounding out the top five was 20th Century Studio’s Ron’s Gone Wrong. The PG-rated animated family film about a boy and his malfunctioning mobile device earned $3.6 million in its third weekend in theaters, slipping just -3.8% from the previous weekend. The movie which features the voice of Zach Galifianakis scored a $1,358 per-screen average at 2,650 locations. Its domestic box-office tally now sits at $17.6 million and it has added $28.9 million abroad, bringing its global cume to $46.5 million.

    On a final note, one of the upcoming awards season’s most hotly anticipated contenders, the impressionistic Princess Diana character study Spencer, opened in eighth place with $2.2 million. The R-rated arthouse drama from Neon which stars Kristen Stewart as the tragic royal bowed in 996 theaters and scored a $2,156 per-screen average. Critics have mostly swooned for the off-beat film, giving it an 85% fresh rating on Rotten Tomatoes. Spencer has not been released internationally yet.

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  • Benny
    replied
    'Dune' Holds Onto Top Spot in Sophomore Weekend as 007 Opens in China

    Warner Bros.’ sci-fi tentpole Dune continued to spice up an otherwise bland Halloween weekend at the box office, pulling in $15.5 million in its sophomore frame and remaining the top movie in North America. Meanwhile, a pair of scary-movie debuts—Edgar Wright’s Last Night in Soho and the Guillermo del Toro-produced Antlers—failed to click with audiences despite a roll-out timed to coincide with the spookiest holiday of the year, landing disappointingly outside of the top five. In overseas news, the latest James Bond installment, No Time to Die, finally opened in China, albeit to softer-than-expected numbers due to a wave of COVID-related theater closures in the country.

    Dune’s hold on first place wasn’t much of a surprise considering that the weekend’s only new competition came from specialty-market indies, but its smaller-than-predicted -62.1% drop-off from the previous frame and the studio’s decision this week to greenlight a sequel (expected in October 2023) are both positive signs. With a starry cast that includes Timothee Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa, and Javier Bardem, the futuristic adventure has been trying to lure audiences into multiplexes by marketing it as the sort of spectacle that needs to be seen on the big screen (rather than on HBO Max, where it is also playing). So far, that push has been mostly successful, with IMAX screens accounting for $17 million of the film’s domestic haul to date.

    In its sophomore frame, director Denis Villeneuve’s PG-13-rated epic pulled in $15.5 million in 4,125 theaters, which translated to a $3,764 per-screen average. After two weeks, Dune’s domestic box office total stands at $69.4 million. However, the film’s biggest take has been from overseas, where it has grossed $227 million, bringing its current worldwide total to $296.4 million. That said, Dune’s box-office reign should come to an end after this week since the latest Marvel blockbuster, Eternals, opens on Friday as is expected to come out of the gate to domestic sales in the $70-million range despite mediocre reviews.

    Landing in the runner-up spot was Halloween Kills with $8.5 million. The latest chapter in the Michael Myers slasher saga dropped off -41.2 from the prior frame. Universal’s R-rated chiller scared up a $2,350 per-screen average at 3,616 locations. After three weeks, Halloween Kills has pulled in $85.6 million in North America and just $29.5 million from overseas, bringing its three-week global cume to $115.1 million—not bad considering that the film is also available on the Peacock streaming platform.

    In third place was MGM’s 007 sequel, No Time to Die, which tacked on $7.8 million in its fourth weekend. The latest 007 adventure (starring Daniel Craig in his last turn in the tux), slipped -35.9% from the previous session, scoring a $2,229 per-screen average in 3,507 venues. The PG-13-rated film has now earned $133.3 million at the domestic box office and $472.4 million from abroad. Its combined worldwide box office is now a hair under $605.8 million, places the movie in the elite company of F9: The Fast Saga as the only two Hollywood films to surpass the $600 million global milestone this year. The bigger headline for Bond, though, came from the film’s lackluster debut in China—recently one of 007’s most lucrative markets. Due to a spike in COVID cases, 13% of the country’s theaters were closed, giving the film a softer-than-expected bow with $27.8 million.

    In fourth place was, hands down, the weekend’s biggest shocker as FUNimation Entertainment’s anime sequel, My Hero Academia: World Heroes’ Mission, debuted to $6.4 million. The third chapter in the popular international My Hero Academia franchise about a world-saving team of Japanese crime-fighters unspooled in 1,581 North American theaters over the weekend, scoring a $4,050 per-screen average, and edging out a pair of more high-profile debuts that failed to break the top five (more on those in a minute). To date, the PG-13-rated box-office dark horse has raked in $29.4 million from overseas, putting its cumulative worldwide gross at $35.8 million.

    Rounding out the top five was Sony’s Venom: Let There Be Carnage. The PG-13-rated supervillain sequel starring Tom Hardy, dipped -38.2% from the previous weekend, pulling in just under $5.8 million in North America. Playing in 3,270 theaters, Venom 2 scored a $1,754 per-screen average in its fifth session, putting its five-week domestic tally at $190.4 million. The film has added another $205.4 million in foreign ticket sales, bringing its global box-office total to $395.8 million.

    Bubbling just underneath the top five were the weekend’s two sad-trombone scary-movie debuts, Last Night in Soho and Antlers, which tied for sixth place as both films wound up with the same $4.16 million haul. The R-rated Soho from Focus Features stars Thomasin McKenzie as a London-based fashion designer who travels back in time to the Swinging ‘60s to inhabit the body of a nightclub singer played by The Queen’s Gambit’s Anya Taylor-Joy. Bowing in 3,016 theaters, the stylish film had a $1,379 per-screen average. So far, it has pulled in $2.3 million from overseas, bringing its global box-office cume to $6.5 million. With a B+ CinemaScore grade and a 74% fresh rating from critics on Rotten Tomatoes, Soho can only been viewed as a disappointment compared to director Edgar Wright’s last feature, Baby Driver, which bowed to a little over $20.5 million in North America back in 2017 on its way to earning $107.8 million in its domestic run. As for Searchlight’s Antlers, the R-rated tale about a folk monster stalking rural Oregon starring Keri Russell and Jesse Plemons, bowed in 2,800 theaters with a $1,485 per-screen average. Antlers has made $2.5 million overseas, putting its worldwide gross at $6.7 million. The film earned a 60% fresh rating from critics on Rotten Tomatoes and a tepid ‘C+’ CinemaScore grade.

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  • Benny
    replied
    Sci-Fi Epic 'Dune' Debut Spices Up Box Office with $40.1 Million First Place Finish

    Warner Bros.’ big-budget sci-fi epic Dune spiced up the box office this weekend with a $40.1 million domestic debut. Topping predictions that had the star-studded spectacle opening in the $30-$35 million range, director Denis Villenueve’s eye-candy adventure easily snagged the top spot in North America (where it is also streaming on HBO Max) and continued to clean up overseas, where it has been playing for weeks. But with the movie’s hefty $165 million price tag, will Dune’s performance prove strong enough for the studio to green light its proposed sequel? Only time will tell. Meanwhile, Wes Anderson’s latest indie curio, The French Dispatch, got off to a hot start in the specialty market, where it earned the biggest per-screen average for any film—big or small—of 2021.

    Dune’s first-place finish was a good sign for a film that was always going to be a tough sell to ticket buyers. Despite a starry cast that includes Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa, and Javier Bardem, the futuristic movie has a lengthy 155-minute running time and a knotty story about warring tribes fighting over a desert planet known for a priceless natural resource called “spice.” It was also an open question to what extent its simultaneous debut on the HBO Max streaming platform would cut into its theatrical ticket sales. But Dune’s $40.1 million haul surpassed early projections and handily toppled last week’s champ, Halloween Kills, for the top spot.

    The PG-13-rated film, which was previously adapted by David Lynch in a confounding 1984 box-office dud, scored with audiences (where it earned an ‘A-‘ grade from CinemaScore) and critics (who gave it an 82% fresh rating on Rotten Tomatoes). Dune earned a $9,721 per-screen average in 4,125 theaters and has now racked up $180.6 million overseas, where it opened several weeks ago. Its cumulative worldwide box office currently stands at $220.7 million. Dune’s release marked Warner Bros. best three-day tally since it began its day-and-date roll-out strategy with Godzilla vs. Kong in April. It also was a triumph for IMAX, which accounted for $9 million of the film’s domestic gross. The studio will no doubt be keeping a close eye on how the film holds up on big screens going forward as well as its small-screen streaming numbers before deciding whether to pull the trigger on a follow-up.

    Landing in the runner-up spot was Halloween Kills with $14.5 million. The latest installment in the seasonal slasher saga featuring masked bogeyman Michael Myers and scream queen Jamie Lee Curtis as victim-turned-avenger Laurie Strode. In its sophomore weekend, Universal’s R-rated horror sequel nosedived a precipitous -70.7% from the previous frame, scaring up a $3,890 per-screen average at 3,727 locations. After two weeks, Halloween Kills has pulled in $73.1 million in North America and just $17.8 million from overseas, bringing its two-week global cume to $90.9 million. The film is also available on the Peacock streaming platform. For comparison, the franchise’s most recent entry, 2018’s Halloween, ended its theatrical run with $255 million in global ticket sales.

    In third place was MGM’s latest 007 chapter, No Time to Die, which added $11.9 million in its third weekend. The latest James Bond sequel (starring Daniel Craig in his last turn in the tux), dropped off -50% from the previous session, scoring $3,122 per-screen average in 3,807 theaters. The PG-13-rated action-adventure has now earned $120 million at the domestic box office and $405 million from abroad. Its combined worldwide box office is now $525.7 million and places the movie in the elite company of F9: The Fast Saga as the only two Hollywood films to surpass the $500 million global milestone this year. Better news yet for MGM is that No Time to Die will finally open in the 007-friedly Chinese market next weekend.

    In fourth place was Sony’s Venom: Let There Be Carnage. The PG-13-rated supervillain sequel starring Tom Hardy, slid -44.9% from the previous weekend, pulling in $9.1 million in North America. Unspooling in 3,513 theaters, Venom 2 scored a $2,590 per-screen average in its fourth session, putting its four-week domestic tally at $181.8 million. The film has tacked on another $170.6 million in foreign ticket sales, bringing its global box-office total to $352.4 million.

    Rounding out the Top 5 was the weekend’s only other wide debut, 20th Century Studios' Ron's Gone Wrong. An animated tale which envisions a world where personal robots are all the rage and features the voices of Zach Galifianakis, Olivia Colman, and Ed Helms had a sluggish $7.3 million bow (pre-weekend estimates had it pegged for a $10 million bow). The PG-rated family film had a 2,050 per-screen average in 3,560 theaters despite earning an ‘A’ grade from CinemaScore and an 80% fresh rating from critics on Rotten Tomatoes. Ron’s Gone Wrong added $10 million from overseas, bringing its first-week global cume to $17.3 million.

    Finally, Wes Anderson’s latest indie release, The French Dispatch, debuted impressively in ninth place with $1.3 million. Rolling out in just 52 theaters, the R-rated comedy about the quirky staff of an even quirkier Gallic magazine (which clicked with critics on the festival circuit and whose chockablock cast includes Bill Murray, Jeffrey Wright, Tilda Swinton, and Dune’s hard-working Timothée Chalamet) earned a whopping $25,000 per-screen average in arthouses, giving it the mightiest per-screen average of 2021. Searchlight’s little movie that could has not opened internationally yet.

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  • Benny
    replied
    'Halloween Kills' Slahes Its Way to the Top Spot with $50.4 Million Bow; Damon's and Affleck's 'The Last Duel' Is a Dud

    With just two weeks to go before trick-or-treaters head out on their annual holiday rounds, the latest chapter in the Michael Myers horror cycle, Halloween Kills, slayed the competition with a bloody good $50.4 million debut. The bogeyman’s box-office bow was especially impressive considering that the film was also available via VOD on the Peacock streamer and was going up against such splashy competitors as James Bond, Venom, and the long-awaited reunion of Good Will Hunting’s Matt Damon and Ben Affleck, whose historical drama The Last Duel was dead on arrival with a woeful $4.8 million opening.

    In what can only be regarded as a hopeful sign for this fall’s box-office prospects, Universal’s Halloween Kills topped a theatrical slate that surpassed $100 million in total receipts for the third weekend in a row—the first time that feat has been accomplished in the past 18 months, when the COVID pandemic crippled the movie business. A sequel to 2018’s franchise-refresh Halloween, the latest chapter which once again stars the legendary scream queen Jamie Lee Curtis, scored the highest-grossing opening weekend for a day-and-date premiere (meaning a simultaneous release in multiplexes and on streaming), besting Godzilla vs. Kong ’s $31.6 million opening back in March.

    The R-rated Halloween Kills is the twelfth film in the hit-and-miss Michael Myers saga that began back in 1978. But the franchise showed new life by racking up a $13,589 per-screen average in 3,705 theaters. Its $50.4 million haul didn’t quite match its 2018 predecessor’s $76.2 million domestic debut, but it still has to be considered a bona fide smash, especially since it failed to win over critics (who gave it a 39% green splat on Rotten Tomatoes) and, to a lesser extent, audiences, who gave the ultraviolent sequel a ‘B-‘ CinemaScore grade. The sequel padded its impressive total with a relatively meager $5.5 million from overseas, bringing its one-week worldwide gross to $55.9. For comparison, 2018’s Halloween ended its theatrical run with $255 million in global ticket sales.

    Finishing in the runner-up spot was MGM’s latest 007 chapter, No Time to Die, which pulled in $24.3 million in its sophomore frame. Originally slated to hit theaters back in April 2020, the eagerly-awaited Bond sequel, pitting Daniel Craig’s bruised-knuckle MI6 agent against Rami Malek’s supervillain, underwhelmed in its debut session last weekend with a $56 million opening. In week two, the PG-13-rated action-adventure dropped off -56% (roughly on track with previous Bond entries), earning a $5,513 per-screen average in 4,407 theaters. Its domestic box-office total after two weeks now stands at $99.5 million. However, the latest Bond continues to pull in virile numbers overseas, where it has raked in $348.3 million so far. Its worldwide cumulative gross is currently $447.8 million—and that does not include the 007-friendly market of China, where No Time to Die is scheduled to open on October 29.

    In third place was Sony’s Venom: Let There Be Carnage. The PG-13-rated supervillain sequel starring Tom Hardy, slid -48% from the previous weekend, earning $16.5 million in North America. Unspooling in 4,013 theaters, Venom 2 scored a $4,111 per-screen average in its third session, putting its three-week domestic tally at $168.1 million. The film has tacked on another $115.6 million in foreign ticket sales, bringing its global box-office total to $283.7 million.

    In fourth was United Artists’ animated sequelThe Addams Family 2, which tacked on $7.2 million in its third weekend. The PG-rated follow-up to The Addams Family (which ended up grossing $100.7 million domestically in 2019), features the voices of Oscar Isaac, Charlize Theron, and Chloe Grace Moretz and is also available on premium VOD for $19.99. Falling a mere -28.9% from the previous frame, The Addams Family 2 played in 3,607 locations and nabbed a $1,994 per-screen average. Its three-week cume at the North American box office now stands at $42.3 million. It has earned $16.2 million overseas, putting its current worldwide gross at $58.5 million.

    Rounding out the Top 5 was the weekend’s biggest disappointment, 20th Century Fox’s The Last Duel. Directed by Ridley Scott and starring Adam Driver and Killing Eve’s Jodie Comer in addition to Damon and Affleck, the R-rated action-drama hobbled away from its opening weekend with just $4.8 million in North American ticket sales. The film eked out a $1,572 per-screen average in 3,065 theaters and added just $4.2 million from overseas, bringing its first-week global cume to $9 million. The medieval epic with a price tag somewhere in the neighborhood of $100 million couldn’t even point the finger at cannibalization from streaming since it was only available in theaters. Like No Time to Die—albeit to much gloomier degree—The Last Duel no doubt suffered from the fact that its target demographic was older viewers, who remain more skittish about returning to theaters than younger audiences (in fact, 51% of the film’s opening weekend ticket buyers were over 35). Rating a respectable 86% fresh with critics on Rotten Tomatoes and snagging a ‘B+’ CinemaScore grade, the film played well with the few folks who paid to see it…the problem was there just weren’t enough of them. `

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  • theMathematician
    replied
    I'm surprised it's doing rather weak in the US. I don't think it has got to do with Covid though. I would rather assume that the multiple delays put a few people off.

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  • daniel110
    replied
    Long-awaited James Bond movie No Time To Die makes a disappointing $56m in its opening weekend in the US - compared to $35m in the UK (which has five times fewer people and no vaccine or mask mandates)

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  • theMathematician
    replied
    Happy for you, Tansike! I recently saw 'Free Guy' and loved the cinema atmosphere <3 .

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  • Tansike
    replied
    Originally posted by theMathematician View Post
    In Germany, 'No Time To Die' is celebrated as the savior of the cinemas since it's the first real blockbuster post-lockdown. It had 1.2 mio. viewers in the first week. The previous peak of the year was achieved by Fast & Furious 9 (~ 530k tickets sold in week 1). To put things into perspective: Selling 1 mio. tickets in one week in Germany is like selling 1 mio. albums in the US.
    It's similar over here in Switzerland. Huge numbers, already over 115k visitors, already same amount as the total of Fast & Furious 9 which was seen as a "huge movie".

    I also went to see it last Friday and it's basically the first big movie since cinemas are open normally again. Previously, you had to wear masks and they could only sell like half of the cinema (as there had to be an empty seat between each visitor). Since October, you don't need to wear masks anymore plus they sell all the seats. Felt so surreal going to the cinema like this (and not wearing masks in a building) but also felt so good!

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  • Benny
    replied
    So far, 'No Time to Die' has grossed $313 mio worldwide ($56 mio in the US and $257 mio outside the US). Not bad if you consider the fact that it hasn't even opened in China yet.

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