The Official Box Office Thread

All the dirt. All the top secret stuff. Anything that has to do with the process of getting us to sit and watch something projected on the big screen.

Re: The Official Box Office Thread

Postby TheButcher on Sun May 15, 2016 3:15 am

Deadline April 4, 2016:
‘Batman V Superman’ Takes A Dive With -70% Second Weekend

Deadline May 14, 2016:
‘Captain America’ In Control As ‘Money Monster’ Enjoys Bump And ‘The Darkness’ Finds Niche — Saturday B.O.
Anita Busch wrote:Disney/Marvel‘s Captain America: Civil War rose about 67% on Saturday to bring in about $32.6M to $32.8M which gives us a new three-day estimate tonight of roughly $73.7M. That means in its second weekend, it will have dropped around 59%, right in line with other big tentpoles (see below). That will put the total cume at roughly $297M and soon give Disney its third $300M+ title in the Top Ten (along with The Jungle Book and Zootopia).

In comparison, Captain America: The Winter Soldier dropped 57% in its second weekend and Avengers: Age of Ultron dropped 59% while Iron Man 3 dropped 59%.


Forbes May 14, 2016:
Box Office: 'Captain America: Civil War' Drops 74%, Still Tops $800M Worldwide
Scott Mendelson wrote:In holdover news, Captain America: Civil War continued to play like that last few big Marvel Cinematic Universe summer kick-off titles. So that means a second Friday gross of $19.44 million. That’s a drop of 74.1% from last Friday’s mammoth (and Thursday-infused) $75.253m opening day, which is par for the course of late.

The Avengers earned $29.2 million (-63%) on its second Friday on its way to a $103 million weekend, while Iron Man 3 earned $19.7m (-71%) on its way to a $72.7m second frame. Last summer’s Avengers: Age of Ultron earned $21.1m (-74.9%) on its second Friday on the way to a $77.7m second weekend.

So I guess the “bad news” is that the white-hot buzz concerning Spider-Man and Black Panther, the strong word-of-mouth, and the solid reviews didn’t move the needle all that much regarding business as usual. The good news is that we’re still talking about an eight-day total of $244.77 million with a likely $66m-$71.5m second frame.

The Avengers had a 3.5x weekend multiplier on weekend two while Iron Man 3 and Avengers 2 had a 3.68x. Iron Man 2 had a 3.44x multiplier ($51m/$15.1m) back in 2010. Thor had a weirdly leggy 3.8x in weekend two ($34m/$9.1m) and a shockingly small 47% drop to boot back in 2011, which basically makes it an outlier.

If it hits above $72.6 million, it will best Iron Man 3 to snag the eighth-biggest second weekend gross ever behind The Hunger Games: Catching Fire ($74.1m), The Dark Knight ($75.1m), Avatar ($75.6m), Avengers: Age of Ultron ($77.7m), The Avengers ($103m), Jurassic World ($106.5m), and Star Wars: The Force Awakens ($149m).
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Fri May 27, 2016 8:18 am

Box Office Preview: 'X-Men: Apocalypse' Set to Crush 'Alice' Sequel
Tom Brueggemann wrote:Weekend openers "X-Men: Apocalypse" (20th Century Fox) and "Alice Through the Looking Glass" (Buena Vista) share $170-million-plus budgets and franchise status. Their box office results will reveal whether the wide swath of moviegoers who provided enthusiastic support for several familiar-yet-fresh hits so far this year ("Dead Pool," "Zootopia," "The Jungle Book" and "Captain America: Civil War") remain open to sequels that might not have the same spark.

The stakes are high this year. Atypically, two expensive high-pedigree releases are competing with each other head to head as well as facing two films ("Captain America: Civil War" and "The Angry Birds") that topped $30 million last weekend. As seen last week with three wide releases, the busy summer schedule is forcing studios to risk opening overload. So this Memorial Day isn't likely to be a top-ten record-setter (for three days, $306 million in 2013, as "Fast and Furious 6" grossed $117 million). But the weekend is likely to be closer to that figure than last year's $185 million.

"X-Men Apocalypse" got the jump by opening in much of the world (though not yet China) last weekend to over $100 million, similar to the franchise's last time out. It is the seventh "X-Men" title, with the Wolverine character played by Hugh Jackman also appearing in two other titles. It's the fourth directed by Bryan Singer (he did the first two and returned for the 2014 iteration). "X-Men: Days of Future Past," (also opening on Memorial Day in 2014) with a $110 million four day opening was a rebound for the series (total domestic gross $234 million). Adjusted though it ranked only fourth of the six core "X-Men" titles, and It faced minor competition. The second three day weekend of Sony's "Godzilla" reboot dropped two-thirds to $31 million, while the sole new title "Blended" managed only $18 million for four days.

"Alice Through the Looking Glass," a sequel to Disney's initial live-action redo of one of their animated classics, is produced, but not directed, by Tim Burton, who did "Alice in Wonderland" in 2010 to huge success (and a groundbreaking early March date). James Bobin moved in to helm after two Disney "Muppets" movies. "Alice in Wonderland" was a big risk for Disney in 2010, with a $200 million budget bet on the then-lucrative Tim Burton/Johnny Depp combo. It paid off to a $116 million opening and over $1 billion worldwide. Subsequent revamped Disney titles, with recent "The Jungle Book" the most successful, have reaped more benefits.

So both titles arrive with strong elements. The question is whether either— particularly head to head— might come in short of past achievements. For added value, "Apocalypse" has Oscar Isaac (recently of "Ex Machina" and "Star Wars: The Force Awakens") and Sophie Turner ("Game of Thrones") along with previous ensemble players Jennifer Lawrence, Michael Fassbender and James McAvoy. Mixed reviews have noted that it is a more action-oriented episode. "Days of Future Past" received more favorable notices. This marks the third Marvel event of the year, but this film is following two blockbuster hits "Deadpool" and "Civil War." Expectations are for this to open under $90 million for the three days. If It goes any higher that will be a strong sign of unabated momentum going into the heart of the summer.

"Looking Glass" scored worse reviews (Metacritic describes them as "generally unfavorable"). That combined with competition both new and recent (with families still boosting "The Angry Birds" and "The Jungle Book") should leave this lagging behind other live-action remakes and other recent Disney smashes. Worst case scenario: it should do better than "Tomorrowland," and worldwide interest (it opens most places this week) could push it to success. It will be a test of Johnny Depp's remaining appeal. His well-received crime biopic "Black Mass" managed a $62 million total last fall, but "Mordecai" and "Transcendence" flopped among his lead role films in recent years. So whether the tried-and-true route, so often successful in summers full of sequels, works once again is the key question this weekend for both films.
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheBaxter on Tue May 31, 2016 4:04 pm

question: did johnny depp marital abuse allegations doom Alice in Wonderland 2 on opening weekend?

answer: no

those allegations had as much to do with this film flopping as sexism will have to do with GB3 flopping. the real answer is, the movie wasn't very good, it was a sequel to a movie that wasn't very good either (but people didn't know it yet so it still made money), and burton/depp is played out. burton used to be one of the most creative directors in hollywood, now he just keeps making the same goofy movie with the same goofy actor (Depp) in some kind of goofy makeup. i loved burton's earlier movies, but with each movie he's become less of a director and more of a glorified production designer. every movie has gotten progressively more like a parody of the one before it. he needs to start over and do something fresh. his schtick is old. it's time for a reinvention.
Image
User avatar
TheBaxter
Carlos Danger
 
Posts: 18271
Joined: Sat Jul 16, 2005 5:00 pm

Re: The Official Box Office Thread

Postby TheButcher on Fri Jun 03, 2016 8:04 pm

Box Office: ‘Ninja Turtles 2’ Heading for Drab $30 Million Opening Weekend in U.S.
The sequel, which opens in 40 international markets, need to perform strongly outside the U.S. in order to compensate for its $135 million budget.
Dave McNary wrote:“Out of the Shadows” earned $2 million during Thursday night preview screenings — less than half the preview take from the original “Teenage Mutant Ninja Turtles” and a strong indication that the premise of wise-cracking pizza-loving terrapins battling to save the Earth may be wearing out its welcome. The original film earned $4.6 million in previews on its way to a $195 million domestic gross and $493.2 million worldwide.
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sat Jun 11, 2016 2:39 am

‘Jungle Book’ Roars to $900 Million at Worldwide Box Office
Dave McNary wrote:“The Jungle Book” is crossing the $900 million mark, making it the third Disney movie to do so this year after “Captain America: Civil War” and “Zootopia.”

The studio said that the family comedy-adventure had reached $349.9 million domestically and $549.9 million internationally as of Thursday.
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sun Jul 03, 2016 2:58 am

Friday Box Office: ‘The Purge’ and ‘Legend of Tarzan’ Outpace Expectations
MATT GOLDBERG wrote:The Legend of Tarzan is also impressing at the box office. The movie made $14 million on Friday and is now looking at a four-day weekend that could come in as high as $45 million. That’s not bad considering the lackluster reviews or that Alexander Skarsgard isn’t exactly a household name. It also received an A- CinemaScore. However, the $45 million opening isn’t much when you look at $180 million price tag, so the film will definitely need some overseas help.



Collider News: Scarlett Johansson Is the Highest-Grossing Actress at the Box Office
All thanks to 'The Avengers,' 'Winter Soldier,' 'Age of Ultron' and 'Civil War.'
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread 2017

Postby TheButcher on Wed Sep 21, 2016 11:11 pm

'Monster Trucks' Leads Viacom to Take $115M Write-Down
The company is taking the write-down months before the big-budget film opens in cinemas.
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sun Oct 30, 2016 4:33 am

Image
Weekend Box Office: 'Inferno' Flames Out in U.S. With $15M-$16M Halloween Bow
The movie is finding itself in an all-too-close race with holdover 'Boo! A Madea Halloween'
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Thu Nov 10, 2016 7:12 pm

‘Ben-Hur’ Leads to $48 Million Write-Down at MGM
“Ben-Hur” was one of the summer’s biggest box office flops and the failure of the religious epic depressed profits at Metro-Goldwyn-Mayer during the third quarter. The action-drama about a chariot
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sun Jan 01, 2017 12:25 pm

Anime News Network:
Top 10 Grossing Domestic Japanese, Foreign Films of 2016 Listed
your name., Shin Godzilla, Detective Conan top list of domestic films in Japan

Top 10 Highest-Grossing Domestic Films in Japan in 2016


    your name. (21.32 billion yen, about US$182.2 million)

    Shin Godzilla (8.11 billion yen, about US$69.30 million)

    Detective Conan: The Darkest Nightmare (6.33 billion yen, about US$54.09 million)

    Eiga Yo-kai Watch: Enma Daioh to Itsutsu no Monogatari da Nyan! (5.53 billion yen, about US$47.25 million)

    One Piece Film Gold (5.2 billion yen, about US$44.43 million)

    Nobunaga Concerto (4.61 billion yen, about US$39.39 million)

    Doraemon Shin Nobita no Nihon Tanjō (4.12 billion yen, about US$35.21 million)

    Ansatsu Kyōshitsu: Sotsugyō-hen (3.52 billion yen, about US$30.08 million)

    Orange (3.25 billion yen, about US$27.77 million)

    Girls und Panzer (2.4 billion yen, about US$20.51 million)
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sat Feb 18, 2017 9:21 am

Deadline:
Another Holiday Weekend Where Holdovers Reign & New Studio Releases Tank: Presidents’ Day B.O. – Friday Night Update
Anthony D'Alessandro wrote:Uni is experiencing a ying-yang situation this weekend. With great riches from Fifty Shades Darker and fantastic holds from Split (-26%) and A Dog’s Purpose (-18%), comes a great low from the Matt Damon Legendary fantasy epic The Great Wall which is expecting to crash stateside with a projected $16.3M over FSS and $19M over four. The movie was chiefly built for China’s great moviegoing population as well as other foreign territories that are dazzled by such flashy action epics. The financiers and producers knew they weren’t going to win the United States over with this $150M epic (which carries an estimated $110M-$120M P&A), hence the reason why they opened in China and other territories first where the movie has already amassed $225M.

When the first trailer dropped last fall, some U.S. media outlets griped over the pic’s whitewashing in lead actor Damon, who they believed appeared as a savior type to the Chinese. But that’s not how the film plays out plotwise. Furthermore, Middle Kingdom moviegoers embraced this Zhang Yimou pic so much, they spent $171M to see it. Yimou and the cast made a point to emphasize at their New York Comic-Con panel The Great Wall‘s multi-cultural efforts and attributes in front and behind the camera in addition to the powerful portrayal of women.

So, why aren’t Americans watching?

Essentially, moviegoers here haven’t gotten their heads around these new expensive East-West collaborations like Warcraft and Great Wall. Plus, as critics observed, Great Wall sacrifices great story for great action. The Wall Street Journal‘s Joe Morgenstern exclaimed, “(It) isn’t a bad idea for a fantasy, but the computer-generated monsters, like the film as a whole, are numbingly repetitive, and devoid of any power to move, scare or stir us” while New York Times’ Manohla Dargis points out, “The whole thing plays out as if it had been thought up by someone who, while watching Game of Thrones and smoking a bowl, started riffing on walls, China and production money.” Audiences who dared to shell out for Great Wall gave it a B CinemaScore, which is under the B+ that Warcraft received. Even though Great Wall isn’t based on a videogame, production-wise, it’s the closest B.O. comp.

Does The Great Wall turn a profit? Regarding the news about The Great Wall‘s sour fortunes a few weeks ago, Wanda in a statement said “the failure is fictitious.” We’ll have to wait until Uni reports their overseas ticket sales for an additional 21 territories this weekend including Australia, Korea, Russia and the UK. Rival distributors have severe doubts that the film in its entirety will be in the black. Uni limited its exposure to a reported 25% while the rest is broken up between Legendary, China Film Group and Le Vision Pictures. Distribution partners in the PROC are CFG, Le Vision, Wanda and Legendary East. Because it’s a new type of Chinese co-production with the U.S., 40% of that $171M B.O. can be brought back to the U.S. versus the usual 25%-28% rental that many Hollywood films count from PROC. But one financier tells us there’s no money in Chinese video or TV for U.S. productions. We’ll be watching this one closely. The Great Wall has been seen as a potential financial model for future China-U.S. co-productions.

Essentially, moviegoers here haven’t gotten their heads around these new expensive East-West collaborations like Warcraft and Great Wall. Plus, as critics observed, Great Wall sacrifices great story for great action. The Wall Street Journal‘s Joe Morgenstern exclaimed, “(It) isn’t a bad idea for a fantasy, but the computer-generated monsters, like the film as a whole, are numbingly repetitive, and devoid of any power to move, scare or stir us” while New York Times’ Manohla Dargis points out, “The whole thing plays out as if it had been thought up by someone who, while watching Game of Thrones and smoking a bowl, started riffing on walls, China and production money.” Audiences who dared to shell out for Great Wall gave it a B CinemaScore, which is under the B+ that Warcraft received. Even though Great Wall isn’t based on a videogame, production-wise, it’s the closest B.O. comp.

Does The Great Wall turn a profit? Regarding the news about The Great Wall‘s sour fortunes a few weeks ago, Wanda in a statement said “the failure is fictitious.” We’ll have to wait until Uni reports their overseas ticket sales for an additional 21 territories this weekend including Australia, Korea, Russia and the UK. Rival distributors have severe doubts that the film in its entirety will be in the black. Uni limited its exposure to a reported 25% while the rest is broken up between Legendary, China Film Group and Le Vision Pictures. Distribution partners in the PROC are CFG, Le Vision, Wanda and Legendary East. Because it’s a new type of Chinese co-production with the U.S., 40% of that $171M B.O. can be brought back to the U.S. versus the usual 25%-28% rental that many Hollywood films count from PROC. But one financier tells us there’s no money in Chinese video or TV for U.S. productions. We’ll be watching this one closely. The Great Wall has been seen as a potential financial model for future China-U.S. co-productions.

RelishMix noticed a divide in the social conversation for Fist Fight. Some felt in this environment of anti-bullying and teachers education issues, Fist Fight “took place in the wrong environment. To these comments, other fans are reigning down with harsh criticism, saying this looks like the funniest comedy in years. This contingent loves the R-rating, the red band trailer – and the cast. It’s just a true notable to see such impassioned discussion happening for a rated-R comedy.” Heading into the weekend, Fist Fight had its best promoters in Ice Cube (25M+ followers across Instagram, Twitter, Facebook) as well as Tracy Morgan’s 4.3M. However, viral video views of the trailer according to Relish Mix have been at an awful 5:1 –that’s the rate at which trailers for Bad Santa 2 and Whiskey Tango Foxtrot were being spread around, and those titles bit the dust at the B.O. We hear despite this snafu, New Line likes Fist Fight director Richie Keen and have already signed him to helm the action comedy Partners.
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheBaxter on Mon Mar 20, 2017 9:12 am

Beauty and the Beast opens with over $170+ million

wow, i never realized so many people were interested in how Melania hooked up with Trump.

$170+ million from 4,210 theaters sounds like a lot... but just imagine how much more they would've made if that one homophobic theater hadn't refused to show the film? i'm sure the film's producers are really kicking themselves about that right now.
Image
User avatar
TheBaxter
Carlos Danger
 
Posts: 18271
Joined: Sat Jul 16, 2005 5:00 pm

Re: The Official Box Office Thread

Postby Peven on Mon Mar 20, 2017 10:00 am

the general public is really lame
Image

perversely contrarian since 2005
User avatar
Peven
Is This Real Life?
 
Posts: 13888
Joined: Fri Dec 09, 2005 10:45 am
Location: Group W bench

Re: The Official Box Office Thread

Postby Cpt Kirks 2pay on Mon Mar 20, 2017 7:59 pm

Peven wrote:the general public is really lame


And don't use Tinder and Bumble enough.
User avatar
Cpt Kirks 2pay
The Dark Tower
 
Posts: 16372
Joined: Fri Jul 22, 2005 10:49 am

Re: Guy Ritchie's 'King Arthur'

Postby TheButcher on Thu May 11, 2017 4:29 am

Variety :
Box Office: ‘King Arthur’ Looks Like an Epic Flop
Seth Kelley wrote:In only the second weekend of the summer box office, the first ice-cold front approaches.

“Guardians of the Galaxy Vol. 2” looks to continue its reign over the box office this weekend, but it’s far from the most interesting story. That title goes to “King Arthur: Legend of the Sword,” which is anticipating an opening weekend flop of epic proportions for Warner Bros. and Village Roadshow. Off of a $175 million production budget, not taking into account marketing costs, Guy Ritchie’s take on the medieval legend should make $25 million from over 3,600 locations.

Ritchie has seen box office glory in the past with 2009’s “Sherlock Holmes” ($209 million domestic and $524 million worldwide) and its 2011 sequel, “A Game of Shadows” ($187 million, $545 million). But more recently, the director saw a similar fate with his 2015 outing for Warner Bros., “The Man From U.N.C.L.E.” The film ended its run with nearly $110 million worldwide off a $75 million budget, despite receiving generally positive reviews from critics.

The same cannot be said for “King Arthur,” which was sliced and diced by the critical community, and currently holds a doleful 23% on Rotten Tomatoes. Variety‘s Peter Debruge panned the movie — which tells the story of Arthur who draws the sword Excalibur from the stone and is confronted with its power — as “just a loud, obnoxious parade of flashy set pieces, as one visually busy, belligerent action scene after another marches by, each making less sense than the last, but all intended to overwhelm.”

Perhaps some of the inevitable blame for the film’s anticipated draw can be shoved onto its star, Charlie Hunnam, who is best known for his role on FX’s “Sons of Anarchy,” and relatively untested as a movie star. The most thought-provoking point of comparison might be 2013’s “Pacific Rim,” which Hunnam anchored. The big-budget action film was widely considered a domestic bummer ($102 million by the end of its run), but scored overseas, leading to a worldwide total of over $400 million. Warner Bros. and Village Roadshow are most likely hoping for similar international traction since there seems to be little stateside.

Not to be confused with Ritchie’s 2000 Brad Pitt-starrer “Snatch,” Fox’s “Snatched” is also opening this weekend. Despite being a mid-budget R-rated comedy, the movie should give “King Arthur” (a big-budget action flick) a run for its money. Amy Schumer and Goldie Hawn star in “Snatched” as a mother and daughter whose exotic vacation goes wildly and dangerously wrong. With an early estimate in the $15 million to $17 million range, some are predicting that it will make more on faith that female-driven comedies like Kristen Wiig’s “Bridesmaids” and Schumer’s own feature debut, “Trainwreck,” are routinely underestimated at the box office. The Chernin Entertainment and Feigco Entertainment production was directed by Jonathan Levine from a script by “Ghostbusters” writer Katie Dippold.

All this to say, Disney’s “Guardians 2” should pummel its new competition on the way to a second weekend on top of the domestic box office. Even if it sees a 60% drop from its opening weekend grosses of $145 million, the sequel to 2014’s surprise hit should more than double the newcomers with around $60 million. In its first 13 days (two weekends overseas and one in the U.S.), James Gunn’s group of unlikely heroes grossed $428 million. The only race for the film now is between itself and the billion-dollar mark.


STRANGE THINGS ARE AFOOT AT THE WB (STUDIO SERIES)
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sun May 14, 2017 3:26 am

THR 0 5/13/2017:
Box-Office Bomb: 'King Arthur' Limps Toward $14M Debut Behind 'Snatched'
Pamela McClintock wrote:The second weekend of summer at the North American box office is taking no prisoners.

Warner Bros. and Village Roadshow's King Arthur: Legend of the Sword is a flop of epic proportions. The movie opened to an estimated $5.3 million Friday from 3,702 locations for a projected $14.5 million weekend after costing $175 million to make before a major marketing spend. It also appears to be falling on its sword overseas, where it only grossed $6.8 million on Friday from 51 markets for an early three-day foreign total of $11.6 million. In China, it opened to a mere $1.8 million to place No. 3.

Piling on more bad news, King Arthur looks to be beat in the U.S. by Amy Schumer and Goldie Hawn's Snatched in a surprise upset. The Mother's Day action-comedy earned an estimated $5 million Friday from 3,501 theaters for a $16 million-plus opening. Fox spent a relatively modest $42 million to make the R-rated movie, but was certainly hoping for more, considering Schumer's Trainwreck debuted to $30 million in summer 2015.

Overall, Guardians of the Galaxy Vol. 2 will easily stay atop the chart in its second weekend with $60 million or more from 4,347 theaters. The Disney and Marvel sequel grossed $16.4 million on Friday, more than King Arthur will in its entire weekend, unless the movie finds Excalibur. Globally, Guardians Vol. 2 will finish Sunday with well north of $500 million globally.

King Arthur, helmed by Guy Ritchie and starring Charlie Hunnam in the titular role, is a dark origins story about the future king's tough upbringing in the back alleys of the city. But once Arthur pulls the sword from the stone, he is forced to acknowledge his true legacy. Jude Law, Astrid Berges-Frisbey, Djimon Hounsou, Aidan Gillen and Eric Bana also star.

The film — whose release was delayed numerous times — was skewered by critics, but received a B+ CinemaScore from audiences. Males made up nearly 60 percent of the audience.

Snatched, produced by Chernin Entertainment, follows a mother and daughter who find themselves trying to escape after being abducted on vacation in Ecuador. The R-rated comedy, earning mediocre reviews and a B CinemaScore, marks Hawn's first turn on the big screen in 15 years, as well as Schumer's first film since Trainwreck.
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Re: The Official Box Office Thread

Postby TheButcher on Sun May 14, 2017 3:58 am

How Warner Bros.’ $175M Costly ‘King Arthur’ Fell Off Its Horse At The B.O. With A $14.3M Opening
Anthony D'Alessandro wrote:Really, how does a major studio spend $175M on a potential new franchise, and completely go bust at the box office?

After arguably eight years of starts and stops through various iterations, Warner Bros. has finally opened King Arthur: Legend of the Sword, the feature adaptation of a classic IP they’ve been so desperate to make, and to disastrous box office results of $14.3M stateside at 3,702 theaters and embarrassing reviews (27% Rotten Tomatoes rating). King Arthur is expected to fall third behind Disney/Marvel’s second weekend of Guardians of the Galaxy Vol. 2 at $61.9M (-58% with 10-day cume of $245M, 39% ahead of GOTG at same point in time), and 20th Century Fox/Chernin Entertainment’s R-rated Amy Schumer-Goldie Hawn movie Snatched with $16.5M. Warner Bros. shares some brunt of King Arthur‘s cost here with Village Roadshow who has been having a terrible streak after its co-financing on Ghostbusters, In the Heart of the Sea and Passengers.

In the current marketplace of haves and have nots at the B.O. where other studios envy Disney’s treasure trove of brands, Warner Bros. was determined to revive the King Arthur legend on the big screen, to the point of overthinking it.

Audiences showed little interest in King Arthur the last time he was brought to the screen 13 years ago in Jerry Bruckheimer’s Disney production ($120M negative cost, $51.9M domestic, $203.6M global), so why even try again?

It’s easy to blame King Arthur: Legend of the Sword‘s bombing on Warner Bros.’ overindulgence in classic IPs for the screen, and goodness knows, they haven’t won over moviegoers, i.e. Red Riding Hood ($42m negative cost, $89M global), Pan ($150M cost, $128M global), Jack the Giant Slayer ($195M cost, $197.7M global), etc. But King Arthur‘s failure goes far beyond being adapted from an antiquated tale, not to mention that old properties when intriguing and even sexy can work: Disney’s Oz, the Great and Powerful‘s near half billion at the B.O.

Some would also like to point the finger at hiring fresh-face Sons of Anarchy star Charlie Hunnam in the title role of King Arthur, but still, in this day and age we know it’s the brands that are bigger than the stars, and great untested actors rise to the occasion of a great movie, i.e. Daniel Kaluuya in Get Out, Russell Crowe in Gladiator, and arguably Jennifer Lawrence in Hunger Games. In fact, 47% of those who bought tickets last night came out for Hunnam, giving the movie an A- CinemaScore, while 51% came out because they enjoy King Arthur movies, giving it a B+.

But many sources tell Deadline that if there’s any blame to go around for Legend of the Sword’s disaster, it’s the post-Jeff Robinov era administration on the Burbank lot (preceding now president-chief content officer Toby Emmerich) who per one close source “didn’t care about storytelling and ham-fisted” this King Arthur together with Guy Ritchie, a filmmaker known more for flash over substance. In fact, given the number of versions that King Arthur went through, there were plenty of opportunities for Warner Bros. to get this right. At one point, higher-profile stars were considered: Colin Farrell as King Arthur and Gary Oldman as Merlin. Many say that King Arthur‘s fate might be different in a Robinov-led studio given the former boss’ razor-sharp filmmaking sensibilities and finesse in steering directors.

While there are several credited on the Legend of the Sword script, many say it is Ritchie and Lionel Wigram’s version that made it to the screen. “He’s stylish and he needs to get a better producer,” remarked one insider on Ritchie’s second overspend here following his 2015 bomb The Man From U.N.C.L.E. ($75M negative cost, $110M global B.O.). “Who’s advising him?,” commented another. “Why would he go backwards with an old property like King Arthur? He’s very talented, they should hand him an established property like a DC movie.” (Ritchie’s next film is Disney’s live version of Aladdin). King Arthur‘s lofty costs began after an early cut of the film failed to test well. “It was a train wreck,” says one personal publicist with knowledge of the situation. This prompted reshoots with some post production departments working over the last two years on King Arthur.

Sure, it’s always easy to yell at the studio marketing division whenever a movie goes sideways, but in the case of King Arthur, it was an uphill battle for the WB pros who’ve opened multiple DC superhero movies and Harry Potter films. Ritchie’s King Arthur is filled with imagery we’ve soon too often before from Lord of the Rings, Braveheart and Clash of the Titans. At times it’s a quiet, dialogue-driven PBS period movie with understated performances, then a confused mess of flashbacks, including cameos by Voldemort’s snake, the Lord of the Rings elephants, and a knight who looks like Immortan Joe from Mad Max. There were few assets here to hook audiences.

And despite WB distribution jumping King Arthur around the calendar four times, the reality is that there isn’t any date that could be considered prime for this film. If anything you can say that the Warner Bros. development suite lingered too long on the movie to the point where it’s too late for its time. When the studio shelled out $2M after a bidding war for David Dobkin’s Arthur & Lancelot in June 2011, HBO’s Game of Thrones was nearing the end of its first season. Given how that series became the benchmark for solid medieval fantasy, why would fans of the genre leave their homes and spend $15 at the multiplex?

Hindsight being 20/20, here’s how King Arthur‘s march to the big screen went down. In August 2009, WB and Legendary labored for months to get the film rights for John Boorman’s cult classic Excalibur so that Bryan Singer could remake it. That film never came to be. By June 2011, WB took to Dobkin’s take which he was poised to direct with Lionel Wigram, Richard Suckle and Charles Roven producing and Jeff Kleeman serving as EP. The pic was originally budgeted at $90M and was eyeing a March 15, 2013 release. Dobkin’s King Arthur was something that those under 25 could hang their hats on: About a younger generation sizing up an older generation. Arthur was a reluctant young hero in pulling the sword out of the stone in an oppressive kingdom akin to a 1942 Gestapo-run Warsaw. Arthur then becomes the most wanted man in the kingdom, with a group of rebels rallying around him to be king. The project was greenlighted and fell apart twice, during the Robinov and Greg Silverman administrations. Kit Harrington was to play Arthur with Joel Kinnaman as Lancelot. By December 2011, WB balked at the project: the pairing were unproven screen commodities and the film’s production cost surged to $130M. Three months later, the project was alive with Colin Farrell as Arthur and Gary Oldman as Merlin, but those talks dried up. Also in the mix at the studio during the summer 2011 was a Ritchie version of King Arthur with Trainspotting‘s John Hodge writing. That also didn’t materialize.

Dobkin went off and made The Judge. By the time that film wrapped, Warners had changed its mind on his version, and fell in love with Joby Harold’s King Arthur pitch which was to span several sequels, each focusing on a different Camelot character in an Avengers-Star Wars universe-sense with all the characters ultimately coming together in one movie. One insider tells us that Warner Bros. executives were blown away by Harold’s vision; the project’s fantasy beast artwork was a cross between 300 and Clash of the Titans. Deadline was informed that Harold’s vision never materialized in Ritchie’s final cut. By January 2014, King Arthur was becoming a reality with Ritchie behind the camera and writing alongside Wigram. With all of these different versions of Arthur floating around, and producers hopping between projects, one source tells Deadline that the situation was “incestuous,” resulting in the Writers Guild auditing both screenplays, only to realize that the studio was folding one into the other. In the end, Wigram, Ritchie and Harold are credited as the screenwriters, Harold also received a story by credit and Dobkin earned story and EP credits. By August 2014, Ritchie selected Hunnam to play Arthur.

“They wanted to corner the brand and own it,” says another insider about Warner Bros.’ hastiness to bring King Arthur to the screen. Given the entire headache that ensued from the various iterations of King Arthur, one can see why studios are now taking a writers’ room approach to franchises like Transformers, Godzilla vs. Kong and the WB Animation group. “The desire for studios to form these new brain trusts – they just want to get things done faster, everyone is so hungry to nail the brand,” says one lit agent.

In the end, another executive informed us that the final test scores for Legend of the Sword were quite high. If that’s the case, it explains the pic’s glowing B+ CinemaScore tonight (however Screen Engine/PostTrak shows a lackluster 78% total positive). The one demographic who enjoyed the crowd were 18-24 year olds who gave King Arthur an A-, but they only repped 14% of the CinemaScore crowd. On PostTrak, there was a strong turnout by men at 57%, with 78% over 25. CinemaScore a similar skew with 59% guys, 77% over 25.

The next shoe to drop for Warner Bros. among its risky, dusty old IP feature adaptations is The Jungle Book: Origins which arrives on Oct. 19, 2018, more than two years after Disney’s near $1 billion B.O. success with its live action remake of its Rudyard Kipling-sourced animated toon. And though logic prevails that WB should end its streak of classic titles, one producer says don’t blame the property, blame the filmmaker. Great films come from emotionally captivating scripts and characters.

Says the producer, “I don’t buy that theory that old IP never works at the box office. Old IP is the most valuable sh*t in the world. Sure, God bless original stuff, but these classic brands are timeless. Just look what Jon Favreau did with The Jungle Book. It’s what you want from a Hollywood movie: The kid grows up before your eyes. Just when someone says you can’t make a great pirates movie, someone kicks down the door and does it, or Ridley Scott resurrects the sword and sandal movie with Gladiator. Of course, you can always go back.”
User avatar
TheButcher
ZONE NEWS DIRECTOR
 
Posts: 16978
Joined: Sat Jul 16, 2005 7:02 am
Location: The Bureau of Sabotage

Previous

Return to Movie News

Who is online

Users browsing this forum: No registered users and 2 guests