After an 18 month release date delay due to the pandemic, the anticipation for MGM/EON/United Artist Releasing’s 25th James Bond movie, No Time to Die, is no doubt huge: Fandango is reporting that the advance ticket sales for Daniel Craig’s swan song as 007 are already outstripping Universal’s F9 and Sony’s Venom: Let There Be Carnage, and it’s
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Focus Features has set a moderate release for The Outfit on Feb. 25, 2022. The pic reps Oscar winner Graham Moore’s directorial debut, and follows Leonard, played by Oscar winner Mark Rylance, an English tailor who used to craft suits on London’s world-famous Savile Row. But after a personal tragedy, he’s ended up in Chicago, operating a
What does the international box office and cinema landscape look like in an emerging post-pandemic world? That was the gist of an executive roundtable at CineEurope in Barcelona today. Among the key takeaways: the relationship between exhibition and distribution and a need for more collaboration in terms of reaching consumers. With so much content available
When the studio gets rich on a box office hit, exhibition shares in that and there was certainly a downpour of cash for the latter thanks to the $90M pandemic domestic opening record of Sony’s Venom: Let There Be Carnage, and also the $119M launch of MGM/UAR/Universal’s No Time to Die. The No. 1 circuit in the
When it comes to WarnerMedia’s theatrical-day-date HBO Max fare, we’ve often written that whatever pales at the cinemas also sours on the service. That was not the case this weekend with the The Sopranos prequel feature The Many Saints of Newark. Even though The Many Saints of Newark wasn’t so hot at the box office with a $5M opening, the
Following last year’s cancelation and this year’s postponements, the annual CineEurope convention kicks off today in Barcelona. And what better time for studios and overseas exhibition to come together and celebrate the theatrical experience as we come off of a banner international box office weekend led by MGM/Eon/Universal’s lively launch of No Time To Die.
This week the specialty box office saw an incredible performance by yet another faith-based movie. This marks the third time this year – the other two: Witnesses and The Girl Who Believes In Miracles – the limited release space was topped by a religious-themed film. The Jesus Music (Lionsgate) is a documentary that chronicles the origins
Refresh for latest…: A big and busy weekend at the international box office reaffirmed the power of theatrical as MGM/Eon/Universal’s No Time To Die bonded with audiences to the tune of $119.1M, coming in over on yesterday’s estimates. In like-for-like markets at current exchange rates No Time To Die is in line with Skyfall, and
Neon presents Julia Ducournau’s Titane, the lauded Palme d’Or winner set to test a stressed specialty market even as Messrs. Venom and Bond crash into wide release this weekend and next. The edgy, high octane French tale about a woman with a metal plate in her head and an automotive fetish hits 562 screens in
FRIDAY UPDATE, Refresh for latest… Full numbers for Wednesday and Thursday show MGM/Eon/Universal’s James Bond pic No Time To Die at a cumulative $22M through two days of early release at the international box office. That includes $20M from just yesterday in such markets as the UK, Brazil, Germany, Italy and the Netherlands. The figures look
While it was busy ringing in the second best previews night of the pandemic era domestically, Sony’s Venom: Let There Be Carnage set a new record for the Culver City studio in Russia on Thursday. With a $3.04M day one on Thursday, the Tom Hardy-starrer bested the previous film’s $2.97M in the market, making it
Sony’s Venom: Let There Be Carnage rang up a great $11.6M Thursday night from showtimes that began at 4PM yesterday at 3,475 theaters. That’s the second best we’ve seen during the pandemic after Disney/Marvel’s Black Widow which grossed $13.2M on Thursday night from shows that began at 5PM (sans Disney+ Premier for the night). Disney/Marvel’s Shang-Chi and the Legend of
Sylvester Stallone has made an ultimate director’s cut of Rocky IV, entitled Rocky vs. Drago which will hit theaters on Nov. 11 for an exclusive engagement via MGM and Fathom followed by the feature being available on digital demand on Nov. 12. Stallone has added 40 minutes of never-before-seen footage to the 1985 feature made during the U.S. Cold
Refresh for latest…: MGM/Eon/Universal’s highly-anticipated No Time To Die has clocked an estimated $6.2M-$6.8M (£4.5M-£5M) in the UK on its opening day today. Daniel Craig’s final turn as legendary secret agent 007 came in about 13% above Spectre (Monday opening) and just 26% below Skyfall (Friday opening). The Cary Joji Fukunaga-directed pic is enjoying the
Refresh for more updates…There’s a great vibe out there about moviegoing right now, believe it or not; and October is just the beginning. While we had event films during the summer, we’ve got ’em all jammed packed in the next month, kicking off with Sony’s long-awaited Vernom: Let There Be Carnage on Friday stateside, followed by MGM/United
It has been a long time coming, but this week, one of the most hotly awaited films of the pandemic era is finally hitting cinemas after several Covid-induced date changes. MGM/Eon/Universal’s No Time to Die begins rollout at the international box office starting Wednesday (September 29) in Korea and adds such majors as the UK,
Refresh for latest…: Warner Bros/Legendary’s Dune continued its spicy run at the international box office this weekend, adding a further $26.3M from 32 markets to lift the offshore total to $76.5M. To quote the Denis Villeneuve-directed film, this is only the beginning as the sci-fi epic is in early overseas release with many key areas
Bleecker Street’s sci-fi romantic comedy I’m Your Man blasted off – relatively speaking in today’s specialty market – with a per screen average of $2,139 in 16 theaters in North America (12 U.S., four in Canada). Directed by Maria Schrader film with Maren Eggert and Dan Stevens, it was the rare specialty film of late
The failure of Universal’s Dear Evan Hansen at the domestic box office with a $7.5M opening didn’t really surprise anyone after the movie was torn apart by critics post its TIFF world premiere. But the latest misfire by a feature adaptation of a Broadway musical raises plenty of questions about the sub-genre’s fate at the
Universal joins Disney and 20th Century Studios in planning a theatrical release schedule for 2024, however, the studio didn’t name any titles. The only hardcore titles that has been dated in 2024 is Warner Bros./Village Roadshow’s Mad Max spinoff Furiosa on May 24, Memorial Day weekend, starring Anya Taylor-Joy, Chris Hemsworth and Yahya Abdul-Mateen II and 20th Century
Disney/Marvel’s Shang-Chi and the Legend of the Ten Rings continues to crush any industry doubts about audience’s demand for stateside moviegoing, for as of today, the Destin Daniel Cretton-directed movie will become the highest grossing movie during the 2020-21 pandemic to date, clicking past Disney/Marvel’s Black Widow which stands at $183.4M through yesterday. Shang-Chi accomplished this feat on a
Universal’s feature adaptation of Tony-winning Broadway musical Dear Evan Hansen grossed $800K from previews last night from 2,700 theaters which started showtimes at 7PM. The movie directed by Stephen Chbosky, and starring the musical’s original actor Ben Platt in the title role, is expected to make around $10M at 3,364 theaters, and is expected to be beat
Bleecker Street’s I’m Your Man opens on 12 screens in seven markets, expanding to another 15 next week in a rare platform release banking on strong word of mouth for the well-reviewed, 94% Certified Fresh film that’s Germany’s entry for the 2022 International Feature Oscar race. Helmed by Unorthodox director Maria Schrader, the sci-fi romantic
Lackawanna Blues, the solo Broadway show written, performed, and directed by Ruben Santiago-Hudson, has canceled its performances for tonight and over the weekend due to an off-stage back injury suffered by the star. Santiago-Hudson is expected to return to the Samuel J. Friedman Theatre on Tuesday, though the canceled previews have bumped the play’s official
EXCLUSIVE: In the wake of being quite content with the theatrical and Paramount+ day-and-date release of Paw Patrol, the studio is putting the eOne/New Republic Pictures feature Clifford: The Big Red Dog back on the calendar for Nov. 10 in both theaters and on the CBSViacom streaming service. The decision is also due to the ongoing pandemic,
Jason Orley’s I Want You Back starring Charlie Day and Jenny Slate will drop on Amazon Prime on Feb. 11, 2022. The pic, written by Isaac Aptaker and Elizabeth Berger (Love, Simon and This Is Us) follows Emma (Slate) and Peter (Day). They thought they were on the precipice of life’s biggest moments – marriage, kids, and houses
The third installment in J.K. Rowling’s Harry Potter spinoff Fantastic Beasts and Where to Find Them has set a release date of April 15, 2022, the studio said Wednesday. That’s Easter weekend next year for the pic, which now has a title: Fantastic Beats: The Secrets of Dumbledore. Warners is moving up the movie from its previous
On Monday, Disney/20th Century Studios’ Free Guy crossed the $300M mark globally, becoming the fifth Hollywood title to the milestone this year. To date, the Ryan Reynolds-starrer has grossed $108.8M domestically and $193.6M at the international box office for a worldwide total of $302.4M. The video game-inspired romantic comedy from director Shawn Levy is the
Disney CEO Bob Chapek mentioned today during a Goldman Sachs 30th Annual Communacopia Conference that Shang-Chi and the Legend of Ten Rings will hit Disney+ on Friday, Nov. 12, which the studio is designating as Disney+ Day. That’s a consumer day celebrating the services. “We’ll be surprising people with offers and it will be an annual thing,”
Coincidentally this morning at Goldman Sachs 30th Annual Communacopia Conference, Disney CEO Bob Chapek was asked a question about the compensation of Hollywood talent in the wake of long-standing distribution models being upended, and the advantages the studio has in terms of being a place that talent wants to work in a direct-to-consumer marketplace. This