Specialty Box Office

Even on a specialty level, horror just works post-pandemic with the latest pop from a strong showing by a trio of films, Fear and Infinity Pool, released this weekend, and Skinamarink in week three. Fear hails from Deon and Roxanne Avent Taylor’s Hidden Empire Film Group, the all-Black production company behind cult hit Meet The
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A24’s The Whale crossed the $11-million mark in week six as it jumped to 1,500 screens from 835 as the Brendan Fraser-starrer and other contenders continue to tweak theatrical runs through awards season. The film, which received a PGA nomination for Best Motion Picture this week along with SAG noms for Fraser and co-star Hong
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Sony’s Tom Hanks-starrer A Man Called Otto banked $4.2 million in a lively second frame as it moved to 637 locations nationwide from four in NY and LA. Strong word of mouth propelled moviegoers into seats with particular strength in the heartland and momentum looks good as the adult drama/comedy heads into next week’s wide
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New Yorkers braved the cold this weekend for Corsage at two theaters ( IFC Center, Film at Lincoln Center) as Marie Kreutzer’s biopic of Empress Elisabeth of Austria starring Vicky Krieps grossed an estimated $32,000 over the three-day weekend for a robust $16k per screen average. The four-day estimate for the IFC Films biopic of
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Sideshow/Janus Films EO held well in week two, grossing $23,217 for the five-day holiday frame ($11,609 per screen) and $16,900 for the three-day weekend ($8,450 per screen). The new cume is $50.7k in a crowded arthouse market, a strong showing for the film starring a melancholic gray donkey. It expands to LA next week opening at
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Luca Guadagnino’s Timothée Chalamet-starring, edgy cannibal road trip romance Bones And All pulled in young demos (79% in the 18-34 rage) and women (54%-46% female) for an opening weekend gross of $120k, or $23.9k per screen average in five theaters. That’s respectable and in line with distributor UAR expectations although below recent debuts including Banshees
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A new crop of prestige titles plant a flag at the arthouse in limited release this weekend from Luca Guadagnino’s Bones and All to Jerzy Skolimowski’s EO, to Elegance Bratton’s The Inspection. Greenwich Entertainment opens doc Love, Charlie: The Rise And Fall Of Charlie Trotter IFC Films presents Bad Axe and Cohen Media Group is
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The Fabelmans grossed an estimated $160k this weekend at four theaters in NY and LA. That’s a $40K per screen average, on par with recent strong (for post-Covid) specialty openings like The Banshees Of Inisherin (at $45k PSA) and Tár (also $40k), both on four screens too, reflecting a definite pickup in the specialty space. Spielberg’s written, directed
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Chinonye Chukwu’s Till got off to a solid start at the specialized box office, grossing over $15k per theater from 16 locations in five markets for an estimated weekend gross of $240.9k, possibly more depending on how Sunday plays out. “It’s as much as we could have hoped for,” said Erik Lomis, president of United Artists Releasing. The
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Focus Features’Tár opened in limited release to strong results with $160,000 at four locations in New York and Los Angles for a $40,000 per theater average, one of the best PTAs since Covid and not bad for a 2-hour and 38-minute arthouse film pre-pandemic. Riding strong reviews, the Cate Blanchett-starrer by Todd Field was no. 1 in three
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Labor Day weekend saw blockbusters old and new buoyed by cheap tickets, as was a limited openings like Saloum with multiple sold out screenings at two theaters, including every showtime on Saturday. Over 3,000 theaters, including IFC Center and Alamo Drafthouse LA, where the French-Senegalese indie film began a qualifying run, offered $3 tickets for
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Moviegoing is definitely back with viewers flocking to franchise films that 1) continue to roll out in the first sustained barrage of big new titles since Covid, and 2) continue to do huge business as they stick around in theaters. They’re sucking up screens and exacerbating a release-pattern quandary for independent distributors seeking signs that
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The Forgiven with Jessica Chastain opens in 122 theaters this weekend as the flow of indie films continues to build with well-reviewed, festival-pedigreed product including Mr. Malcom’s List and Clara Sola. Meanwhile, producers and most other U.S. businesses are hoping economic storm clouds won’t ding their industry’s nascent revival. “I think we have seen a
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IFC Films opened Official Competition starring Penélope Cruz, Antonio Banderas and Oscar Martínez at four theaters in NYC and LA for an estimated three-day gross of $34,000 and per-theater-averages of $8,500 for the comedy directed by Mariano Cohn and Gastón Duprat following it U.S. premiere at the Tribeca Festival last week. The film, world premiered
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Two premiere screenings of rock documentary Freakscene: The Story Of Dinosaur JR grossed over $19K this weekend with a single Saturday show at iconic music venue The Opera House in Williamsburg, Brooklyn taking in north of $17K. Independent distributor Utopia worked with Murmrr, which produces live music events, and art shingle Mondo, which created a
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Audrey Diwan’s Happening opened to an estimated $34k on four screens in NY and LA this weekend for a PTA of $8,500. The locations on both coasts — IFC Center/AMC Lincoln Square and The Landmark/AMC The Grove — while limited showed the abortion drama set in 1968 France competing successfully in commercial crossover multiplexes as
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The Tale Of King Crab, a cinematically striking fable shot in rural Italy and Argentina, opened to a three-day gross of $5,120 at Film at Lincoln Center this weekend — the first in a string of Italian offerings set to arrive on the specialty scene through the summer. “In today’s challenging arthouse market, we count
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