Tag Archives: New Line Cinema

Box Office Report: Top three films within $500k of each other

After stepping down to number two the weekend prior, It is back at the top spot, taking home an estimated $17.31 million this past weekend. The Stephen King horror film has exceeded more than just expectations, sitting as the 5th highest domestic grossing film of the year in only it’s 4th weekend. Worldwide, It has taken in $555 million and will easily be one of the most profitable films of the year, on a budget of only $35 million. Warner Bros. and New Line Cinema are looking in the range of a $200 million profit.

Coming in second place, and under $300k away from It, Tom Cruise’s new film, American Made, made approximately $17.016 million. While this may be on the lower end of Tom Cruise openers, the film has already made $64.83 million internationally, putting its worldwide total at $81.85. On a budget rumored to be between $50 million and $60 million, American Made looks to make its money back, but also end up as a disappointment considering the Cruise superstar — is he still? — factor.

Kingsman: The Golden Circle rounded out a competitive top three, earning an estimated $17 million at the domestic box office. The sequel to The Secret Service, The Golden Circle saw a 56% fall off from its opening weekend, greater than the 49% second weekend drop of its predecessor and something only expected to continue in the coming weeks considering the poor reviews. To be fair, the film has nearly drawn even already, standing at $193.03 million worldwide on a $104 million budget.

What’s fascinating about this weekend is that the placing could end up changing, of any of these films to any of the top three spots, when the actuals drop.

Below them, however, the order is solid. The LEGO Ninjago Movie dropped only 41% in its second weekend, a rather good number considering the poor reviews, building to a $12 million haul. However, with a budget likely in the range of $70 million — The LEGO Movie cost $60 million and The LEGO Batman Movie cost $80 million — the film has an uphill battle to face if it wants to make its money back, currently at only $58.45 million worldwide. With it still to open in key international markets like the UK, China and Japan, it has a chance at pulling it off.

Newcomer Flatliners flatlined both critically and financially, taking in only $6.57 million this weekend. The film currently sits at an abysmal 3% on RottenTomatoes.

Finally, the Emma Stone/Steve Carell-starring Battle of the Sexes expanded into 1,000+ theaters this weekend, and made an approximate $3.4 million. The tale of Billie Jean King and Bobby Riggs’ famous tennis match is in the hunt for Oscars, so it will likely see a long and solid run, even if it isn’t close to being one of the top earners of the year.

*All weekend numbers are domestic, meaning that they’re from theaters in the US and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

 

Featured image via Warner Bros. and New Line Cinema.

How ‘It’ made a killing at the box office, laughed away initial expectations

We have an arm-severing, face-chomping, immortal demon-clown to thank for saving the box office. New Line Cinema and Warner Bros.’ It raked in a record-breaking $123.1 million — finalized numbers after $117.2 estimates. Like a red Derry-branded balloon floating skyward from an evil death-sewer, the box office rose from its historic slump. Considering that the film’s initial box office projections were in the $50 million range, It’s runaway success becomes all the more remarkable. But just how did It conquer the box office?

For starters, It didn’t have much to compete with. Since the other film opening this weekend was the critically-panned Home Again, the biggest threat to It was The Hitman’s Bodyguard. That film has been meekly holding up the box office since it opened three weeks ago, so the arrival of It injected some much-needed fresh energy into movie-goers. Additionally, there hadn’t been an event film arguably since Dunkirk in July, and even that juggernaut of a film didn’t have as broad of an appeal as It. Slim pickings at the marquee can create the right circumstances for an opening weekend triumph, but not necessarily one that generates $100 million. For those numbers, It needed the support of its target audience, and I’m not just talking about the demon-clown enthusiasts out there.

While that demographic is hopefully small, the appeal of It casts a wide net. Fans of the original 1990 miniseries likely came out in droves to see an updated version of the story that traumatized them 27 years ago. Then, there’s fans of the original novel, and in broader terms, Constant Readers — Stephen King’s own base of devotees, also known as the poor souls that sat through The Dark Tower. Of course, It attracted horror junkies in general, some of whom likely brought large groups of friends, as the genre entails, which accordingly gave the film’s box office numbers an extra boost. It also came hot off the heels of Stranger Things, and the film’s trailers released at around the same time that Stranger Things 2’s marketing campaign began. Both properties are 80’s-set horror stories featuring Finn Wolfhard, so fans of the hit Netflix show likely contributed to the massive opening weekend.

Ignoring the wide demographic that It appeals to, the film’s marketing was exemplary. Despite some lukewarm reactions to the first photo of Pennywise, a series of stellar trailers — creepy music and terrifying shots that tantalized without spoiling anything — ensured that It maintained a significant amount of hype. Per Variety, when footage for the film was displayed at CinemaCon last March, It started 235,000 new social media conversations, just slightly trailing behind the most talked about film, Spider-Man: Homecoming, which started 251,000 conversations. Even as It’s release date came nearer, the marketing maintained its successful streak — just watch this.

And then reviews dropped. Critics were largely favorable toward It — our own Levi Hill called it “the best Stephen King adaptation outside of Stanley Kubrick’s The Shining.” Of course, not all critically favorable films are box office hits — look no further than It Comes at Night — but still, critic responses undeniably play a part in determining financial success. Horror films too often rely on jump scares alone, so when one like It is praised for its craft and emotional resonance, cinephiles will show up for opening night.

It’s positive critical reception points to one simple fact about the film’s box office success: It is just damn good, and audiences will pay for damn good filmmaking. The script — credited to Chase Palmer, Gary Dauberman and Cary Fukunaga — deftly balances scares and character development, while Andrés Muschietti’s direction brings those scares to life. The way he directs Bill Skarsgård, who is sublime as Pennywise, makes the character hilarious at times, but always frightening. Additionally, Chung-hoon Chung proves why he is one of today’s best cinematographers — his unnerving shots amplify the terror, and he can now add It to a filmography that already includes The Handmaiden and Oldboy. Of course, the ensemble cast includes a host of incredible child actors, all with terrific careers ahead of them.

It’s financial success fits within the box office narrative of late — audiences can still parse cinematic quality, and they will pay for it. The fact remains that Michael Bay still has a Hollywood career, but Transformers: The Last Knight underperformed in the global box office — even in China, whose market made the franchise’s previous entry a billion dollar movie. Similarly, the critically panned King Arthur: Legend of the Sword was an outright flop, making $146 million on a budget of $175 million.

In contrast, original films like Get Out, Dunkirk, The Big Sick, Baby Driver and Girls Trip are all box office successes, and while they’re not pulling in cash like Wonder Woman or any of this year’s Marvel films, all of these movies show that quality filmmaking pays off in spades — Get Out made $252 million on a $4.5 million budget, Dunkirk will end up with $500 million worldwide and Girls Trip broke $100 million domestically, which is a first for a Black-led, Black-written, Black-directed and Black-produced film. It’s massive opening weekend is the latest film that speaks to an obvious message — good movies will generally make good money. Whether or not Hollywood listens is up in the air.

Featured image via Warner Bros.

Box Office Report: ‘It’ feeds on box office, floats to largest horror opening record with $117+ million

Box office tracking once again severely underestimated a film’s potential, with It blowing away initial $50 million predictions to make an estimated $117.15 million this weekend, according to Box Office Mojo. Other estimates have pushed as far as $125 million.

Not only is this a massive win for the film, but it puts It among the top of the entire year and, in certain categories, of all time. With $117.15 million, It‘s opening weekend will outgross that of Spider-Man: HomecomingWonder WomanThe Fate of the Furious and Logan (not combined). At the moment, the Stephen King adaptation, directed by Andy Muschietti and starring Bill Skarsgård as Pennywise the Dancing Clown, only stands behind Guardians of the Galaxy Vol. 2 and Beauty and the Beast, and should stay in the top 10 openings of 2017 once the year is over.

That number also marks the largest September opening ever by nearly $70 million (and possibly more so if the actuals turn out to be $125+ million) and the largest opening for a horror film ever. It falls just short of the largest R-rated opening, which belongs to Deadpool at $132.4 million.

On merely a $35 million production budget and with upwards of $60 million taken internationally, It has already made it’s money back, and then some. A sequel is in the works, but New Line Cinema (a label of Warner Bros.) will be very comfortable financing the next chapter, and perhaps offering it a larger production budget.

The weekend’s #2 is a sharp fall off from It, as Home Again, the Reese Witherspoon romantic comedy, grossed an estimated $9 million. That marks almost a $110 million difference between first and second place.

After three weekends at the number 1 spot, The Hitman’s Bodyguard falls to #3, taking an estimated $4.85 million. Despite less than favorable critical ratings, the film, made for $30 million, is massively successful.

Wind River continues a very solid run after expanding wide, with its domestic total exceeding $25 million, assuredly making its money back.

Finally, after releasing in every market, Dunkirk will soon wrap up its theatrical run. It stayed in the top 10 this weekend, landing #8 with an estimated $1.95 million. Its $183 million domestic total nears Interstellar‘s $188 million, and has a chance at passing it. The film should also reach $500 million worldwide, currently standing at $492 million, which already distinguishes it as the largest grossing World War II film of all time (not adjusted for inflation).

*All weekend numbers are domestic, meaning that they’re from theaters in the U.S. and Canada, and are also estimates, reported by Box Office Mojo, with actuals coming out in the next few days.*

Featured image via Warner Bros.