Had Disney kept Pixar’s Turning Red in theaters this weekend nationwide, that could have possibly delivered $20M-$30M+, at least providing a depth of dollars for exhibitors this weekend. That’s a theatrical hold that any rival distributor would envy three months after a pic’s release. Sony’s Spider-Man: No Way Home is still gunning toward $800M, but will stand at $792.2M by Sunday after a 13th weekend take of $4M, -11%, and a theatrical booking of 2,702 locations. Exhibition loves this type of one-night-only stuff, and there will only be more alternative programming in the future (it was already happening via Fathom, pre-pandemic). Fantastic ticket sales here in Los Angeles, San Francisco, Dallas, Houston, Chicago, Toronto, Vancouver, Sacramento, and Sat Lake City. The concert film even beat The Batman in 55 locations, and was a No. However, Trafalgar Releasing’s Saturday night stunt, BTS Permission to Dance on Stage – Seoul Live Viewing did great business, with $6.8M at 803 theaters in 170 markets, with an $8,5K theater average. If you forgot what the experience was like to laugh and cheer with a crowded theater ( Deadpool?), those movies were a screaming reminder.Ī post shared by Zoë Kravitz Turning Red‘ Disneyĭespite the pandemic calming down and the mask mandate easing in Los Angeles and New York, the middle of the box office is filled largely with holdovers. If those were test screenings last night, judging from the shared non-stop laughs between both films, it’s easy to project that the sky is the limit on both films.
BATMAN BOX OFFICE MOVIE
Down here in SXSW, the back-to-back world premieres of Paramount’s Sandra Bullock-Channing Tatum movie The Lost City, and Lionsgate’s Nicolas Cage action satire The Unbearable Weight of Massive Talent, played like gangbusters at Austin TX’s Paramount Theatre. Look around you: Moviegoing is returning the only thing missing is arguably more product. Nicolas Cage arrives for the world premiere of “The Unbearable Weight of Massive Talent” at the Paramount Theatre during SXSW. However, we’re hearing that ticket sales are broadening out to non-format auditoriums. Imax and PLF drove 26% of Batman‘s second frame.
Next time, I challenge them to do better.UK's Leavesden Production Facility To Become DC Studios Hub By 2027 As Part Of Major Warner Bros Discovery Expansion a huge artistic and commercial win, revived their most vital IP and reset the narrative around the DC Comics/DC Films cinematic franchise. After all, to paraphrase another (momentarily successful) theatrical franchise reboot, The Batman has kept theatres afloat, given Warner Bros. And when you gross $700 million on a $37 million budget, well, who cares what Scott Mendelson thinks about it? But now that we’ve gotten a proverbial The Force Awakens out of his system, I damn well want to see Reeves’ Last Jedi. That’s not the first time I’ve felt as much, as I’d argue the things that made me dislike It made it an ideal “kids first R-rated horror flick” breakout super-smash. In other words, what I’d argue was The Batman’s biggest artistic deficit turned out to be among its biggest commercial boosts. However, there’s a case to be made that the film’s (arguable) familiarity in terms of its more recent genre appropriations and in the Chris Nolan Dark Knight trilogy was not a metaphorical handicap but an implicit positive variable. That’s not necessarily a criticism, as A) money is money, B) I at least liked The Batman more than the first Saw (however, Saw VI > The Batman) and C) I adore Return of Xander Cage. Ditto the explicit genre appropriation from films like Se7en and Saw, while also seeming fresh/unique to those less exposed to its fair game cinematic inspirations ( like Klute). In that sense, Another Real-World, Mafia/Politicians-Centric Batman But Even Darker and Grittier played not just to cultural amnesia (Bruce Wayne does plenty of detective work in earlier Batman movies) but to the lure of nostalgia in these grim times.
In 2016/2017, Jason Bourne ($416 million) and xXx: Return of Xander Cage ($343 million) were commercially workable worldwide precisely because they were familiar and arguably redundant.
BATMAN BOX OFFICE PLUS
In 2002, The Bourne Identity ($214 million plus sky-high DVD renal/sales) and xXx ($267 million) tried to break out/did break out because they were different from the norm and “new” in terms of what they offered to action/spy movie fans. Beyond the strong reviews, obvious IP value, lack of competition and increase in superhero pop culture dominance, the relative familiarity was perhaps not a hindrance but rather a help. Warner Bros.’ The Batman is doing quite well despite being not all that different from Chris Nolan’s Batman Begins (with not a few plot threads borrowed from the director’s cut of Daredevil), and despite featuring villains (Penguin, Catwoman and Riddler) whom we’ve already seen onscreen before.
Similarities to Batman Begins and Se7en were a commercial help rather than a commercial hindrance.
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