Fathom Events is partnering with Warner Bros. Pictures in bringing filmmaker Daniela Völker’s timely and poignant documentary The Commandant’s Shadow to theaters across the U.S. on Wednesday, May 29, 2024, with an encore presentation the following day.
Screenings for this very special event will be available in 500+ theaters across the Fathom network of cinemas. Tickets go on sale from today at Fathom Events and participating theater box offices.
The Commandant’s Shadow follows Hans Jürgen Höss, the 87-year-old son of Rudolf Höss, as he faces his father’s terrible legacy for the first time. His father was the Camp Commandant of Auschwitz and masterminded the murder of over a million Jews.
Höss and his family’s lives were recently fictionalized in the Academy Award-winning The Zone of Interest. Now, The Commandant’s Shadow tells the story of the real people who lived on-site at Höss’s death camp.
While Hans Jurgen Höss...
Screenings for this very special event will be available in 500+ theaters across the Fathom network of cinemas. Tickets go on sale from today at Fathom Events and participating theater box offices.
The Commandant’s Shadow follows Hans Jürgen Höss, the 87-year-old son of Rudolf Höss, as he faces his father’s terrible legacy for the first time. His father was the Camp Commandant of Auschwitz and masterminded the murder of over a million Jews.
Höss and his family’s lives were recently fictionalized in the Academy Award-winning The Zone of Interest. Now, The Commandant’s Shadow tells the story of the real people who lived on-site at Höss’s death camp.
While Hans Jurgen Höss...
- 4/26/2024
- by Mirko Parlevliet
- Vital Thrills
Warner Bros. and HBO have acquired rights to “The Commandant’s Shadow,” a documentary based on the real life Höss family from “The Zone of Interest.” The film comes to theaters May 29 through a partnership with Fathom Events.
According to an official logline, “The Commandant’s Shadow”, “follows Hans Jürgen Höss, the 87-year-old son of Rudolf Höss, as he faces his father’s terrible legacy for the first time. His father was the Camp Commandant of Auschwitz and masterminded the murder of over a million Jews; the life of Höss and his family was recently fictionalized in the Academy Award-winning ‘The Zone of Interest.’ Now, ‘The Commandant’s Shadow’ tells the story of the real people who lived on site at Höss’s death camp.”
“We are always looking for opportunities to partner with our friends at Fathom, and ‘The Commandant’s Shadow’ is especially worthy of this kind of event-ized theatrical release.” said Jeff Goldstein,...
According to an official logline, “The Commandant’s Shadow”, “follows Hans Jürgen Höss, the 87-year-old son of Rudolf Höss, as he faces his father’s terrible legacy for the first time. His father was the Camp Commandant of Auschwitz and masterminded the murder of over a million Jews; the life of Höss and his family was recently fictionalized in the Academy Award-winning ‘The Zone of Interest.’ Now, ‘The Commandant’s Shadow’ tells the story of the real people who lived on site at Höss’s death camp.”
“We are always looking for opportunities to partner with our friends at Fathom, and ‘The Commandant’s Shadow’ is especially worthy of this kind of event-ized theatrical release.” said Jeff Goldstein,...
- 4/26/2024
- by Jazz Tangcay, Lexi Carson and Jack Dunn
- Variety Film + TV
Fathom Events will partner with Warner Bros. Pictures in bringing filmmaker Daniela Völker’s documentary The Commandant’s Shadow to theaters across the U.S. on Wednesday, May 29, 2024, with an encore presentation the following day. Screenings will be available in 500+ theaters across the Fathom network of cinemas. Tickets go on sale from today at Fathom Events and participating theater box offices.
The Commandant’s Shadow follows Hans Jürgen Höss, the 87-year-old son of Rudolf Höss, as he faces his father’s terrible legacy for the first time. His father was the Camp Commandant of Auschwitz and masterminded the murder of over a million Jews; the life of Höss and his family was recently fictionalized in the Academy Award-winning The Zone of Interest. Now, The Commandant’s Shadow tells the story of the real people who lived on site at Höss’s death camp.
While Hans Jurgen Höss enjoyed a happy childhood in the family villa at Auschwitz,...
The Commandant’s Shadow follows Hans Jürgen Höss, the 87-year-old son of Rudolf Höss, as he faces his father’s terrible legacy for the first time. His father was the Camp Commandant of Auschwitz and masterminded the murder of over a million Jews; the life of Höss and his family was recently fictionalized in the Academy Award-winning The Zone of Interest. Now, The Commandant’s Shadow tells the story of the real people who lived on site at Höss’s death camp.
While Hans Jurgen Höss enjoyed a happy childhood in the family villa at Auschwitz,...
- 4/26/2024
- by The Deadline Team
- Deadline Film + TV
Alan Bergman, Co-Chairman of Disney Entertainment, presents the studio’s upcoming slate at CinemaConPhoto: Jesse Grant/Getty Images for Disney
CinemaCon, as one might occasionally need to remind friends and family not particularly invested in entertainment industry conventions, isn’t the same thing as Comic-Con. It’s not an event that’s geared towards fans,...
CinemaCon, as one might occasionally need to remind friends and family not particularly invested in entertainment industry conventions, isn’t the same thing as Comic-Con. It’s not an event that’s geared towards fans,...
- 4/12/2024
- by Brent Simon
- avclub.com
Somebody in Sin City must’ve whispered his name three times because Beetlejuice manifested on the Colosseum stage at Caesars Palace Tuesday afternoon.
During Warner Bros. Pictures’ CinemaCon presentation, Tim Burton and the stars of his upcoming Beetlejuice Beetlejuice turned up to rousing applause from the capacity crowd gathered for the annual National Association of Theater Owners convention. Burton walked out first and said getting his Beetlejuice family together again was like “a big weird family reunion.”
As such, he was quickly joined by the film’s Michael Keaton, Catherine O’Hara, Willem Dafoe, Justin Theroux and Monica Bellucci. (Upon walking on stage, Keaton joked, “I wasn’t alerted to the dress code” as everyone on his film was dressed in shades of black.) Stars Winona Ryder and Jenna Ortega could not attend due to production schedules on their current projects, confirmed Warner Bros. chief Michael DeLuca who was joined onstage by his counterpart,...
During Warner Bros. Pictures’ CinemaCon presentation, Tim Burton and the stars of his upcoming Beetlejuice Beetlejuice turned up to rousing applause from the capacity crowd gathered for the annual National Association of Theater Owners convention. Burton walked out first and said getting his Beetlejuice family together again was like “a big weird family reunion.”
As such, he was quickly joined by the film’s Michael Keaton, Catherine O’Hara, Willem Dafoe, Justin Theroux and Monica Bellucci. (Upon walking on stage, Keaton joked, “I wasn’t alerted to the dress code” as everyone on his film was dressed in shades of black.) Stars Winona Ryder and Jenna Ortega could not attend due to production schedules on their current projects, confirmed Warner Bros. chief Michael DeLuca who was joined onstage by his counterpart,...
- 4/10/2024
- by Chris Gardner
- The Hollywood Reporter - Movie News
Allow Robert Pattinson to introduce himself again… and again and again.
He plays more than a dozen versions of the same character, Mickey Barnes, in director Bong Joon Ho’s upcoming sci-fi thriller “Mickey 17.”
Bong, the Oscar-winning director of “Parasite,” brought a wacky, thrilling first look at the film to CinemaCon, the annual exhibition trade show that’s currently unfolding in Las Vegas. Through an interpreter, the Korean director described “Mickey 17” as a “story about a simple man who ultimately ends up saving the world. It’s a strange type of hero’s journey.”
It’s based on Edward Ashton’s novel “Mickey 7,” but Bong opted to ever-so-slightly change the name of the film to “Mickey 17.” The number reflects how many times the main character dies, so Bong teased, “I killed him 10 more times!”
Before theater owners at CinemaCon got a sneak peek of the trailer, which...
He plays more than a dozen versions of the same character, Mickey Barnes, in director Bong Joon Ho’s upcoming sci-fi thriller “Mickey 17.”
Bong, the Oscar-winning director of “Parasite,” brought a wacky, thrilling first look at the film to CinemaCon, the annual exhibition trade show that’s currently unfolding in Las Vegas. Through an interpreter, the Korean director described “Mickey 17” as a “story about a simple man who ultimately ends up saving the world. It’s a strange type of hero’s journey.”
It’s based on Edward Ashton’s novel “Mickey 7,” but Bong opted to ever-so-slightly change the name of the film to “Mickey 17.” The number reflects how many times the main character dies, so Bong teased, “I killed him 10 more times!”
Before theater owners at CinemaCon got a sneak peek of the trailer, which...
- 4/10/2024
- by Rebecca Rubin
- Variety Film + TV
Kevin Costner is hoping a few years from now, moviegoers will have the opportunity to binge four Horizon movies in theaters.
“Maybe a year and a half, two years from now, they will come (to theaters) for 12 hours,” he told the assembled crowd of theater owners Tuesday at CinemaCon, where he teased his two-part Horizon films.
So far, only two of his planned four films have been made, he acknowledged, but he has two more scripts ready to go, should the risky film project he helped finance be successful.
“When I think about the promise of America, there was a promise out here, if you could go. If you were tough enough, if you were mean enough, if you were resourceful enough, if you were lucky enough, you could take what you wanted in America,” Costner said of the appeal of the American West. “That promise meant that we step...
“Maybe a year and a half, two years from now, they will come (to theaters) for 12 hours,” he told the assembled crowd of theater owners Tuesday at CinemaCon, where he teased his two-part Horizon films.
So far, only two of his planned four films have been made, he acknowledged, but he has two more scripts ready to go, should the risky film project he helped finance be successful.
“When I think about the promise of America, there was a promise out here, if you could go. If you were tough enough, if you were mean enough, if you were resourceful enough, if you were lucky enough, you could take what you wanted in America,” Costner said of the appeal of the American West. “That promise meant that we step...
- 4/10/2024
- by Chris Gardner and Aaron Couch
- The Hollywood Reporter - Movie News
Fans who are eager to experience—or re-experience—Warner Bros. Pictures and Legendary Pictures’ Dune: Part Two in IMAX will have even further opportunities to view the film in theaters as the critically acclaimed blockbuster extends its run in the format’s top 20 markets across North America. Beginning Friday, April 19, fans will have two additional weeks to see the film in IMAX.
This includes 70Mm IMAX in two locales: Los Angeles’s Universal Cinema AMC at CityWalk and New York City’s AMC Lincoln Square 13. The announcement was made today by Jeff Goldstein, President, Domestic Distribution at Warner Bros. Pictures.
“The incredible response to this film has proven that Denis Villeneuve has crafted an unmissable cinematic experience for audiences, whether they are fans of the first film or discovering this world for the first time through ‘Dune: Part Two,'” said Goldstein.
“The fans have spoken, and we, along with...
This includes 70Mm IMAX in two locales: Los Angeles’s Universal Cinema AMC at CityWalk and New York City’s AMC Lincoln Square 13. The announcement was made today by Jeff Goldstein, President, Domestic Distribution at Warner Bros. Pictures.
“The incredible response to this film has proven that Denis Villeneuve has crafted an unmissable cinematic experience for audiences, whether they are fans of the first film or discovering this world for the first time through ‘Dune: Part Two,'” said Goldstein.
“The fans have spoken, and we, along with...
- 4/9/2024
- by Mirko Parlevliet
- Vital Thrills
Jaws dropped at Legendary and Warner Bros. when Godzilla x Kong: The New Empire opened to $80 million in North America over Easter weekend despite getting shredded by critics. It wasn’t quite double what tracking services had predicted, but close enough. And by day 10, its global cume had hit an impressive $361.1 million as it stayed atop the chart.
So what next? “This is certainly an exciting result,” says Mary Parent, chairman of worldwide production for Josh Grode’s Legendary. Grode’s company is on an enviable winning streak, between this film and early March blockbuster Dune: Part Two. “We are in a good position to continue the journey, but let’s see how Godzilla x Kong unfolds,” Parent says. “These are early days, but we are certainly feeling good.”
Godzilla x Kong is sure to be a hot topic this week at Cinemacon, the annual gathering of cinema operators and Hollywood studios in Las Vegas.
So what next? “This is certainly an exciting result,” says Mary Parent, chairman of worldwide production for Josh Grode’s Legendary. Grode’s company is on an enviable winning streak, between this film and early March blockbuster Dune: Part Two. “We are in a good position to continue the journey, but let’s see how Godzilla x Kong unfolds,” Parent says. “These are early days, but we are certainly feeling good.”
Godzilla x Kong is sure to be a hot topic this week at Cinemacon, the annual gathering of cinema operators and Hollywood studios in Las Vegas.
- 4/9/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
The holds on Legendary/Warner Bros’ Dune Part Two have been great week-to-week since its March 1 opening, nothing steeper than -45% in a given week and as low as -36% in its third. That’s all due to Imax, and for fans who savor the Denis Villeneuve directed sequel, it’s getting an extended run in that large format exhibitor’s auditoriums.
Starting April 19, Dune: Part Two will extend its run in the format’s top 20 markets across North America. This includes 70Mm in Imax in two locales: Los Angeles’s Universal Cinema AMC at CityWalk and New York City’s AMC Lincoln Square 13.
Warner Bros. Domestic Distribution Boss Jeff Goldstein said, “The incredible response to this film has proven that Denis Villeneuve has crafted an unmissable cinematic experience for audiences, whether they are fans of the first film or discovering this world for the first time through Dune: Part Two.
Starting April 19, Dune: Part Two will extend its run in the format’s top 20 markets across North America. This includes 70Mm in Imax in two locales: Los Angeles’s Universal Cinema AMC at CityWalk and New York City’s AMC Lincoln Square 13.
Warner Bros. Domestic Distribution Boss Jeff Goldstein said, “The incredible response to this film has proven that Denis Villeneuve has crafted an unmissable cinematic experience for audiences, whether they are fans of the first film or discovering this world for the first time through Dune: Part Two.
- 4/8/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Aside from her husband, Christopher Nolan, their children and her mother-in-law, Oscar-winning producer Emma Thomas gave a shout-out to only one other person by name when accepting the Academy Award for best picture for Oppenheimer. “And I want to thank Rich Gelfond at Imax and everyone else at Imax for believing in this movie when it maybe didn’t make much sense to do so,” said Thomas.
For Gelfond, who was in the audience, that moment won’t be forgotten anytime soon and comes as his company witnesses its own atomic explosion, with more moviegoers than ever embracing the Imax and premium large-format (Plf) experience despite an average hefty upcharge of $5 per ticket (in L.A., an Imax seat can run $28). Imax collected a record $1.06 billion in global ticket sales in 2023, led by Nolan’s Oppenheimer.
As many standard auditoriums remain sparsely populated, Imax, along with a robust offering of...
For Gelfond, who was in the audience, that moment won’t be forgotten anytime soon and comes as his company witnesses its own atomic explosion, with more moviegoers than ever embracing the Imax and premium large-format (Plf) experience despite an average hefty upcharge of $5 per ticket (in L.A., an Imax seat can run $28). Imax collected a record $1.06 billion in global ticket sales in 2023, led by Nolan’s Oppenheimer.
As many standard auditoriums remain sparsely populated, Imax, along with a robust offering of...
- 4/2/2024
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Renowned filmmaker Denis Villeneuve recently made a heartfelt move that really struck a chord with fans. Before its official release on March 1st, he granted a dying fan’s final wish by showing them Dune Part Two. It’s a touching act that shows the 56-year-old’s compassion and the strong bond between creators and their audience.
Timothée Chalamet as Paul Atreides in Denis Villeneuve’s Dune : Part Two
This story isn’t just about movies; it’s about humanity, passion, and the powerful impact of art. It’s the kind of thing that leaves you feeling deeply moved and inspired.
Denis Villeneuve Sent a Laptop For a Dying Fan’s Early Dune 2 Viewing
Denis Villeneuve’s gesture really struck a chord when he sent a laptop to a fan who was terminally ill so they could watch Dune Part Two before it hit theaters. The story came to...
Timothée Chalamet as Paul Atreides in Denis Villeneuve’s Dune : Part Two
This story isn’t just about movies; it’s about humanity, passion, and the powerful impact of art. It’s the kind of thing that leaves you feeling deeply moved and inspired.
Denis Villeneuve Sent a Laptop For a Dying Fan’s Early Dune 2 Viewing
Denis Villeneuve’s gesture really struck a chord when he sent a laptop to a fan who was terminally ill so they could watch Dune Part Two before it hit theaters. The story came to...
- 3/7/2024
- by Muskan Chaudhary
- FandomWire
Not even the prophetic visions of Timothée Chalamet’s Paul Atreides, the messianic protagonist of “Dune,” could have predicted the commercial appeal of director Denis Villeneuve’s ambitious interplanetary epics.
After all, when the long-in-the-works adaptation finally gained momentum in 2017, it was superheroes, not cerebral stories, that ruled the box office. “Dune,” in particular, was notoriously difficult to translate to cinema, as Hollywood learned from director David Lynch’s disastrous 1984 version.
It wasn’t just sci-fi fans, but general audiences, too, who helped “Dune: Part Two” ride those massive sandworms to the top of box office charts. The big-budget sequel has collected a bigger-than-expected $82.5 million in North America and $182.5 million globally in its first weekend of release. It landed the biggest domestic opening of the year while helping to revive a barren box office. Initial ticket sales for the follow-up have far exceeded the original, 2021’s “Dune,” which opened to...
After all, when the long-in-the-works adaptation finally gained momentum in 2017, it was superheroes, not cerebral stories, that ruled the box office. “Dune,” in particular, was notoriously difficult to translate to cinema, as Hollywood learned from director David Lynch’s disastrous 1984 version.
It wasn’t just sci-fi fans, but general audiences, too, who helped “Dune: Part Two” ride those massive sandworms to the top of box office charts. The big-budget sequel has collected a bigger-than-expected $82.5 million in North America and $182.5 million globally in its first weekend of release. It landed the biggest domestic opening of the year while helping to revive a barren box office. Initial ticket sales for the follow-up have far exceeded the original, 2021’s “Dune,” which opened to...
- 3/4/2024
- by Rebecca Rubin
- Variety Film + TV
Sunday Am: It pays to wait.
With a near 600M social media draw boosted by Zendaya, Dave Bautista, Timothée Chalamet, Florence Pugh, and Austin Butler, the move for Legendary/Warner Bros’ Dune: Part Two from the strike-stricken desert of the first weekend of November to early March has yielded an $81.5M domestic and $178.5M global opening. EntTelligence says that translates to 5.2M admissions for 70% of the weekend’s entire foot traffic.
Though logic prevailed to delay the movie from its first weekend in November to March (a decision made back in August), that was a daunting challenge for a movie that cost $190M, 80% financed by Legendary Entertainment. And nail-biting to say the least for those involved.
Changing release dates can be expensive: There’s a start and stop of the campaign, and a re-start again. Warners is also getting an 8% distribution fee. One casualty for Dune: Part Two during the strike was skipping San Diego Comic-Con, where they were scheduled to appear. But there’s also the carry-cost/finance charges for keeping the movie on the shelf. Once you do that media buy, you’re locked.
However, Warner Bros. domestic distribution boss Jeff Goldstein knew that early March was a rich bed, having launched such movies as The Batman ($134M) and Legendary’s Kong: Skull Island ($61M) here.
However, it became clear to the parties involved with Dune: Part Two that for a movie of this cost, and to mount a campaign at the level that this movie deserved, you needed the cast. It was essential for the actors to explain to the world what a special movie Dune: Part Two is.
When it came to the sequel, Legendary Chairman Josh Grode says, “There was no question this was going to be a 100% theatrical release worldwide.” Coming away from the first movie — which was crimped by Covid and a theatrical-day-and-date release on HBO Max stateside — Legendary did a bespoke analysis and evaluated the financial impact on the first Dune, speaking with global exhibition and Warner distribution, assessing the pandemic’s impact on a country-by-country basis.
The mission: to triangulate the data to come up with what the true mean theatrical box office value was of Dune to justify the $190M net global cost, a production which reaped tax benefits from Abu Dhabi, Jordan, and Hungary.
“We had a once-in-a-lifetime cast that was ready to go, a great script, and a great filmmaker,” says Grode.
Goldstein beamed today, “Denis Villeneuve is an extraordinary filmmaker who assembled an amazing, talented cast, and Mary Parent an epic producer who shepherded this movie and helped create a cultural moment globally.
“You have to see this movie on the largest screen you can. It’s not something you can experience at home,” added the distribution chief, “Cinemas make movie stars and movie stars make cultural moments.”
The gist of their pitch in the campaign: Dune: Part Two is a movie that’s a love story about a boy falling in love with a girl, and boy becoming a man, amid a world that’s pulling them apart. Those are universal themes that required the cast to market that message.
Premium formats across IMAX, Dolby Cinema, PLFs, 70mm, and motion seating drove a massive 48% of the weekend. For Imax alone in March, they notched an opening record of $18.5M, which is a 23% share of the sequel’s 3-day.
Opening domestic records: Biggest-ever for Denis Villeneuve (beating Dune‘s $41M), biggest for Timothee Chalamet (also beating Dune), biggest for Rebecca Ferguson (beating Mission: Impossible Fallout‘s $61.2M), best for Austin Butler (besting Once Upon a Time in Hollywood‘s $41M).
In a campaign driven by Warner Bros. marketing czar Josh Goldstine, there were crucial beats to hit, and there were great waves from that.
Let’s start with the first trailer, which became a cultural moment out of last year’s CinemaCon in April, which also ran on prints of Guardians of the Galaxy Vol. 3 and Fast X. The bit highlighted key talent, along with a photo gallery in Vanity Fair. That powerful “Thumper” teaser resulted in 282M social media reach, trending in 19 markets on Twitter and 29 markets on YouTube. The trailer was the No. 1 trending video on YouTube in the U.S., and #1 in Entertainment. At 24 hours, social volume trended ahead of comps.
Trailer 2 was dropped on Mission Impossible 7, Oppenheimer, and Meg 2, as well as social media and key linear, which further targeted the Dune fan community and reached a broader audience on TikTok.
Trailer 3 came off of the fan fervor and excitement generated from Brazil Comic-Con Ccxp. Warner further amplified the spot with thanks to top influencer support, brand extensions via games/Activision support, and prime in-theater trailer placement on Aquaman 2. The trailer earned a 99% positive-to-neutral reaction on social, and trended in 13 markets on YouTube, peaking at No. 1 in the U.S. and Canada. Social volume from trailer 2 to trailer 3 had a stronger hold than trailer 1 to trailer 2, we’re told, with females engaging more than any of the comp titles.
Throughout it all, cast was the biggest driver of social conversation. TikTok alone clocked 300M impressions.
Riveting moments on social included the following:
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Dune: Part Two spots aired during key programming and pop culture moments, i.e. during the Grammy’s with Taylor Swift Artist Affinity digital surround on Spotify, in a Netflix Griselda sponsorship, the Abbot Elementary premiere, NBC’s La Brea finale, the People’s Choice Awards, American Idol premiere, CBS’ The Equalizer premiere, Daytona 500, America’s Got Talent: Fantasy League finale (NBC), The Irrational finale (NBC), The Challenge finale, SAG Awards live red carpet on E!, The Daily Show With Jon Stewart return, and Univision Premio lo nuestro on Univision. There was also a TikTok top view during the day after the Super Bowl.
Dune: Part Two tickets went on sale on Jan. 26 in a multi-promo campaign with Imax.
On Feb. 9, Dune was re-released in Imax in 50 locations in 40-plus markets, as well as 58 off-shore territories which included a 10-minute sneak peek of the sequel and an announcement about the fan screening of Dune: Part Two on Feb. 25 (which made $2M). There was also that re-issue of Christopher Nolan’s Tenet on Feb. 23, which included exclusive Imax content of Dune: Part Two.
Among the brand partners for Dune: Part Two, there was Xbox, which had movie-themed custom consoles and the world’s first floating controllers. There was a Microsoft Flight Simulator Dune Expansion Pack, as well as content with Chalamet and Butler. At the London and NY premieres, there were Microsoft Flight Simulator Influencers and a life-size Ornithopter Game Simulator.
There was also a Govee collaboration with their TV backlights, which entail an immersive viewing experience via their smart lighting products, to mirror aesthetics of the film.
Also, a Hamilton watches partnership with two limited edition watches inspired by the film.
Another biggie was Samsung, which brought Dune2’s trailer to Neo Qled 8K screens in more than 65K retail stores around the world.
Also, Smartwater with paid social media posts week of release and a NY premiere sponsorship.
Car partner was Nio in China.
EntTelligence says that most people who attended Dune: Part Two went between the hours of 5Pm-8Pm (33%), followed by 1Pm-5Pm (31%), 8Pm and later (19%), and before 1Pm (17%).
The box office data org also reports that family groups came out more on Saturday, and their activity was much higher with the more economically priced standard format ($13.94 average price overall per ticket vs. premium average price ticket of $17.43). Families constituted 13% of the audience, an increase from Friday’s 5%.
“While both days predominantly attracted non-family attendees, the increased percentage of Family Groups on Saturday suggests a slight shift in the audience composition, making it more diverse in terms of household types,” says EntTelligence. Also, when comparing family attendance and adult age group variances across IMAX, standard, and large format screenings, the standard format drew 19% family attendance versus that group’s attendance at Imax (8%) and Plf overall (12%).
The top 10 locations overall are: 1. AMC Lincoln Square New York, 2. Tcl Chinese Los Angeles, 3. Cineplex Cinema Banque Scotia Montreal, 4. AMC Metreon San Francisco, 5. Regal Irvine Spectrum Los Angeles, 6. AMC Burbank, 7. Cineplex Scotiabank Toronto, 8. AMC Empire New York, 9. AMC Universal Citywalk Los Angeles, and 10. AMC Kips Bay New York.
Meanwhile, the top markets were Los Angeles, NYC, San Francisco, Toronto, Dallas, Seattle, DC, Chicago, Salt Lake City, and Denver.
Hope is that more women turn out in the days to come: CinemaScore reports that 41% came out, which is a greater share than what PostTrak shows (37%).
Overall box office weekend hit $113M, -5% from a year ago, per ComScore. Meanwhile, thank God for Dune: Part Two, as it propelled the domestic box office for 2024 Ytd past the $1 billion line, though still -13% behind the same Jan. 1-March 3 frame a year ago.
Studio reported numbers:
1.) Dune: Part Two (Leg/WB) 4,071 theaters, Fri $32.3M, Sat $28.8M Sun $20.3M 3-day $81.5M/Wk 1
2.) Bob Marley: One Love (Par) 3,390 (-207) theaters, Fri $1.92M (-48%) Sat $3.4M Sun $2.09M 3-day $7.43M (-45%) Total $82.77M/Wk 3
3.) Ordinary Angels (LG) 3,020 theaters Fri $1.05M (-55%) Sat $1.66M Sun $1.14M 3-day $3.85M (-38%)/Total $12.5M/Wk 2
4.) Madame Web (Sony) 3,116 (-897) theaters, Fri $800K (-51%) Sat $1.46M Sun $940K 3-day $3.2M (-45%) Total $40.4M/Wk 3
5.) Chosen, Season 4, Ep. 7-8 (Fathom) 2,235 theaters, Fri $971K, Sat $1.2M Sun $936K 3-day $3.15M, Total $3.9M/Wk 1
6.) Migration (Ill/Uni) 2,204 (-230) Fri $450K (-32%) Sat $1.27M Sun $780K 3-day $2.5M (-13%) Total $123.4M/ Wk 11
7. Demon Slayer…(Sony) 1,949 theaters Fri $515K (-91%) Sat $905K Sun $645K 3-day $2.06M (-82%)/Total $15.7M/Wk 2
8.) Wonka (WB) 1,732 (-471) theaters, Fri $350K (-42%) Sat $865K Sun $520K 3-day $1.73M (-29%) Total $216.7M/Wk 12
9.) Argylle (App/Uni) 2,283 (-2) theaters, Fri $370K (-50%) Sat $650K Sun $380K Sun 3-day $1.4M (-49%) Total $43.9M/ Wk 5
10.)The Beekeeper (Amz MGM) 1,347 (-810) theaters, Fri $275K (-45%) Sat $524K Sun $314K 3-day $1.1M (-42%) Total $64.9M/Wk 8
11.)Drive-Away Dolls (Foc) 2,278 (-2) theaters Fri $300K (-71%) Sat $430K Sun $270K 3-day $1M (-58%)/Total $4.3M/Wk 2
more…
Saturday Pm: It might be raining in California and in the Northeast, but all Legendary Entertainment and Warner Bros see is sun, sun, sun, and that’s from the rays of Dune: Part Two which posted a Saturday of $28M, which indicates that this Denis Villeneuve directed space opera is heading to an $80M stateside start. Nancy says the global debut is $160M.
Dune: Part Two‘s Saturday is bigger than Oppenheimer’s ($26.2M) and Five Nights at Freddy’s ($24.2M). The former is more and more becoming the comp given the premium ticket juice Dune 2 has; that Christopher Nolan directed Oscar nominated movie legging out to a near 4x for a final domestic gross of $329M. Against the pure Friday of $20.2M (less $12M previews), Dune: Part Two is +39% today. Muy bien.
Overall estimated box office weekend for all movies is pegged at $112.2M, which is -5% from the same weekend a year ago. This despite the fact that Dune 2 is posting a higher opening than that frame’s No. 1 title, Creed III which did $58.3M. The difference is that there were more holdovers in the marketplace posting double digit million grosses, i.e. Ant-Man and the Wasp: Quantumania, Cocaine Bear and Demon Slayer.
Austin Butler and Lea Seydoux get kissy kissy as ‘Dune: Part Two’ heads to $80M
Second place belongs to Paramount’s Bob: Marley: One Love which did $3.45M, +80% over Friday for a third weekend of $7.45M, -45%, for a running total of $82.7M. Both Dune: Part Two and Bob Marley: One Love will be the first two movies of 2024 to ultimately cross the century mark.
Saturday Am: Legendary Entertainment/Warner Bros’ Dune: Part Two is shaping up at this moment to with a weekend take around $76M, which though not at that $80M expectation the industry was putting upon it, is still wonderfully 85% over of Dune‘s $41M opening, which was dampered down by Covid and pic’s avail on HBO Max. Friday came in with $32.2M, which includes previews. The last time we saw a Friday with previews north of $30M was at the end of October with Universal/Blumhouse’s Five Nights at Freddy‘s posting $39.6M which turned into an $80M opening. Dune: Part Two‘s Friday is also just under that of Oppenheimer‘s which was $33M (and an $82.4M opening).
I hear that Dune: Part Two is going to have a great Saturday. Already as of this Am, Warners has $13.5M bagged for Saturday. I understand that they’re up 30% over the pure Friday (less previews). The sequel has an excellent 80% definite recommend, and an 80% definitely see in a theater. On Friday, close to half the audience bought their ticket day of indicating strong walk-up business.
At the end of the day, Dune: Part Two is a box office blessing, make no mistake. CinemaScore is a solid A, ahead of Dune‘s A-. PostTrak is still high at 5 stars, 94% positive. That’s enough spice to keep this sci-fi epic space worm movie going.
Some see the Denis Villeneuve directed movie’s take at $72M-$75M. We’ll get into that in a minute, but this sci-fi epic has all the diagnostics to overperform tonight. The question: do more of the Zendaya fans come out and does this turn into more of a date night film than it is: 20% came with their partner/spouse while 11% brought a date versus 21% who went alone and 17% who brought one friend. Women under 25 at 10% attended, and they gave the Timothee Chalamet, Austin, Butler, Zendaya pic an 85% to the 93%-plus grades of the other demos. Dune: Part Two is dude leaning at 65%.
Right now Imax and PLFs are driving 48% of the weekend gross similar to the first Dune and an amazing share for upscale tickets. Audiences are discerning and want to see this movie in the most ideal situation, meaning the best theater, greatest premium format and the best seats. Imax alone is 27% which is an unusually high share for Imax, and that’s big push to this movie in the best formats. There is a constant near sellout of Imax, Dolby and Plf auditoriums, even during early shows, at AMC’s Porter Ranch, Universal City, and Century City, however at the Valencia Regal just outside of LA. The problem with some of these premium auditoriums at AMC is that the first two rows are too close to the screen. Often, you don’t see them selling out. What winds up happening: If a moviegoer can’t get their best seat today, then they’ll see Dune: Part Two tomorrow.
PostTrak shows 18-34 repping 55% of the audience with 24–34-year-olds the largest demo at 34% with the overall over 35 crowd repping 41% of ticket buyers.
Adam Aron’s AMC Lincoln Square in NYC is the highest grossing theater in the nation at $165K so far. While Dune: Part Two is playing best everywhere, but overperforming in the West and Mountain regions.
On PostTrak, 54% said they snapped up ticket to Dune 2 because it’s part of a franchise they love, while 33% came because it’s a Villeneuve movie, 29% for Chalamet and Butler, and 21% for Zendaya.
Of those who’ve seen the movie, 47% said they’ll watch Dune: Part Two in a theater again — more than any other home watching option.
1.) Dune: Part Two (Leg/WB) 4,071 theaters, Fri $32.2M, 3-day $76M/Wk 1
2.) Bob Marley: One Love (Par) 3,390 (-207) theaters, Fri $1.92M (-48%) 3-day $7.35M (-45%) Total $82.6M/Wk 3
3.) Ordinary Angels (LG) 3,020 theaters Fri $1.05M (-55%) 3-day $3.7M (-40%)/Total $12.4M/Wk 2
4.) Chosen, Season 4, Ep. 7-8 (Fathom) 2,235 theaters, Fri $971K, 3-day $3.4M, Total $4.1M/Wk 1
5.) Madame Web (Sony) 3,116 (-897) theaters, Fri $800K (-51%) 3-day $2.85M (-52%) Total $40M/Wk 3
6.) Migration (Ill/Uni) 2,204 (-230) Fri $450K (-32%) 3-day $2M (-30%) Total $122.9M/ Wk 11
7.) Demon Slayer…(Sony) 1,949 theaters Fri $515K (-91%) 3-day $1.86M (-84%)/Total $15.5M/Wk 2
8.) Wonka (WB) 1,732 (-471) theaters, Fri $380K (-37%) 3-day $1.47M (-40%) Total $216.4M/Wk 12
9.) Argylle (App/Uni) 2,283 (-2) theaters, Fri $360K (-51%) 3-day $1.3M (-53%) Total $43.8M/ Wk 5
10.)The Beekeeper (Amz MGM) 1,347 (-810) theaters, Fri $275K (-45%) 3-day $1.02M (-48%) Total $64.8M/Wk 8
11.)Drive-Away Dolls (Foc) 2,278 (-2) theaters Fri $290K (-71%) 3-day $1M (-58%)/Total $4.3M/Wk 2
Updated, Friday late afternoon: The $190 million Legendary Entertainment/Warner Bros sequel Dune: Part Two is heading for a $30 million-$34 million Friday, inclusive of $12M previews, for what’s shaping up to be a $70M-$80M weekend at 4,071 theaters. Lower estimates stem from the fact that this movie is not a younger-skewing fanboy movie; those over 25 attended last night at 77%, with guys over 25 repping 53% of the crowd.
Last night’s Screen Engine/Comscore PostTrak exits were from another galaxy at 5 stars, 94% positive. Women over 25 at 24% were the second-biggest demo, followed by men under 25 at 15% and women under 25 trailing at 8% (that portion of Zendaya’s fans haven’t showed up yet). The 25-44 demo repped 53% of the audience. Diversity demos were 48% Caucasian, 22% Hispanic and Latino, 13% Black, 10% Asian and 7% other.
I’m told there are still seats available — indicative in the pic’s opening. But if you’re trying to get seats this weekend in the Dolby auditorium of AMC’s Century City or Porter Ranch location, fuhgettaboutit.
We’ll have more updates as they come.
Related: ‘Dune: Part Two’ Movie Posters and Images: Timothée Chalamet, Zendaya, Austin Butler, Florence Pugh, Josh Brolin & More
Updated, Friday Am after Thursday Exclusive: Legendary/Warner Bros’ Dune Part Two has now grown to $12 million-plus in previews, Warner Bros said Friday. That’s from 4,500 locations; Imax alone delivered $4.5M of that number, or 38%. Of that preview figure, $2M came from an Imax fan screening on February 25. Audience reactions have hit Rotten Tomatoes and they’re at 95%, which is great. Denis Villeneuve’s first Dune saw 83% certified fresh from Rt critics and 90% from Rt audiences.
Dune: Part Two preview cash is just under that of Deadpool, which did $12.7M in 2016, and it’s just under the $13M made from Warner’s The Hobbit: An Unexpected Journey (midnight show starts back in 2012). Again, those didn’t have any fan screening money built in, but that’s interesting range of fanboy comps for two movies that opened to $132.4M and $84.6M, respectively.
Dune: Part Two is roughly 10 minutes longer than the 2021 version at 2 hours and 46 minutes. Given how important it is for fans to see this movie in Imax or a premium format, it will be interesting to see whether there’s a slow burn on this. Some box office sources have assumed the sequel is front-loaded, but it’s clear Dune: Part Two demands appointment viewing; moviegoers will want the right seats in the right auditorium for a near three-hour feature. Imax, Dolby Cinema and PLFs were a massive driver on the first pic, repping 50% of its $41M 3-day. Imax theaters alone delivered $9M from 404 screens on the first Dune for 22.5% of the weekend.
The last Dune saw $5.1M in previews delivering a $17.5M opening day, or 29%.
Meanwhile, movie theaters are approaching this movie like it’s Star Wars. Well beyond AMC’s Sandworm popcorn bucket (which are going for close to $70 on Etsy), chains are selling Dune-themed drinks.
Megaplex denizens drinking blue worm juice.
At Santikos Theatres in Texas the bar special is the Arrakis Sunset. At the Larry H. Miller Megaplex theaters in Utah, they’re serving blue worm juice (aka “The Water of Life”), which actually is Powerade.
The last Dune received an A- CinemaScore and 4 1/2 stars, 84% positive on Comscore/Screen Engine’s PostTrak, with a 66% definite recommend.
Yesterday, Deadline’s Nancy Tartaglione reported Wednesday’s offshore results, which were $7.6M (that includes previews) from 13 markets including No. 1s in each, particularly France, Italy and Korea.
Exclusive, Thursday Pm: Welcome back to the cinema, everyone.
Legendary Entertainment/Warner Bros’ Dune: Part Two is off to a strong start with $10 million-plus in previews, per industry estimates Thursday. We hear that figure includes $2M from the Imax fan event screening that took place February 25. Note that these numbers do not come from Warner Bros, so they might be higher or lower Friday morning. Previews began at 3 p.m. today.
At $10M+, that’s the biggest preview cash we’ve seen since Barbenheimer on Thursday, July 20, when Warner Bros’ Barbie made $22.3M and Universal’s Oppenheimer did $10.5M. Also, Five Nights at Freddy’s, despite going day-and-date on Universal’s Peacock streaming service put up a great Thursday night preview of $10.3M on October 26.
Freddy’s opened to $80M, while Oppenheimer started at $82.4M. That’s the top end of where many are expecting the Denis Villeneuve-directed sequel to come in this weekend.
Far and away, Dune: Part Two‘s previews are ahead of the Thursday night of 2021’s Dune, which did $5.1M from showtimes that started at 6 p.m. They’re also ahead of John Wick: Chapter 4‘s $8.9M; that movie put up a $73.8M three-day total.
What is slightly difficult in projecting at this point is that presales for Dune: Part Two are premium-format frontloaded and standard advance ticket sales are Ok, per sources. Advance ticket sales of $18M typically indicates a movie will open to north of $100M, but many in distribution circles are taking those presales with a grain of salt.
Dune: Part Two has everything going for it: 95% certified fresh on Rotten Tomatoes with critics and a social media universe per RelishMix of 575.5M across Facebook, X, YouTube, Instagram and TikTok. That easily blows away the 468.9M Smu of the first Dune in October 2021 which was available day-and-date on HBO Max.
Reports RelishMix: “An element in re-dating Dune 2 in the strike from the first weekend in November was clearly the social fire-power of the cast with Zendaya at 227.8M, Dave Bautista at 180.1M, Timothée Chalamet at 21.1M, Florence Pugh at 9.5M, Austin Butler at 5.2M and Josh Brolin at 3.3M.”
On the social media monitor’s rule stick that’s “full activation at 10 on a scale of 10 with all cast super social and fully activated across all social platforms.”
Nothing but sun, sun, sun for Dune as far as social media chatter goes, just like its desert setting.
Says RelishMix, “Convo tone on Dune: Part 2 runs positive with chatter on all aspects of the film — everything from the camerawork to the soundtrack is drowning in praise: ‘I am so impressed by the scale of these movies. These are a masterclass in filmmaking; they don’t make them like this anymore.’ The ensemble cast is energizing fans, saying, ‘We get to see more of Zendaya!’ and, ‘It’s So good to see Christopher Walken back in action again.’ Fans are unanimous that director Denis Villeneuve can be trusted to deliver the goods as always, with fans remembering his work on Dune and Blade Runner 2049. Many comps this to original The Lord of the Rings trilogy. The score, by composer Hans Zimmer, is particularly getting fans riled up. ‘That music! Goosebumps galore! Zimmer does it again!’ The film is being described as even more than a blockbuster, instead as a “complex geopolitical thriller,’ and fans want more of it: “This better be a 3+ hour movie.'”
We’ll have more updates as they come.
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With a near 600M social media draw boosted by Zendaya, Dave Bautista, Timothée Chalamet, Florence Pugh, and Austin Butler, the move for Legendary/Warner Bros’ Dune: Part Two from the strike-stricken desert of the first weekend of November to early March has yielded an $81.5M domestic and $178.5M global opening. EntTelligence says that translates to 5.2M admissions for 70% of the weekend’s entire foot traffic.
Though logic prevailed to delay the movie from its first weekend in November to March (a decision made back in August), that was a daunting challenge for a movie that cost $190M, 80% financed by Legendary Entertainment. And nail-biting to say the least for those involved.
Changing release dates can be expensive: There’s a start and stop of the campaign, and a re-start again. Warners is also getting an 8% distribution fee. One casualty for Dune: Part Two during the strike was skipping San Diego Comic-Con, where they were scheduled to appear. But there’s also the carry-cost/finance charges for keeping the movie on the shelf. Once you do that media buy, you’re locked.
However, Warner Bros. domestic distribution boss Jeff Goldstein knew that early March was a rich bed, having launched such movies as The Batman ($134M) and Legendary’s Kong: Skull Island ($61M) here.
However, it became clear to the parties involved with Dune: Part Two that for a movie of this cost, and to mount a campaign at the level that this movie deserved, you needed the cast. It was essential for the actors to explain to the world what a special movie Dune: Part Two is.
When it came to the sequel, Legendary Chairman Josh Grode says, “There was no question this was going to be a 100% theatrical release worldwide.” Coming away from the first movie — which was crimped by Covid and a theatrical-day-and-date release on HBO Max stateside — Legendary did a bespoke analysis and evaluated the financial impact on the first Dune, speaking with global exhibition and Warner distribution, assessing the pandemic’s impact on a country-by-country basis.
The mission: to triangulate the data to come up with what the true mean theatrical box office value was of Dune to justify the $190M net global cost, a production which reaped tax benefits from Abu Dhabi, Jordan, and Hungary.
“We had a once-in-a-lifetime cast that was ready to go, a great script, and a great filmmaker,” says Grode.
Goldstein beamed today, “Denis Villeneuve is an extraordinary filmmaker who assembled an amazing, talented cast, and Mary Parent an epic producer who shepherded this movie and helped create a cultural moment globally.
“You have to see this movie on the largest screen you can. It’s not something you can experience at home,” added the distribution chief, “Cinemas make movie stars and movie stars make cultural moments.”
The gist of their pitch in the campaign: Dune: Part Two is a movie that’s a love story about a boy falling in love with a girl, and boy becoming a man, amid a world that’s pulling them apart. Those are universal themes that required the cast to market that message.
Premium formats across IMAX, Dolby Cinema, PLFs, 70mm, and motion seating drove a massive 48% of the weekend. For Imax alone in March, they notched an opening record of $18.5M, which is a 23% share of the sequel’s 3-day.
Opening domestic records: Biggest-ever for Denis Villeneuve (beating Dune‘s $41M), biggest for Timothee Chalamet (also beating Dune), biggest for Rebecca Ferguson (beating Mission: Impossible Fallout‘s $61.2M), best for Austin Butler (besting Once Upon a Time in Hollywood‘s $41M).
In a campaign driven by Warner Bros. marketing czar Josh Goldstine, there were crucial beats to hit, and there were great waves from that.
Let’s start with the first trailer, which became a cultural moment out of last year’s CinemaCon in April, which also ran on prints of Guardians of the Galaxy Vol. 3 and Fast X. The bit highlighted key talent, along with a photo gallery in Vanity Fair. That powerful “Thumper” teaser resulted in 282M social media reach, trending in 19 markets on Twitter and 29 markets on YouTube. The trailer was the No. 1 trending video on YouTube in the U.S., and #1 in Entertainment. At 24 hours, social volume trended ahead of comps.
Trailer 2 was dropped on Mission Impossible 7, Oppenheimer, and Meg 2, as well as social media and key linear, which further targeted the Dune fan community and reached a broader audience on TikTok.
Trailer 3 came off of the fan fervor and excitement generated from Brazil Comic-Con Ccxp. Warner further amplified the spot with thanks to top influencer support, brand extensions via games/Activision support, and prime in-theater trailer placement on Aquaman 2. The trailer earned a 99% positive-to-neutral reaction on social, and trended in 13 markets on YouTube, peaking at No. 1 in the U.S. and Canada. Social volume from trailer 2 to trailer 3 had a stronger hold than trailer 1 to trailer 2, we’re told, with females engaging more than any of the comp titles.
Throughout it all, cast was the biggest driver of social conversation. TikTok alone clocked 300M impressions.
Riveting moments on social included the following:
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Dune: Part Two spots aired during key programming and pop culture moments, i.e. during the Grammy’s with Taylor Swift Artist Affinity digital surround on Spotify, in a Netflix Griselda sponsorship, the Abbot Elementary premiere, NBC’s La Brea finale, the People’s Choice Awards, American Idol premiere, CBS’ The Equalizer premiere, Daytona 500, America’s Got Talent: Fantasy League finale (NBC), The Irrational finale (NBC), The Challenge finale, SAG Awards live red carpet on E!, The Daily Show With Jon Stewart return, and Univision Premio lo nuestro on Univision. There was also a TikTok top view during the day after the Super Bowl.
Dune: Part Two tickets went on sale on Jan. 26 in a multi-promo campaign with Imax.
On Feb. 9, Dune was re-released in Imax in 50 locations in 40-plus markets, as well as 58 off-shore territories which included a 10-minute sneak peek of the sequel and an announcement about the fan screening of Dune: Part Two on Feb. 25 (which made $2M). There was also that re-issue of Christopher Nolan’s Tenet on Feb. 23, which included exclusive Imax content of Dune: Part Two.
Among the brand partners for Dune: Part Two, there was Xbox, which had movie-themed custom consoles and the world’s first floating controllers. There was a Microsoft Flight Simulator Dune Expansion Pack, as well as content with Chalamet and Butler. At the London and NY premieres, there were Microsoft Flight Simulator Influencers and a life-size Ornithopter Game Simulator.
There was also a Govee collaboration with their TV backlights, which entail an immersive viewing experience via their smart lighting products, to mirror aesthetics of the film.
Also, a Hamilton watches partnership with two limited edition watches inspired by the film.
Another biggie was Samsung, which brought Dune2’s trailer to Neo Qled 8K screens in more than 65K retail stores around the world.
Also, Smartwater with paid social media posts week of release and a NY premiere sponsorship.
Car partner was Nio in China.
EntTelligence says that most people who attended Dune: Part Two went between the hours of 5Pm-8Pm (33%), followed by 1Pm-5Pm (31%), 8Pm and later (19%), and before 1Pm (17%).
The box office data org also reports that family groups came out more on Saturday, and their activity was much higher with the more economically priced standard format ($13.94 average price overall per ticket vs. premium average price ticket of $17.43). Families constituted 13% of the audience, an increase from Friday’s 5%.
“While both days predominantly attracted non-family attendees, the increased percentage of Family Groups on Saturday suggests a slight shift in the audience composition, making it more diverse in terms of household types,” says EntTelligence. Also, when comparing family attendance and adult age group variances across IMAX, standard, and large format screenings, the standard format drew 19% family attendance versus that group’s attendance at Imax (8%) and Plf overall (12%).
The top 10 locations overall are: 1. AMC Lincoln Square New York, 2. Tcl Chinese Los Angeles, 3. Cineplex Cinema Banque Scotia Montreal, 4. AMC Metreon San Francisco, 5. Regal Irvine Spectrum Los Angeles, 6. AMC Burbank, 7. Cineplex Scotiabank Toronto, 8. AMC Empire New York, 9. AMC Universal Citywalk Los Angeles, and 10. AMC Kips Bay New York.
Meanwhile, the top markets were Los Angeles, NYC, San Francisco, Toronto, Dallas, Seattle, DC, Chicago, Salt Lake City, and Denver.
Hope is that more women turn out in the days to come: CinemaScore reports that 41% came out, which is a greater share than what PostTrak shows (37%).
Overall box office weekend hit $113M, -5% from a year ago, per ComScore. Meanwhile, thank God for Dune: Part Two, as it propelled the domestic box office for 2024 Ytd past the $1 billion line, though still -13% behind the same Jan. 1-March 3 frame a year ago.
Studio reported numbers:
1.) Dune: Part Two (Leg/WB) 4,071 theaters, Fri $32.3M, Sat $28.8M Sun $20.3M 3-day $81.5M/Wk 1
2.) Bob Marley: One Love (Par) 3,390 (-207) theaters, Fri $1.92M (-48%) Sat $3.4M Sun $2.09M 3-day $7.43M (-45%) Total $82.77M/Wk 3
3.) Ordinary Angels (LG) 3,020 theaters Fri $1.05M (-55%) Sat $1.66M Sun $1.14M 3-day $3.85M (-38%)/Total $12.5M/Wk 2
4.) Madame Web (Sony) 3,116 (-897) theaters, Fri $800K (-51%) Sat $1.46M Sun $940K 3-day $3.2M (-45%) Total $40.4M/Wk 3
5.) Chosen, Season 4, Ep. 7-8 (Fathom) 2,235 theaters, Fri $971K, Sat $1.2M Sun $936K 3-day $3.15M, Total $3.9M/Wk 1
6.) Migration (Ill/Uni) 2,204 (-230) Fri $450K (-32%) Sat $1.27M Sun $780K 3-day $2.5M (-13%) Total $123.4M/ Wk 11
7. Demon Slayer…(Sony) 1,949 theaters Fri $515K (-91%) Sat $905K Sun $645K 3-day $2.06M (-82%)/Total $15.7M/Wk 2
8.) Wonka (WB) 1,732 (-471) theaters, Fri $350K (-42%) Sat $865K Sun $520K 3-day $1.73M (-29%) Total $216.7M/Wk 12
9.) Argylle (App/Uni) 2,283 (-2) theaters, Fri $370K (-50%) Sat $650K Sun $380K Sun 3-day $1.4M (-49%) Total $43.9M/ Wk 5
10.)The Beekeeper (Amz MGM) 1,347 (-810) theaters, Fri $275K (-45%) Sat $524K Sun $314K 3-day $1.1M (-42%) Total $64.9M/Wk 8
11.)Drive-Away Dolls (Foc) 2,278 (-2) theaters Fri $300K (-71%) Sat $430K Sun $270K 3-day $1M (-58%)/Total $4.3M/Wk 2
more…
Saturday Pm: It might be raining in California and in the Northeast, but all Legendary Entertainment and Warner Bros see is sun, sun, sun, and that’s from the rays of Dune: Part Two which posted a Saturday of $28M, which indicates that this Denis Villeneuve directed space opera is heading to an $80M stateside start. Nancy says the global debut is $160M.
Dune: Part Two‘s Saturday is bigger than Oppenheimer’s ($26.2M) and Five Nights at Freddy’s ($24.2M). The former is more and more becoming the comp given the premium ticket juice Dune 2 has; that Christopher Nolan directed Oscar nominated movie legging out to a near 4x for a final domestic gross of $329M. Against the pure Friday of $20.2M (less $12M previews), Dune: Part Two is +39% today. Muy bien.
Overall estimated box office weekend for all movies is pegged at $112.2M, which is -5% from the same weekend a year ago. This despite the fact that Dune 2 is posting a higher opening than that frame’s No. 1 title, Creed III which did $58.3M. The difference is that there were more holdovers in the marketplace posting double digit million grosses, i.e. Ant-Man and the Wasp: Quantumania, Cocaine Bear and Demon Slayer.
Austin Butler and Lea Seydoux get kissy kissy as ‘Dune: Part Two’ heads to $80M
Second place belongs to Paramount’s Bob: Marley: One Love which did $3.45M, +80% over Friday for a third weekend of $7.45M, -45%, for a running total of $82.7M. Both Dune: Part Two and Bob Marley: One Love will be the first two movies of 2024 to ultimately cross the century mark.
Saturday Am: Legendary Entertainment/Warner Bros’ Dune: Part Two is shaping up at this moment to with a weekend take around $76M, which though not at that $80M expectation the industry was putting upon it, is still wonderfully 85% over of Dune‘s $41M opening, which was dampered down by Covid and pic’s avail on HBO Max. Friday came in with $32.2M, which includes previews. The last time we saw a Friday with previews north of $30M was at the end of October with Universal/Blumhouse’s Five Nights at Freddy‘s posting $39.6M which turned into an $80M opening. Dune: Part Two‘s Friday is also just under that of Oppenheimer‘s which was $33M (and an $82.4M opening).
I hear that Dune: Part Two is going to have a great Saturday. Already as of this Am, Warners has $13.5M bagged for Saturday. I understand that they’re up 30% over the pure Friday (less previews). The sequel has an excellent 80% definite recommend, and an 80% definitely see in a theater. On Friday, close to half the audience bought their ticket day of indicating strong walk-up business.
At the end of the day, Dune: Part Two is a box office blessing, make no mistake. CinemaScore is a solid A, ahead of Dune‘s A-. PostTrak is still high at 5 stars, 94% positive. That’s enough spice to keep this sci-fi epic space worm movie going.
Some see the Denis Villeneuve directed movie’s take at $72M-$75M. We’ll get into that in a minute, but this sci-fi epic has all the diagnostics to overperform tonight. The question: do more of the Zendaya fans come out and does this turn into more of a date night film than it is: 20% came with their partner/spouse while 11% brought a date versus 21% who went alone and 17% who brought one friend. Women under 25 at 10% attended, and they gave the Timothee Chalamet, Austin, Butler, Zendaya pic an 85% to the 93%-plus grades of the other demos. Dune: Part Two is dude leaning at 65%.
Right now Imax and PLFs are driving 48% of the weekend gross similar to the first Dune and an amazing share for upscale tickets. Audiences are discerning and want to see this movie in the most ideal situation, meaning the best theater, greatest premium format and the best seats. Imax alone is 27% which is an unusually high share for Imax, and that’s big push to this movie in the best formats. There is a constant near sellout of Imax, Dolby and Plf auditoriums, even during early shows, at AMC’s Porter Ranch, Universal City, and Century City, however at the Valencia Regal just outside of LA. The problem with some of these premium auditoriums at AMC is that the first two rows are too close to the screen. Often, you don’t see them selling out. What winds up happening: If a moviegoer can’t get their best seat today, then they’ll see Dune: Part Two tomorrow.
PostTrak shows 18-34 repping 55% of the audience with 24–34-year-olds the largest demo at 34% with the overall over 35 crowd repping 41% of ticket buyers.
Adam Aron’s AMC Lincoln Square in NYC is the highest grossing theater in the nation at $165K so far. While Dune: Part Two is playing best everywhere, but overperforming in the West and Mountain regions.
On PostTrak, 54% said they snapped up ticket to Dune 2 because it’s part of a franchise they love, while 33% came because it’s a Villeneuve movie, 29% for Chalamet and Butler, and 21% for Zendaya.
Of those who’ve seen the movie, 47% said they’ll watch Dune: Part Two in a theater again — more than any other home watching option.
1.) Dune: Part Two (Leg/WB) 4,071 theaters, Fri $32.2M, 3-day $76M/Wk 1
2.) Bob Marley: One Love (Par) 3,390 (-207) theaters, Fri $1.92M (-48%) 3-day $7.35M (-45%) Total $82.6M/Wk 3
3.) Ordinary Angels (LG) 3,020 theaters Fri $1.05M (-55%) 3-day $3.7M (-40%)/Total $12.4M/Wk 2
4.) Chosen, Season 4, Ep. 7-8 (Fathom) 2,235 theaters, Fri $971K, 3-day $3.4M, Total $4.1M/Wk 1
5.) Madame Web (Sony) 3,116 (-897) theaters, Fri $800K (-51%) 3-day $2.85M (-52%) Total $40M/Wk 3
6.) Migration (Ill/Uni) 2,204 (-230) Fri $450K (-32%) 3-day $2M (-30%) Total $122.9M/ Wk 11
7.) Demon Slayer…(Sony) 1,949 theaters Fri $515K (-91%) 3-day $1.86M (-84%)/Total $15.5M/Wk 2
8.) Wonka (WB) 1,732 (-471) theaters, Fri $380K (-37%) 3-day $1.47M (-40%) Total $216.4M/Wk 12
9.) Argylle (App/Uni) 2,283 (-2) theaters, Fri $360K (-51%) 3-day $1.3M (-53%) Total $43.8M/ Wk 5
10.)The Beekeeper (Amz MGM) 1,347 (-810) theaters, Fri $275K (-45%) 3-day $1.02M (-48%) Total $64.8M/Wk 8
11.)Drive-Away Dolls (Foc) 2,278 (-2) theaters Fri $290K (-71%) 3-day $1M (-58%)/Total $4.3M/Wk 2
Updated, Friday late afternoon: The $190 million Legendary Entertainment/Warner Bros sequel Dune: Part Two is heading for a $30 million-$34 million Friday, inclusive of $12M previews, for what’s shaping up to be a $70M-$80M weekend at 4,071 theaters. Lower estimates stem from the fact that this movie is not a younger-skewing fanboy movie; those over 25 attended last night at 77%, with guys over 25 repping 53% of the crowd.
Last night’s Screen Engine/Comscore PostTrak exits were from another galaxy at 5 stars, 94% positive. Women over 25 at 24% were the second-biggest demo, followed by men under 25 at 15% and women under 25 trailing at 8% (that portion of Zendaya’s fans haven’t showed up yet). The 25-44 demo repped 53% of the audience. Diversity demos were 48% Caucasian, 22% Hispanic and Latino, 13% Black, 10% Asian and 7% other.
I’m told there are still seats available — indicative in the pic’s opening. But if you’re trying to get seats this weekend in the Dolby auditorium of AMC’s Century City or Porter Ranch location, fuhgettaboutit.
We’ll have more updates as they come.
Related: ‘Dune: Part Two’ Movie Posters and Images: Timothée Chalamet, Zendaya, Austin Butler, Florence Pugh, Josh Brolin & More
Updated, Friday Am after Thursday Exclusive: Legendary/Warner Bros’ Dune Part Two has now grown to $12 million-plus in previews, Warner Bros said Friday. That’s from 4,500 locations; Imax alone delivered $4.5M of that number, or 38%. Of that preview figure, $2M came from an Imax fan screening on February 25. Audience reactions have hit Rotten Tomatoes and they’re at 95%, which is great. Denis Villeneuve’s first Dune saw 83% certified fresh from Rt critics and 90% from Rt audiences.
Dune: Part Two preview cash is just under that of Deadpool, which did $12.7M in 2016, and it’s just under the $13M made from Warner’s The Hobbit: An Unexpected Journey (midnight show starts back in 2012). Again, those didn’t have any fan screening money built in, but that’s interesting range of fanboy comps for two movies that opened to $132.4M and $84.6M, respectively.
Dune: Part Two is roughly 10 minutes longer than the 2021 version at 2 hours and 46 minutes. Given how important it is for fans to see this movie in Imax or a premium format, it will be interesting to see whether there’s a slow burn on this. Some box office sources have assumed the sequel is front-loaded, but it’s clear Dune: Part Two demands appointment viewing; moviegoers will want the right seats in the right auditorium for a near three-hour feature. Imax, Dolby Cinema and PLFs were a massive driver on the first pic, repping 50% of its $41M 3-day. Imax theaters alone delivered $9M from 404 screens on the first Dune for 22.5% of the weekend.
The last Dune saw $5.1M in previews delivering a $17.5M opening day, or 29%.
Meanwhile, movie theaters are approaching this movie like it’s Star Wars. Well beyond AMC’s Sandworm popcorn bucket (which are going for close to $70 on Etsy), chains are selling Dune-themed drinks.
Megaplex denizens drinking blue worm juice.
At Santikos Theatres in Texas the bar special is the Arrakis Sunset. At the Larry H. Miller Megaplex theaters in Utah, they’re serving blue worm juice (aka “The Water of Life”), which actually is Powerade.
The last Dune received an A- CinemaScore and 4 1/2 stars, 84% positive on Comscore/Screen Engine’s PostTrak, with a 66% definite recommend.
Yesterday, Deadline’s Nancy Tartaglione reported Wednesday’s offshore results, which were $7.6M (that includes previews) from 13 markets including No. 1s in each, particularly France, Italy and Korea.
Exclusive, Thursday Pm: Welcome back to the cinema, everyone.
Legendary Entertainment/Warner Bros’ Dune: Part Two is off to a strong start with $10 million-plus in previews, per industry estimates Thursday. We hear that figure includes $2M from the Imax fan event screening that took place February 25. Note that these numbers do not come from Warner Bros, so they might be higher or lower Friday morning. Previews began at 3 p.m. today.
At $10M+, that’s the biggest preview cash we’ve seen since Barbenheimer on Thursday, July 20, when Warner Bros’ Barbie made $22.3M and Universal’s Oppenheimer did $10.5M. Also, Five Nights at Freddy’s, despite going day-and-date on Universal’s Peacock streaming service put up a great Thursday night preview of $10.3M on October 26.
Freddy’s opened to $80M, while Oppenheimer started at $82.4M. That’s the top end of where many are expecting the Denis Villeneuve-directed sequel to come in this weekend.
Far and away, Dune: Part Two‘s previews are ahead of the Thursday night of 2021’s Dune, which did $5.1M from showtimes that started at 6 p.m. They’re also ahead of John Wick: Chapter 4‘s $8.9M; that movie put up a $73.8M three-day total.
What is slightly difficult in projecting at this point is that presales for Dune: Part Two are premium-format frontloaded and standard advance ticket sales are Ok, per sources. Advance ticket sales of $18M typically indicates a movie will open to north of $100M, but many in distribution circles are taking those presales with a grain of salt.
Dune: Part Two has everything going for it: 95% certified fresh on Rotten Tomatoes with critics and a social media universe per RelishMix of 575.5M across Facebook, X, YouTube, Instagram and TikTok. That easily blows away the 468.9M Smu of the first Dune in October 2021 which was available day-and-date on HBO Max.
Reports RelishMix: “An element in re-dating Dune 2 in the strike from the first weekend in November was clearly the social fire-power of the cast with Zendaya at 227.8M, Dave Bautista at 180.1M, Timothée Chalamet at 21.1M, Florence Pugh at 9.5M, Austin Butler at 5.2M and Josh Brolin at 3.3M.”
On the social media monitor’s rule stick that’s “full activation at 10 on a scale of 10 with all cast super social and fully activated across all social platforms.”
Nothing but sun, sun, sun for Dune as far as social media chatter goes, just like its desert setting.
Says RelishMix, “Convo tone on Dune: Part 2 runs positive with chatter on all aspects of the film — everything from the camerawork to the soundtrack is drowning in praise: ‘I am so impressed by the scale of these movies. These are a masterclass in filmmaking; they don’t make them like this anymore.’ The ensemble cast is energizing fans, saying, ‘We get to see more of Zendaya!’ and, ‘It’s So good to see Christopher Walken back in action again.’ Fans are unanimous that director Denis Villeneuve can be trusted to deliver the goods as always, with fans remembering his work on Dune and Blade Runner 2049. Many comps this to original The Lord of the Rings trilogy. The score, by composer Hans Zimmer, is particularly getting fans riled up. ‘That music! Goosebumps galore! Zimmer does it again!’ The film is being described as even more than a blockbuster, instead as a “complex geopolitical thriller,’ and fans want more of it: “This better be a 3+ hour movie.'”
We’ll have more updates as they come.
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- 3/3/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Ed Mintz, the founder of the motion picture industry’s tried-and-true audience polling service CinemaScore, died February 6. He was 83.
Known for its mathematical “Coca-Cola” algorithm developed by Mintz, CinemaScore has been prized by studios and exhibitors since its inception in the early 1980s as a domestic box office barometer for movies when it comes to its opening-night audience grades. Pre-pandemic, an A+ CinemaScore meant a movie could leg out to a 4.8x multiple off its U.S./Canada box office opening; a B+ meant a 3.2x multiple to final domestic gross; C+ and D+ 2.4x; and an F 2.2x.
CinemaScore continues to be operated by Mintz’s two sons, Harold and Ricky Mintz.
Mintz, a math wizard since his teenage years when he penned a book about square roots, The Mintz Method, sparked to the idea for CinemaScore in his late 30s in 1978. Mintz and his wife, along with another couple,...
Known for its mathematical “Coca-Cola” algorithm developed by Mintz, CinemaScore has been prized by studios and exhibitors since its inception in the early 1980s as a domestic box office barometer for movies when it comes to its opening-night audience grades. Pre-pandemic, an A+ CinemaScore meant a movie could leg out to a 4.8x multiple off its U.S./Canada box office opening; a B+ meant a 3.2x multiple to final domestic gross; C+ and D+ 2.4x; and an F 2.2x.
CinemaScore continues to be operated by Mintz’s two sons, Harold and Ricky Mintz.
Mintz, a math wizard since his teenage years when he penned a book about square roots, The Mintz Method, sparked to the idea for CinemaScore in his late 30s in 1978. Mintz and his wife, along with another couple,...
- 2/10/2024
- by Anthony D'Alessandro
- Deadline Film + TV
Haven’t had Kenough of ‘Barbie’?
Good news: the billion-dollar blockbuster is returning to movie theaters for one week starting Friday, Jan. 26. Tickets are currently available for purchase.
Earlier this week, Greta Gerwig and Margot Robbie’s pink fantasy comedy landed eight Academy Award nominations, including best picture and supporting acting nods for Ryan Gosling and America Ferrera.
Warner Bros.’ president of domestic distribution, Jeff Goldstein, and head of international distribution, Andrew Cripps, said of the re-release: “We’ve said it before and we’ll say it again, we’ve never seen anything like the absolute cultural phenomenon that is ‘Barbie.’ This masterful vision for Mattel’s doll could only have come from the creative minds of Greta Gerwig and Noah Baumbach, and in Greta’s hands, ‘Barbie’ became a must-go, must-see, must-wear-pink cinematic experience that was a brilliantly subversive commentary on our society, couched in an undeniably entertaining story.
Good news: the billion-dollar blockbuster is returning to movie theaters for one week starting Friday, Jan. 26. Tickets are currently available for purchase.
Earlier this week, Greta Gerwig and Margot Robbie’s pink fantasy comedy landed eight Academy Award nominations, including best picture and supporting acting nods for Ryan Gosling and America Ferrera.
Warner Bros.’ president of domestic distribution, Jeff Goldstein, and head of international distribution, Andrew Cripps, said of the re-release: “We’ve said it before and we’ll say it again, we’ve never seen anything like the absolute cultural phenomenon that is ‘Barbie.’ This masterful vision for Mattel’s doll could only have come from the creative minds of Greta Gerwig and Noah Baumbach, and in Greta’s hands, ‘Barbie’ became a must-go, must-see, must-wear-pink cinematic experience that was a brilliantly subversive commentary on our society, couched in an undeniably entertaining story.
- 1/26/2024
- by Ethan Shanfeld
- Variety Film + TV
Updated, Sunday Am: Wonka had a very strong hold on Saturday with $14M, just -3% off from Friday/Thursday previews’ $14.4M resulting in an estimated $39M opening, which is slightly north of the $35.3M start that Spider-Man: Into the Spider-Verse did back in the same mid-December slot in 2018. For family movies opening at this point in time, it’s a marathon, not a sprint, and there’s a lot of road left for Wonka especially with 21% K-12/76% colleges off tomorrow per Comscore, rising to 66%/93% by Friday and finally 100% out all next week.
Per box office analytics firm, EntTelligence, Wonka‘s opening weekend translates to 3M admissions or 49% of the entire marketplace’s foot traffic.
Worldwide weekend for Wonka is bigger than expected at $92.6M including debuts in France, Belgium, Holland, Australia, Nz, Italy, Denmark, Sweden and Poland. The Paul King-directed movie’s running global total is north of $151M.
Per box office analytics firm, EntTelligence, Wonka‘s opening weekend translates to 3M admissions or 49% of the entire marketplace’s foot traffic.
Worldwide weekend for Wonka is bigger than expected at $92.6M including debuts in France, Belgium, Holland, Australia, Nz, Italy, Denmark, Sweden and Poland. The Paul King-directed movie’s running global total is north of $151M.
- 12/17/2023
- by Anthony D'Alessandro
- Deadline Film + TV
In addition to the chaos of the strikes, Hollywood is facing a moment of reckoning after some of the costliest franchise installments in history were washed out to sea at the 2023 summer box office, while such original fare as Barbie and Oppenheimer created a surprise cultural tsunami.
A box office aficionado would have to go back years, if not decades, to find another summer where two of the five top-grossing movies in North America were fresh and original nonfranchise tentpoles. Greta Gerwig’s Barbie tops the 2023 season with a current domestic haul north of $600 million and more than $1.38 billion worldwide. The movie has shattered numerous records, including becoming the top-grossing movie in Warner Bros.’ history after passing up the final Harry Potter pic, not adjusted for inflation. And over Labor Day weekend, Barbie became the biggest film of the year to date at the global box office after eclipsing spring blockbuster The Super Mario Bros.
A box office aficionado would have to go back years, if not decades, to find another summer where two of the five top-grossing movies in North America were fresh and original nonfranchise tentpoles. Greta Gerwig’s Barbie tops the 2023 season with a current domestic haul north of $600 million and more than $1.38 billion worldwide. The movie has shattered numerous records, including becoming the top-grossing movie in Warner Bros.’ history after passing up the final Harry Potter pic, not adjusted for inflation. And over Labor Day weekend, Barbie became the biggest film of the year to date at the global box office after eclipsing spring blockbuster The Super Mario Bros.
- 9/4/2023
- by Pamela McClintock
- The Hollywood Reporter - Movie News
Greta Gerwig’s Barbie might as well wear the Infinity Gauntlet because the pink-powered meta-comedy has defeated Avengers: Endgame as the best-selling movie ever at Alamo Drafthouse. The theater chain isn’t keen on releasing ticket sale totals for either film. However, Barbie is sitting pretty at the box office, with $596 million in North America and $1.343 billion worldwide. For those who want to compare, Avengers: Endgame snapped up $858 million in North America and $2.799 billion globally. While Barbie is bigger than Endgame at Alamo Drafthouse, the Marvel event film is still the second-biggest movie in history behind James Cameron’s Avatar.
A portion of Barbie’s popularity at Alamo Drafthouse could point toward the theater chain’s merchandise push, with Drafthouse cinemas offering limited edition items to guests, including lunch boxes, t-shirts, and sunglasses. Alamo Drafthouse says Barbie is responsible for selling more merch than any other film hosted by the boutique theater.
A portion of Barbie’s popularity at Alamo Drafthouse could point toward the theater chain’s merchandise push, with Drafthouse cinemas offering limited edition items to guests, including lunch boxes, t-shirts, and sunglasses. Alamo Drafthouse says Barbie is responsible for selling more merch than any other film hosted by the boutique theater.
- 8/31/2023
- by Steve Seigh
- JoBlo.com
Greta Gerwig’s fantasy comedy “Barbie” has overtaken “Avengers: Endgame” as the best-selling movie of all time at Alamo Drafthouse, the popular cinema chain known for in-theater dining.
Alamo didn’t specify the ticket sales for either film. At the box office, “Barbie” has generated a massive $596 million in North America and $1.343 billion globally. It’s about to pass “The Super Mario Bros. Movie” ($1.35 billion) as the highest-grossing movie of the year. Disney and Marvel’s “Avengers: Endgame” stands as the second-biggest movie in history with $858 million in North America and $2.799 billion globally.
For “Barbie,” Alamo Drafthouse planned themed promotions, events and merchandise tied to the Warner Bros. film, including a limited edition lunchbox, as well as shirts and sunglasses. Alamo says it’s been the theater’s most successful merchandising program for any film to date.
The chain, which has 39 locations across the United States, also held a variety of themed screenings,...
Alamo didn’t specify the ticket sales for either film. At the box office, “Barbie” has generated a massive $596 million in North America and $1.343 billion globally. It’s about to pass “The Super Mario Bros. Movie” ($1.35 billion) as the highest-grossing movie of the year. Disney and Marvel’s “Avengers: Endgame” stands as the second-biggest movie in history with $858 million in North America and $2.799 billion globally.
For “Barbie,” Alamo Drafthouse planned themed promotions, events and merchandise tied to the Warner Bros. film, including a limited edition lunchbox, as well as shirts and sunglasses. Alamo says it’s been the theater’s most successful merchandising program for any film to date.
The chain, which has 39 locations across the United States, also held a variety of themed screenings,...
- 8/31/2023
- by Rebecca Rubin
- Variety Film + TV
You can’t keep a good party down. Warner Bros. is celebrating the success of its new entry into the billion-dollar club. The studio has announced that Barbie will be screening in IMAX theaters for a limited one-week engagement beginning on September 22, according to Variety. Ironically, the Margot Robbie/Ryan Gosling film did not initially get a release on the IMAX format due to Oppenheimer making its grand run on the large screen. Additionally, new footage is said to be attached after the credits during these screenings as a treat for the fans.
Barbie director Greta Gerwig shares her excitement for the format upgrade, “We made Barbie for the big screen, so it’s a thrill to be able to bring it to IMAX, the biggest screen of all. As a special thanks to Barbie fans, we’re excited to share a little bit more of our cast and crew...
Barbie director Greta Gerwig shares her excitement for the format upgrade, “We made Barbie for the big screen, so it’s a thrill to be able to bring it to IMAX, the biggest screen of all. As a special thanks to Barbie fans, we’re excited to share a little bit more of our cast and crew...
- 8/24/2023
- by EJ Tangonan
- JoBlo.com
The Mushroom Kingdom has given way to Barbieland as Warner Bros.’ “Barbie” has passed the domestic box office total of Universal/Illumination’s “The Super Mario Bros. Movie,” making it the year’s highest-grossing film in the U.S. and Canada.
“Barbie” reached the milestone on its 34th day in theaters to bring its total to $575.4 million. With over $1.3 billion grossed worldwide, “Barbie” is also on the verge of passing “Mario” at the overall box office, needing approximately $50 million to become the year’s top global grosser.
With another $25 million, “Barbie” will become just the 14th film in box office history to reach $600 million in North America before inflation adjustment. It would be the first Warner Bros. title to do so, having already passed the all-time domestic record for the studio held by “The Dark Knight” with an unadjusted $534 million total in 2008.
In a world of tentpoles that tend to skew towards younger,...
“Barbie” reached the milestone on its 34th day in theaters to bring its total to $575.4 million. With over $1.3 billion grossed worldwide, “Barbie” is also on the verge of passing “Mario” at the overall box office, needing approximately $50 million to become the year’s top global grosser.
With another $25 million, “Barbie” will become just the 14th film in box office history to reach $600 million in North America before inflation adjustment. It would be the first Warner Bros. title to do so, having already passed the all-time domestic record for the studio held by “The Dark Knight” with an unadjusted $534 million total in 2008.
In a world of tentpoles that tend to skew towards younger,...
- 8/24/2023
- by Jeremy Fuster
- The Wrap
Hi, new Barbie footage. Greta Gerwig’s blockbuster hit is heading to IMAX for a limited one-week engagement beginning on Sept. 22 and the release will include bonus scenes after the credits.
“We made Barbie for the big screen, so it’s a thrill to be able to bring it to IMAX, the biggest screen of all,” Gerwig said in a statement. “As a special thanks to Barbie fans, we’re excited to share a little bit more of our cast and crew’s incredible work by adding special new footage we hope audiences will enjoy.
“We made Barbie for the big screen, so it’s a thrill to be able to bring it to IMAX, the biggest screen of all,” Gerwig said in a statement. “As a special thanks to Barbie fans, we’re excited to share a little bit more of our cast and crew’s incredible work by adding special new footage we hope audiences will enjoy.
- 8/24/2023
- by Emily Zemler
- Rollingstone.com
As “Barbie” hones in on becoming the highest-grossing release of the year at the domestic box office, Greta Gerwig’s hot pink comedy is about to get even bigger. Warner Bros. has set an Imax run for the film, with a limited one-week engagement beginning on Sept. 22. The release will also feature exclusive new post-credits footage selected by the film’s director.
The plans, which include a North American rollout and select international territories, were announced by Warner Bros. execs Jeff Goldstein, president of domestic distribution, and Andrew Cripps, president of international distribution, on Wednesday afternoon. The statement also included words from Gerwig.
“We made ‘Barbie’ for the big screen, so it’s a thrill to be able to bring it to Imax, the biggest screen of all,” Gerwig said. “As a special thanks to ‘Barbie’ fans, we’re excited to share a little bit more of our cast and...
The plans, which include a North American rollout and select international territories, were announced by Warner Bros. execs Jeff Goldstein, president of domestic distribution, and Andrew Cripps, president of international distribution, on Wednesday afternoon. The statement also included words from Gerwig.
“We made ‘Barbie’ for the big screen, so it’s a thrill to be able to bring it to Imax, the biggest screen of all,” Gerwig said. “As a special thanks to ‘Barbie’ fans, we’re excited to share a little bit more of our cast and...
- 8/23/2023
- by J. Kim Murphy
- Variety Film + TV
Moviegoers brought plenty of Kenergy to theaters over the weekend, helping Greta Gerwig’s Barbie cross the $1B global mark! According to Box Office Mojo, Barbie rollerbladed past the milestone for a $1,031,481,000 worldwide total. The total finds Gerwig becoming the first woman to surpass the billion-dollar climacteric as a solo director.
“As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water,” said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution. “This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny, emotional and entertaining story, one that is resonating with all four quadrants of moviegoers and literally turning the entire world pink. Long lines and repeat viewings prove that...
“As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water,” said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution. “This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny, emotional and entertaining story, one that is resonating with all four quadrants of moviegoers and literally turning the entire world pink. Long lines and repeat viewings prove that...
- 8/7/2023
- by Steve Seigh
- JoBlo.com
Greta Gerwig is the first solo female director to cross the marker
Warner Bros’ Barbie has passed the $1bn mark at the box office after just 17 days of release, making Greta Gerwig the first solo female director to do so.
According to a statement from the studio, the Margot Robbie-starrer has so far grossed $459.4m from domestic and $572.1m internationally to reach $1.03bn over the weekend.
The only other women to join the $1bn club are Jennifer Lee – who co-directed Frozen ($1.3bn) and Frozen 2 ($1.5bn) with Chris Buck – and Anna Boden, who co-directed Captain Marvel ($1.1bn) with Ryan Fleck.
Warner Bros’ Barbie has passed the $1bn mark at the box office after just 17 days of release, making Greta Gerwig the first solo female director to do so.
According to a statement from the studio, the Margot Robbie-starrer has so far grossed $459.4m from domestic and $572.1m internationally to reach $1.03bn over the weekend.
The only other women to join the $1bn club are Jennifer Lee – who co-directed Frozen ($1.3bn) and Frozen 2 ($1.5bn) with Chris Buck – and Anna Boden, who co-directed Captain Marvel ($1.1bn) with Ryan Fleck.
- 8/7/2023
- by Ellie Calnan
- ScreenDaily
‘Barbie’ has made history by raking in more than $1 billion in global box office gross. The mammoth takings from on director Greta Gerwig’s movie about the Mattel doll, made for a budget around $145 million, makes it the first movie directed solely by a woman to hit the figure. It added another $127 million to its box office internationally over the weekend, bringing its global total to $1.03 billion. Studio representatives are using the phrase “Barbillion” to describe the success of the film, starring Margot Robbie, 33, as Barbie and Ryan Gosling, 42, as Ken. It crossed $400 million domestic and $500 million internationally faster than any other movie at the studio, including the Harry Potter films. Jeff Goldstein and Andrew Cripps, who oversee domestic and international distribution for makers Warner Bros, said in a joint statement: “As distribution chiefs, we're not often rendered speechless by a film’s performance, but Barbillion has blown even our...
- 8/7/2023
- by BANG Showbiz Reporter
- Bang Showbiz
Sequin- and self-actualization sprinkled congratulations are in order for Greta Gerwig, Margot Robbie and all the dolls and guys as the phenomenon that is Barbie has now crossed $1B global in just its third weekend. We said yesterday it was on the cusp, and now here’s the pudding.
Through Sunday, the international box office estimate is an astounding $572.1M for $1.031B worldwide. Gerwig also has become the first woman to surpass the billion-dollar benchmark as a solo director. Double clap!
Said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution, “As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water. This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny,...
Through Sunday, the international box office estimate is an astounding $572.1M for $1.031B worldwide. Gerwig also has become the first woman to surpass the billion-dollar benchmark as a solo director. Double clap!
Said Warner Bros’ Jeff Goldstein, President of Domestic Distribution, and Andrew Cripps, President of International Distribution, “As distribution chiefs, we’re not often rendered speechless by a film’s performance, but Barbillion has blown even our most optimistic predictions out of the water. This is a watershed moment for Barbie, and no one but Greta Gerwig could have brought this cross-generational icon and her world to life in such a funny,...
- 8/6/2023
- by Nancy Tartaglione
- Deadline Film + TV
“Barbie” is saying “hiya” to the billion-dollar club.
Greta Gerwig’s pink-coated fantasy comedy has surpassed $1 billion at the global box office, including $459 million in North America and $572 million internationally. This makes Gerwig the first-ever solo female filmmaker with a billion-dollar film.
Three other billion-dollar blockbusters were co-directed by women, including “Frozen” ($1.3 billion) and “Frozen 2” ($1.45 billion) both co-directed by Jennifer Lee and Chris Buck, as well as “Captain Marvel” ($1.1 billion), co-directed by Anna Boden and Ryan Fleck.
“Barbie” is hitting the coveted milestone after just 17 days of release, becoming the fastest Warner Bros. release (and eighth in the studio’s 100-year history) to join the $1 billion club. “Harry Potter and the Deathly Hallows: Part 2” previously held that record at 19 days.
It’s only the second blockbuster this year and the sixth of the pandemic era to cross $1 billion, following “Spider-Man: No Way Home,” “Top Gun: Maverick,” “Jurassic World Dominion...
Greta Gerwig’s pink-coated fantasy comedy has surpassed $1 billion at the global box office, including $459 million in North America and $572 million internationally. This makes Gerwig the first-ever solo female filmmaker with a billion-dollar film.
Three other billion-dollar blockbusters were co-directed by women, including “Frozen” ($1.3 billion) and “Frozen 2” ($1.45 billion) both co-directed by Jennifer Lee and Chris Buck, as well as “Captain Marvel” ($1.1 billion), co-directed by Anna Boden and Ryan Fleck.
“Barbie” is hitting the coveted milestone after just 17 days of release, becoming the fastest Warner Bros. release (and eighth in the studio’s 100-year history) to join the $1 billion club. “Harry Potter and the Deathly Hallows: Part 2” previously held that record at 19 days.
It’s only the second blockbuster this year and the sixth of the pandemic era to cross $1 billion, following “Spider-Man: No Way Home,” “Top Gun: Maverick,” “Jurassic World Dominion...
- 8/6/2023
- by Rebecca Rubin
- Variety Film + TV
Sunday Am Writethrough after Saturday Am update: As the Hollywood labor stoppage continues, the 2023 box office rally rages on, as domestic box office soars past $6 billion, +22% over the same January-August period a year ago. This weekend for all movies stands at an estimated $178M. This is the fourth time in box office history to have four movies cross $25M; the last time was Thanksgiving weekend 2018.
We always knew this weekend would beat the first frame of August a year ago ($92M), and that’s happening at +94%. But the current Friday-Sunday is also kicking the first weekend of August 2019’s $148.99M by +20%, and that’s when Hobbs & Shaw ruled the chart.
Barbie remains box office queen bee with $53M in weekend 3, after a $17M Friday and $20M Saturday. By Eod, Barbie is roughly $40M shy from passing the half billion mark at the domestic box office, with her gross set to stand at $459.4M.
We always knew this weekend would beat the first frame of August a year ago ($92M), and that’s happening at +94%. But the current Friday-Sunday is also kicking the first weekend of August 2019’s $148.99M by +20%, and that’s when Hobbs & Shaw ruled the chart.
Barbie remains box office queen bee with $53M in weekend 3, after a $17M Friday and $20M Saturday. By Eod, Barbie is roughly $40M shy from passing the half billion mark at the domestic box office, with her gross set to stand at $459.4M.
- 8/6/2023
- by Anthony D'Alessandro
- Deadline Film + TV
“Barbenheimer” keeps on growing at the box office. Greta Gerwig’s very pink fantasy-comedy “Barbie” and Christopher Nolan’s extremely dark historical drama “Oppenheimer” powered to bigger opening weekends than originally reported.
“Barbie” ended up with $162 million in its first weekend of release, above Sunday’s already record-breaking estimate of $155 million. The Warner Bros. film, starring Margot Robbie as the plastic, fantastic doll, declined just 9% from Saturday to bring in $43.7 million on Sunday.
Those ticket sales rank as the biggest opening weekend of the year, besting “The Super Mario Bros. Movie” ($146 million). “Barbie” also marks the biggest debut ever for a film directed by a woman, overtaking Anna Boden and Ryan Fleck’s 2019 blockbuster “Captain Marvel” ($153 million).
“This historic result reflects the intense heat, interest and enthusiasm for ‘Barbie,” Warner Bros. president of domestic distribution Jeff Goldstein wrote in a note to press. “This doll will indeed have long long legs.
“Barbie” ended up with $162 million in its first weekend of release, above Sunday’s already record-breaking estimate of $155 million. The Warner Bros. film, starring Margot Robbie as the plastic, fantastic doll, declined just 9% from Saturday to bring in $43.7 million on Sunday.
Those ticket sales rank as the biggest opening weekend of the year, besting “The Super Mario Bros. Movie” ($146 million). “Barbie” also marks the biggest debut ever for a film directed by a woman, overtaking Anna Boden and Ryan Fleck’s 2019 blockbuster “Captain Marvel” ($153 million).
“This historic result reflects the intense heat, interest and enthusiasm for ‘Barbie,” Warner Bros. president of domestic distribution Jeff Goldstein wrote in a note to press. “This doll will indeed have long long legs.
- 7/24/2023
- by Rebecca Rubin
- Variety Film + TV
Monday Am: Warner Bros/Mattel’s Barbie is coming in $6M higher than expected with $162M after a beautiful Sunday of $43.7M, -9% from Saturday. As we told you, that’s the best opening stateside for a movie from a female filmmaker, that being Oscar nominee Greta Gerwig. Universal’s Oppenheimer is also higher with a $23.16M Sunday, -12% off from Saturday, sending the Christopher Nolan directed pic to $82.4M. Those are remarkable Sunday holds and the head spins thinking of the second weekend hold here. Disney’s Haunted Mansion in industry estimates (not studio) was buzzed to be around $30M. It’s clear that the second feature take of the theme park ride is going to have a hard time notching No. 2, however, it’s a spectacular marketplace.
All of this is a reminder is that it took a consistent supply of movies, which spurs moviegoer demand to get...
All of this is a reminder is that it took a consistent supply of movies, which spurs moviegoer demand to get...
- 7/24/2023
- by Anthony D'Alessandro
- Deadline Film + TV
After nearly a year of box office misfires, Warner Bros. has ended its losing streak in the biggest way imaginable with “Barbie,” which scored a $162 million opening and become one of the studio’s top five highest-opening weekends in history.
It is also the first major theatrical victory for the new Warner leadership under Warner Bros. Discovery CEO David Zaslav, who called on his team early this year to build an all-in marketing campaign internally called “Operation Barbie Summer” to promote to the world writer-director Greta Gerwig’s unique vision of the most famous doll ever made across the media portfolio created by the company’s merger last year.
The results speak for themselves. Along with this strong opening, “Barbie” has an A on CinemaScore and scores of 4.5/5 from general audiences on PostTrak and a 90% audience score on Rotten Tomatoes. With no films expected to open over $40 million for the rest of the summer,...
It is also the first major theatrical victory for the new Warner leadership under Warner Bros. Discovery CEO David Zaslav, who called on his team early this year to build an all-in marketing campaign internally called “Operation Barbie Summer” to promote to the world writer-director Greta Gerwig’s unique vision of the most famous doll ever made across the media portfolio created by the company’s merger last year.
The results speak for themselves. Along with this strong opening, “Barbie” has an A on CinemaScore and scores of 4.5/5 from general audiences on PostTrak and a 90% audience score on Rotten Tomatoes. With no films expected to open over $40 million for the rest of the summer,...
- 7/24/2023
- by Jeremy Fuster
- The Wrap
“Barbenheimer” is more than just a meme. It’s a full-fledged box office phenomenon.
Over the weekend, moviegoers turned out in force for Greta Gerwig’s neon-coated fantasy comedy “Barbie,” which smashed expectations with $155 million to land the biggest debut of the year. But they also showed up to see Christopher Nolan’s R-rated historical drama “Oppenheimer,” which collected a remarkable $80.5 million in its opening weekend.
Hundreds of thousands of ticket buyers refused to choose between the two seemingly different auter-driven blockbusters with sprawling casts and twin release dates. So they opted to attend same-day viewings of “Barbie” and “Oppenheimer,” turning the box office battle into a double feature for the ages.
“This is an unequivocally great weekend for moviegoing,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “‘Barbie’ and ‘Oppenheimer’ are complementing each other at the box office, not taking audience from each other.
Over the weekend, moviegoers turned out in force for Greta Gerwig’s neon-coated fantasy comedy “Barbie,” which smashed expectations with $155 million to land the biggest debut of the year. But they also showed up to see Christopher Nolan’s R-rated historical drama “Oppenheimer,” which collected a remarkable $80.5 million in its opening weekend.
Hundreds of thousands of ticket buyers refused to choose between the two seemingly different auter-driven blockbusters with sprawling casts and twin release dates. So they opted to attend same-day viewings of “Barbie” and “Oppenheimer,” turning the box office battle into a double feature for the ages.
“This is an unequivocally great weekend for moviegoing,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “‘Barbie’ and ‘Oppenheimer’ are complementing each other at the box office, not taking audience from each other.
- 7/23/2023
- by Rebecca Rubin
- Variety Film + TV
In a display of pink visible from outer space, Greta Gerwig’s “Barbie” held its lush world premiere on Sunday in Los Angeles.
The Shrine Auditorum, located smack in the middle of the USC campus, was hosed down in colors of blush and bashful for the anticipated Warner Bros. release, which drew the film’s stars Margot Robbie and Ryan Gosling.
One notable absence was Noah Baumbach, the film’s co-writer and Gerwig’s partner.
“My co-writer and co-creator, my partner in love and art, Noah Baumbach is not here. He is passionately supporting the fight of the Writers Guild of America,” Gerwig said. “He is a Barbie girl. Nothing in ‘Barbie’ happened without him, and nothing in Hollywood happens without writers.”
The Shrine, once the site of the annual Academy Awards, was packed with Gerwig’s cast of dolls, humans and other brand enthusiasts like “RuPaul’s Drag Race” winner Trixie Mattel and,...
The Shrine Auditorum, located smack in the middle of the USC campus, was hosed down in colors of blush and bashful for the anticipated Warner Bros. release, which drew the film’s stars Margot Robbie and Ryan Gosling.
One notable absence was Noah Baumbach, the film’s co-writer and Gerwig’s partner.
“My co-writer and co-creator, my partner in love and art, Noah Baumbach is not here. He is passionately supporting the fight of the Writers Guild of America,” Gerwig said. “He is a Barbie girl. Nothing in ‘Barbie’ happened without him, and nothing in Hollywood happens without writers.”
The Shrine, once the site of the annual Academy Awards, was packed with Gerwig’s cast of dolls, humans and other brand enthusiasts like “RuPaul’s Drag Race” winner Trixie Mattel and,...
- 7/10/2023
- by Matt Donnelly
- Variety Film + TV
Former Warner Bros. President of Sales and Distribution, D. Barry Reardon, passed at the age of 92 on May 27 in Vero Beach, Florida.
Known as “The Dean of Distribution” among industry peers and filmmakers, Reardon was the head of theatrical distribution at Warner Bros from 1978 to 1999, and was known for breaking the mold on the motion picture business, i.e. getting a jumpstart on summer before Memorial Day and dating blockbusters during the early days of August, previously considered a dead zone.
Also before his departure from Warner Bros. in March 1999, Reardon had developed an internal marketing...
Known as “The Dean of Distribution” among industry peers and filmmakers, Reardon was the head of theatrical distribution at Warner Bros from 1978 to 1999, and was known for breaking the mold on the motion picture business, i.e. getting a jumpstart on summer before Memorial Day and dating blockbusters during the early days of August, previously considered a dead zone.
Also before his departure from Warner Bros. in March 1999, Reardon had developed an internal marketing...
- 6/5/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Barry Reardon, who led theatrical distribution at Warner Bros. for nearly 20 years starting in the late 1970s, died on May 27 at his home in Vero Beach, Fla. He was 92.
A respected 31-year industry veteran, Reardon was known as the “dean” of theatrical distribution and was credited with transforming the way that studio films are marketed and released. During his tenure, the industry began to place more of an emphasis on daily and weekend box office reports and expanded the scope of the all-important summer blockbuster season.
At the time of his retirement in 1999 — after 21 years at the studio and 17 as distribution chief — he exited with an enviable track record. Under his leadership, the studio had 22 films cross the $100 million mark domestically — an impressive milestone since movie tickets were much less expensive back then, and one that’s proven to be challenging to match again in these pandemic times. And Warner Bros.
A respected 31-year industry veteran, Reardon was known as the “dean” of theatrical distribution and was credited with transforming the way that studio films are marketed and released. During his tenure, the industry began to place more of an emphasis on daily and weekend box office reports and expanded the scope of the all-important summer blockbuster season.
At the time of his retirement in 1999 — after 21 years at the studio and 17 as distribution chief — he exited with an enviable track record. Under his leadership, the studio had 22 films cross the $100 million mark domestically — an impressive milestone since movie tickets were much less expensive back then, and one that’s proven to be challenging to match again in these pandemic times. And Warner Bros.
- 6/5/2023
- by Rebecca Rubin
- Variety Film + TV
Barry Reardon, the veteran film executive who served as Warner Bros.’ chief of theatrical distribution from 1978 to 1999, has died at age 92, the studio announced Monday.
Born in Hartford, Connecticut, and a graduate of College of the Holy Cross and Trinity College, Reardon got his start at the printing company Litton Industries in 1957. A decade later, he made the jump to the entertainment industry with a job at Paramount Pictures as the associate to the VP of finance in their New York office.
From 1967 to 1975, he worked his way up to become the VP of marketing and distribution at Paramount before becoming the head of marketing and film procurement for General Cinemas, which at the time was America’s largest movie theater chain. He worked at General Cinemas for three years before being recruited by Warner Bros.
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Born in Hartford, Connecticut, and a graduate of College of the Holy Cross and Trinity College, Reardon got his start at the printing company Litton Industries in 1957. A decade later, he made the jump to the entertainment industry with a job at Paramount Pictures as the associate to the VP of finance in their New York office.
From 1967 to 1975, he worked his way up to become the VP of marketing and distribution at Paramount before becoming the head of marketing and film procurement for General Cinemas, which at the time was America’s largest movie theater chain. He worked at General Cinemas for three years before being recruited by Warner Bros.
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Jacky Oh, Cast Member on MTV’s ‘Wild ‘N Out,’ Dies at...
- 6/5/2023
- by Jeremy Fuster
- The Wrap
Kevin Wilson has officially been named Head of Theatrical Distribution for Amazon Studios and MGM as the parent company combines labels into one theatrical distribution group.
The news comes in the wake of the death of the previous Amazon-mgm distribution boss, Erik Lomis, who was the subject of a heartfelt remembrance Tuesday at CinemaCon by several including Chris Aronson; former MGM Motion Picture bosses Michael De Luca and Pam Abdy, now at Warner Bros; and as Warner Bros Domestic Distribution chief Jeff Goldstein.
Recently, Amazon’s pivot back to theatrical saw the $272 million global success of Creed III and the current $69M global gross for Ben Affleck’s dramedy Air, about how Nike nabbed Michael Jordan to make the Air Jordan sneaker. Wilson is a longtime lieutenant of Lomis and is a distribution vet who has handled 100 films that in total grossed more that $7 billion stateside.
Related: CinemaCon 2023 – Deadline’s...
The news comes in the wake of the death of the previous Amazon-mgm distribution boss, Erik Lomis, who was the subject of a heartfelt remembrance Tuesday at CinemaCon by several including Chris Aronson; former MGM Motion Picture bosses Michael De Luca and Pam Abdy, now at Warner Bros; and as Warner Bros Domestic Distribution chief Jeff Goldstein.
Recently, Amazon’s pivot back to theatrical saw the $272 million global success of Creed III and the current $69M global gross for Ben Affleck’s dramedy Air, about how Nike nabbed Michael Jordan to make the Air Jordan sneaker. Wilson is a longtime lieutenant of Lomis and is a distribution vet who has handled 100 films that in total grossed more that $7 billion stateside.
Related: CinemaCon 2023 – Deadline’s...
- 4/25/2023
- by Anthony D'Alessandro
- Deadline Film + TV
First footage of Hugh Grant as Oompa Loompa in Wonka.
Warner Bros rolled out the stars to celebrate its CinemaCon presentation on the occasion of its 100th anniversary, with an A-list roster that included Oprah Winfrey making her show debut, as well as Margot Robbie, Ryan Gosling and Timothée Chalamet, and Zendaya.
Warner Bros co-heads Mike De Luca and Pam Abdy hosted Tuesday’s session, which included an address by Warner Bros Discovery CEO David Zaslav, and comments by international and domestic distribution heads Andrew Cripps and Jeff Goldstein, both of whom wore pink in the spirit of Barbie.
Denis Villeneuve...
Warner Bros rolled out the stars to celebrate its CinemaCon presentation on the occasion of its 100th anniversary, with an A-list roster that included Oprah Winfrey making her show debut, as well as Margot Robbie, Ryan Gosling and Timothée Chalamet, and Zendaya.
Warner Bros co-heads Mike De Luca and Pam Abdy hosted Tuesday’s session, which included an address by Warner Bros Discovery CEO David Zaslav, and comments by international and domestic distribution heads Andrew Cripps and Jeff Goldstein, both of whom wore pink in the spirit of Barbie.
Denis Villeneuve...
- 4/25/2023
- by Jeremy Kay
- ScreenDaily
Day Two of CinemaCon got off to an early start, which meant a subdued and potentially casino-fogged audience in the Caesar’s Palace Colosseum. And then Warner Bros. Discovery chief David Zaslav took the stage.
“We believe in full windowing of the motion pictures,” he told a theater full of theater owners. “We do not want to do direct-to-streaming movies. We are in no rush to bring the movies to Max.”
That woke them up.
Last year, CinemaCon was where Warner Bros. basically apologized for going day-and-date in theaters and on HBO Max with its entire slate of movies — a Jason Kilar plan to come out of the Covid pandemic. Well, Kilar’s gone, HBO Max is soon to become Max, and this definitely ain’t that Warner Bros. Discovery.
Zaslav said it’s not just “good business” to be completely committed to theatrical, but that America “needs to rally right now.
“We believe in full windowing of the motion pictures,” he told a theater full of theater owners. “We do not want to do direct-to-streaming movies. We are in no rush to bring the movies to Max.”
That woke them up.
Last year, CinemaCon was where Warner Bros. basically apologized for going day-and-date in theaters and on HBO Max with its entire slate of movies — a Jason Kilar plan to come out of the Covid pandemic. Well, Kilar’s gone, HBO Max is soon to become Max, and this definitely ain’t that Warner Bros. Discovery.
Zaslav said it’s not just “good business” to be completely committed to theatrical, but that America “needs to rally right now.
- 4/25/2023
- by Tony Maglio
- Indiewire
Two weeks after showing off the future of their rebranded Max streaming service, David Zaslav and Warner Bros. embraced theatrical as they showed off their upcoming 2023 slate at CinemaCon in Las Vegas.
Zaslav made his debut at the movie theater trade show on Tuesday with a lengthy speech that earned plenty of applause from cinema execs, especially when he reaffirmed his company’s plans to never go back to the day-and-date releasing model that his predecessor, Jason Kilar, rolled out for all of Warner’s theatrical releases in 2021.
“We believe in full theatrical windows, we don’t believe in direct to streaming. We are in no rush to push films to Max,” Zaslav said. “When we partner with you and bring these movies to theaters and promote them, and later on we market them again and release them at home while you still have them in your theaters, and then...
Zaslav made his debut at the movie theater trade show on Tuesday with a lengthy speech that earned plenty of applause from cinema execs, especially when he reaffirmed his company’s plans to never go back to the day-and-date releasing model that his predecessor, Jason Kilar, rolled out for all of Warner’s theatrical releases in 2021.
“We believe in full theatrical windows, we don’t believe in direct to streaming. We are in no rush to push films to Max,” Zaslav said. “When we partner with you and bring these movies to theaters and promote them, and later on we market them again and release them at home while you still have them in your theaters, and then...
- 4/25/2023
- by Jeremy Fuster
- The Wrap
”We’ve got to rally right now. People need to escape, be entertained and inspired.”
In a rare CinemaCon address by the head of a big media company Warner Bros Discovery CEO David Zaslav took to the stage ahead of Tuesday’s Warner Bros presentation and told attendees, “We believe in full windowing of motion pictures.”
In a stirring address in whch he portrayed himself as a man of the people, Zaslav touched on his own childhood going to the cinema with his father in Brooklyn every Saturday, being inspired by Sidney Poitier in To Sir With Love, and characterised...
In a rare CinemaCon address by the head of a big media company Warner Bros Discovery CEO David Zaslav took to the stage ahead of Tuesday’s Warner Bros presentation and told attendees, “We believe in full windowing of motion pictures.”
In a stirring address in whch he portrayed himself as a man of the people, Zaslav touched on his own childhood going to the cinema with his father in Brooklyn every Saturday, being inspired by Sidney Poitier in To Sir With Love, and characterised...
- 4/25/2023
- by Jeremy Kay
- ScreenDaily
Refresh for updates: Big stuff expected here this morning at CinemaCon in Las Vegas as Warner Bros struts its 2023 slate.
Teeing off this morning was Warner Bros Domestic Distribution Chief Jeff Goldstein and Internatioinal Distribution Cheif Andrew Cripps jogging onstage all clad in pink suits, in celebration to the studio’s late summer anticipated hit, Barbie.
“By a show of hands who wore it better, Andrew or me?” beamed Goldstein
“As Barbie says, everybody looks better in pink!” the distrib exec added.
“I’m not sure, Jeff, ” added Cripps.
“Hello, everybody, we’re both tickled pink,” Goldstein continued to pun.
The two touted the success of this past weekend’s Evil Dead Rise, which made its pivot from Max streaming service to an exclusive theatrical window. They also took time to reflect on the legacy of former distrib colleague, MGM’s Erik Lomis. This led into a 100 Years studio sizzle reel with flashes of Elvis,...
Teeing off this morning was Warner Bros Domestic Distribution Chief Jeff Goldstein and Internatioinal Distribution Cheif Andrew Cripps jogging onstage all clad in pink suits, in celebration to the studio’s late summer anticipated hit, Barbie.
“By a show of hands who wore it better, Andrew or me?” beamed Goldstein
“As Barbie says, everybody looks better in pink!” the distrib exec added.
“I’m not sure, Jeff, ” added Cripps.
“Hello, everybody, we’re both tickled pink,” Goldstein continued to pun.
The two touted the success of this past weekend’s Evil Dead Rise, which made its pivot from Max streaming service to an exclusive theatrical window. They also took time to reflect on the legacy of former distrib colleague, MGM’s Erik Lomis. This led into a 100 Years studio sizzle reel with flashes of Elvis,...
- 4/25/2023
- by Anthony D'Alessandro, Nancy Tartaglione and Jill Goldsmith
- Deadline Film + TV
“Air,” which opened in wide theatrical release on Wednesday and stars Matt Damon, Ben Affleck, Viola Davis, Chris Tucker and Jason Bateman, details how a then-underdog Nike bet its footwear future on then-rookie Michael Jordan. The film dramatizes boardroom pitches and frantic business phone calls into a tale of how capitalism was pretzeled into supplying fortune and glory to members of a demographic rarely on the receiving end.
So it makes sense that the Skydance and Mandalay-produced film is the first from Ben Affleck and Matt Damon’s Artists Equity. One of the selling points of the venture is a promise of profit participation for both above-the-line stars and below-the-line artists. The Hollywood titans dipped into their own fees, along with money saved during production via artist-driven efficiency, to create a discretionary bonus system, insiders told TheWrap.
Artists Equity is pitching the system as an old-school solution to a new...
So it makes sense that the Skydance and Mandalay-produced film is the first from Ben Affleck and Matt Damon’s Artists Equity. One of the selling points of the venture is a promise of profit participation for both above-the-line stars and below-the-line artists. The Hollywood titans dipped into their own fees, along with money saved during production via artist-driven efficiency, to create a discretionary bonus system, insiders told TheWrap.
Artists Equity is pitching the system as an old-school solution to a new...
- 4/7/2023
- by Scott Mendelson
- The Wrap
Warner Bros. Discovery is in talks to produce a TV series for HBO Max based on the original “Harry Potter” novels, TheWrap has confirmed.
According to Bloomberg, which first reported on the talks, if the show goes into production, it would be a new adaptation unrelated to the hit film series. Each season would cover one of the 7 “Harry Potter” novels, first published between 1997 and 2007. The deal would have author J.K. Rowling involved with the series’ creative development, though she is not expected to participate in a major role.
The news comes just under a year after Warner Bros. Discovery released the third installment of the “Fantastic Beasts” series, “The Secrets of Dumbledore,” which marked the end of the Eddie Redmayne-led spinoff film trilogy.
At the time, TheWrap reported that insiders at Warner said the studio hadn’t ruled out more theatrical films and HBO Max projects for the “Harry Potter” universe,...
According to Bloomberg, which first reported on the talks, if the show goes into production, it would be a new adaptation unrelated to the hit film series. Each season would cover one of the 7 “Harry Potter” novels, first published between 1997 and 2007. The deal would have author J.K. Rowling involved with the series’ creative development, though she is not expected to participate in a major role.
The news comes just under a year after Warner Bros. Discovery released the third installment of the “Fantastic Beasts” series, “The Secrets of Dumbledore,” which marked the end of the Eddie Redmayne-led spinoff film trilogy.
At the time, TheWrap reported that insiders at Warner said the studio hadn’t ruled out more theatrical films and HBO Max projects for the “Harry Potter” universe,...
- 4/4/2023
- by Loree Seitz
- The Wrap
Elvis has returned to the building! Baz Luhrmann's dizzying portrait of the superstar actor and musician just nabbed eight Oscar nominations, and "Elvis" is celebrating with a return to theaters. The Austin Butler-led film was a surprise box office success the first time around, and now the flick is headed back to the big screen beginning this Friday, January 27, 2023.
It's typical for Best Picture nominees to make their way back to theaters ahead of the Academy Awards telecast, but in an especially cinematic year, "Elvis" in particular is a movie that deserves to be caught in theaters. The overstuffed, campy, colorful 2-hour and 39-minute film stars Butler (who also earned an Oscar nomination today) alongside Tom Hanks in one of the latter's oddest performances ever. Hanks plays Colonel Tom Parker, the singer's manipulative manager who witnesses the rise and fall (and rise and fall again) of the famed rock star.
It's typical for Best Picture nominees to make their way back to theaters ahead of the Academy Awards telecast, but in an especially cinematic year, "Elvis" in particular is a movie that deserves to be caught in theaters. The overstuffed, campy, colorful 2-hour and 39-minute film stars Butler (who also earned an Oscar nomination today) alongside Tom Hanks in one of the latter's oddest performances ever. Hanks plays Colonel Tom Parker, the singer's manipulative manager who witnesses the rise and fall (and rise and fall again) of the famed rock star.
- 1/24/2023
- by Valerie Ettenhofer
- Slash Film
Audiences will get to relive the magic of “Elvis” once more.
After landing eight Oscar nominations for the 95th Academy Awards, the biopic starring Austin Butler will return to theatres in North America for a limited engagement.
Baz Luhrmann directs, produces, and writes the film which stars Butler in the role of the King of Rock, Elvis Presley. It follows the musician’s meteoric rise as well as his contentious relationship with his manager Colonel Tom Parker, played by Tom Hanks.
Read More: Austin Butler Wishes Lisa Marie Presley ‘Was Here To Celebrate’ Oscar Noms For ‘Elvis’
Its initial theatre run earned 287 million at the box office worldwide, making it the highest-grossing non-franchise film of 2022.
“Since its release in June, it has remained clear that Baz Luhrmann’s ‘Elvis’ has real staying power with audiences of all ages, much like Elvis Presley’s own enduring popularity. We congratulate Baz, Austin...
After landing eight Oscar nominations for the 95th Academy Awards, the biopic starring Austin Butler will return to theatres in North America for a limited engagement.
Baz Luhrmann directs, produces, and writes the film which stars Butler in the role of the King of Rock, Elvis Presley. It follows the musician’s meteoric rise as well as his contentious relationship with his manager Colonel Tom Parker, played by Tom Hanks.
Read More: Austin Butler Wishes Lisa Marie Presley ‘Was Here To Celebrate’ Oscar Noms For ‘Elvis’
Its initial theatre run earned 287 million at the box office worldwide, making it the highest-grossing non-franchise film of 2022.
“Since its release in June, it has remained clear that Baz Luhrmann’s ‘Elvis’ has real staying power with audiences of all ages, much like Elvis Presley’s own enduring popularity. We congratulate Baz, Austin...
- 1/24/2023
- by Anita Tai
- ET Canada
The Alamo Drafthouse movie chain looks set to hit 350,000 in ticket sales this November and December from Jon Favreau’s Will Ferrell-starring holiday favorite Elf. The 2003 comedy, about a human baby raised in Santa’s North Pole workshop who returns to New York and saves Christmas, is the chain’s top all-time repertory title, with cumulative grosses passing 1.5 million as fans flock to its movie watch-parties with costumed hosts, props, present wrapping and spaghetti-with-maple-syrup eating contests — Buddy the Elf’s favorite food. The chain ordered 30,000 elf hats this year.
“It’s rarely anyone’s first time seeing the film. It’s become an institution for people. A tradition,” says John Smith, Alamo Drafthouse senior programmer.
Repertory fare has been crucial for theaters weathering Covid and a choppy recovery. The story of the misfit, too-tall mediocre toymaker Buddy, who sets out to find his real dad, is the gift that keeps on giving.
“It’s rarely anyone’s first time seeing the film. It’s become an institution for people. A tradition,” says John Smith, Alamo Drafthouse senior programmer.
Repertory fare has been crucial for theaters weathering Covid and a choppy recovery. The story of the misfit, too-tall mediocre toymaker Buddy, who sets out to find his real dad, is the gift that keeps on giving.
- 12/22/2022
- by Jill Goldsmith
- Deadline Film + TV
Sunday Am: Well, there was always a chance that New Line’s Don’t Worry Darling could dip below 20M, and it looks to be at 19.2M after a less-than-expected Saturday of 5.85M, repping a -39 drop from Friday+previews updated 9.55M. As we said in the previous update, this is the nature of young female skewing films where they come out in packs on Thursday and Friday — but then there wasn’t the anticipated momentum because they weren’t over the top about the Olivia Wilde-directed pic.
Still Warner Bros. is seeing victory in the opening here for Don’t Worry Darling: The Florence Pugh-Harry Styles-Chris Pine genre movie came in ahead of where they were eyeballing it at 17M, and next to the film’s production cost of 35M, 19M is a respectable opening, especially after the industry celebrated that number last weekend on a 50M production,...
Still Warner Bros. is seeing victory in the opening here for Don’t Worry Darling: The Florence Pugh-Harry Styles-Chris Pine genre movie came in ahead of where they were eyeballing it at 17M, and next to the film’s production cost of 35M, 19M is a respectable opening, especially after the industry celebrated that number last weekend on a 50M production,...
- 9/25/2022
- by Anthony D'Alessandro
- Deadline Film + TV
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