April 19, 2014

Tag Archives: tyler perry

No one at the box office this weekend seemed to be a ‘Nymphomaniac’

Happy Sunday once again everyone, here I am with the weekly box office report for you fine folks out there. Leading the way in a pretty significant landslide this weekend was the presumed franchise starter Divergent, which debuted with a very strong $50 million at the box office. At number two we had the relatively weak debut of the family sequel Muppets Most Wanted, which could only pull in $16.5 million. Number three was last week’s number one Mr. Peabody & Sherman, which took in another $11.7 million from you all. The other new release in the top ten was the religious film God is Dead, which came out of nowhere to amass an $8.5 million cume. Among the independent/limited releases, we had okay debuts for the comedy Cheap Thrills and the documentary Jordorowsky’s Dune, while the anticipated theatrical release of Lars von Trier’s Nymphomaniac Part One was rather underwhelming. Apparently audiences wanted to watch that particular film at home on VOD as opposed to in a theater with strangers. Make of that what you will…
I’m fairly surprised that Muppets Most Wanted and Nymphomaniac Part One didn’t do better, while Divergent did about what I expected and God is Dead came out of nowhere (it wasn’t screened for critics, so I wasn’t invited to a screening and I don’t make a habit of seeking out these sort of flicks). Among the titles that opened well, the former basically assures that the next two books in the series will be coming to theaters near you, while the latter potentially could lead to a bigger opening for Noah next week, though folks looking for a similar experience there will be in for a surprise. In regard to the two that underwhelmed, the former ran into some resistance due to a few other kid-centric titles being out as well, so it wasn’t a must see movie. As for the latter, it was never going to be a crossover success, but I’m sure it had hopes of being an art house smash, and that clearly isn’t the case. Maybe Part Two will somehow do better in a few weeks?
Among the notable holdovers in theaters, we again have to discuss Wes Anderson’s movie for sure. The Grand Budapest Hotel expanded to about 300 theaters and moved up to number seven this week with $6.7 million. That’s some strong continued success there. Also worth mentioning besides [...]

Audiences are flocking to ‘The Grand Budapest Hotel’ at the Box Office

Happy Sunday everyone (my birthday weekend, if you haven’t heard too), here’s the weekly box office report for you fine ladies and gentlemen! Leading the way in a somewhat close race on this kind of quiet weekend was the holdover Mr. Peabody & Sherman, which rose from number two to number one with an estimated $12.2 million, taking advantage of a lack of particularly enticing new releases at the multiplex. At number two we had last week’s top grosser 300: Rise of an Empire, which hauled in an estimated $19.1 million this time around. Number three was the new release Need for Speed, which stole $17.8 million from paying customers, while Tyler Perry’s The Single Moms Club was number five with $8.3 million, and we also had one other new release in the top ten, which was Veronica Mars, transitioning from Kickstarter to theaters with about $2 million. I’ll have something to say about the great expansion for The Grand Budapest Hotel in a moment, but among the limited release openings, there was a nice mix. The best of the bunch was Bad Words, but also taking in a few bucks we had indies like Enemy and Le Week-End, though neither were hits.
I didn’t care one bit for Need for Speed, as it’s lacking even for video game adaptations, but it was notable that it didn’t do better. You’d think that with the popularity of the Fast and Furious franchise that this would have been like printing money, but no. It also likely won’t have legs either, which could make this a bit of a failure in the end. This weekend also saw audiences begin to send a message to Tyler Perry that he needs to try a little harder, as Tyler Perry’s The Single Moms Club made a fraction of what Perry’s movies usually do. Finally, Veronica Mars was aimed just at hardcore fans and that’s who showed up, so I can’t really say it did anything other than what was expected.
Among the notable holdovers in theaters, we have to discuss Wes Anderson’s flick. The Grand Budapest Hotel. Still playing in well under 100 theaters, it cracked the top ten, hitting number eight with $3.6 million. The big number though is the per theater average of over $55,000. Any which way that you slice it, Anderson has another hit on his hands, so we’ll be talking plenty more about [...]

“GI Joe: Retaliation” is once again the No. 1 film worldwide

“GI Joe: Retaliation is once again the No. 1 film worldwide with an estimated weekend of $61.3 million.
The worldwide cume now stands at $231.9 million. Also, The Croods passed the $200 million mark and Jack the Giant Slayer passed the $100 mark internationally this weekend.”
The top-12 domestic weekend box office estimates listed in descending order, per data collected as of Sunday, April 7, 2013 are below.
1. Evil Dead – Sony – $26.0M
2. GI Joe: Retaliation – Paramount – $21.1M
3. Croods, The – 20th Century Fox – $21.1M
4. Jurassic Park – Universal – $18.2M
5. Olympus Has Fallen – FilmDistrict – $10.0M
6. Tyler Perry’s Temptation – Lionsgate – $10.0M
7. Oz The Great and Powerful – Disney – $8.2M
8. Host, The – Open Road – $5.2M
9. Call, The – Sony – $3.5M
10. Admission – Focus Features – $2.1M
11. Spring Breakers – A24 Films – $1.2M
12. Identity Thief – Universal – $0.8M
Courtesy of Rentrak Corporation, the global leader in box office measurement.
For more information on Rentrak, please visit www.rentrak.com
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The Expendables 2 opened with about $28.75 million

HollywoodNews.com: It’s no real surprise that The Expendables 2 (review) opened with about 18% less this weekend ($28.75 million) than the first Expendables on this weekend in 2010 ($34 million). The Expendables (review) was a culmination of a good twenty years of ‘what-if’ anticipation. And while the final result was a little lacking, in that it was barely a good movie and most of the biggest action icons were either absent or had cameos, it was still enough of a wish-fulfillment fantasy to be a massive worldwide hit ($274 million on a $80 million budget).
Two years later, the sequel delivers on both the action front (lots more of it) and the A-level casting arena (Bruce Willis and Arnold Schwarzenegger have expanded roles while Chuck Norris and Jean-Claude Van Damme came to play) but that initial high is somewhat gone. Still, a $28 million debut, especially from Lionsgate, is nothing to sneeze at. This will still be their largest non-Saw/Tyler Perry opening outside of The Expendables and The Hunger Games and their tenth-biggest debut ever. Not only have we seen a pattern of lower opening weekends and domestic totals for sequels, but this is easily the kind of property that could have elicited a giant ‘no one cares anymore’ reaction after the somewhat underwhelming first film (I seem to be among the few who likes it).
To read more go to www.scottalanmendelson.com
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The Avengers’ Smashes Records…$178 million

HollywoodNews.com:In the weekend before the official start of the summer season, four new releases, all of which were relatively smaller fare, all debuted to numbers ranging from not awful to genuinely awful (or example 4,321 on why comparing total weekend box office is stupid). The top film this weekend was once again Think Like A Man, which dropped a surprisingly decent 46%, earning another $18 million. The ensemble romantic comedy has now earned $60 million, putting it on track to be among the domestic bigger grossers of the first 1/3 of 2012.
If we’re specifically talking ‘black-films’, then the Tim Story picture is a few days from outgrossing every Tyler Perry movie save Madea Goes to Jail, which grossed $90 million three years ago (the second highest-grossing Perry film is the $63 million-grossing Madea’s Family Reunion). With a smaller drop and a larger second weekend off a $8 million-smaller opening weekend, it may pass that mark all the way to $100 million if it can hold onto screens as summer begins. It will soon surpass the $65 million gross of Barbershop 2, the $67 million gross of Waiting to Exhale, and the $75 million gross of Barbershop within the next full week. It’s also out-grosssed and/or will likely out-gross any number of higher-profile ‘white’ romantic comedies or dramas (the $81 million-grossing Dear John, the $84 million-grossing Stupid, Crazy Love, the $54 million-grossing New Year’s Eve, etc). Usually when a $12 million-budgeted film ends up flirting with $100 million, studios respond with sequels and/or star-vehicles for certain higher-profile cast-members. We’ll see if Hollywood again writes off this ‘unconventional’ smash hit as a ‘fluke’ or whether Kevin Hart, Gabrielle Union, and Meagan Good (among others) get any ‘bumps’ off this film’s unquestionable success.
To read more go to Mendelson’s Memo

“The Hunger Games” stays strong and tops $350m Weekend Box Office

HollywoodNews.com: It was an ‘everybody wins’ weekend at the box office as all three openers outperformed even the most optimistic expectations. The number one film of the weekend was not The Hunger Games but rather Think Like A Man. The all-star romantic comedy based off of Steve Harvey’s best-selling relationship self-help book grossed a somewhat surprising $33 million on just over 2000 screens. The Screen Gems film was notable in that the small studio made a real effort to market the African-American-centric rom-com both to black males and white audiences (Vulture has a detailed article about the marketing campaign). Racial demographics aren’t available yet, but the film played 63% female and 62% over 30. For what it’s worth, it earned an A from Cinemascore, including an A+ from audiences under 25. Even more impressive is that the film achieved a near-3x, including a token increase on Saturday (from $12 million to $13 million). The film has a ton of ‘would probably be a bigger star in a color-blind society’ actors, including Gabrielle Union, Meagan Good, Michael Ealy, Steve Harvey, and Taraji P. Henson. But the secret weapon may have been comedian Kevin Hart, who powered his stand-up concert film, Laugh At My Pain to $7 million last September despite playing on less than 300 screens. Pay no attention to this large opening folks, nothing to see about an under-served audience demographic delivering near-blockbuster numbers on a $13 million budget. Just move along and keep putting Anthony Mackie in fourth-billed supporting roles.
There will be lots of talk comparing this film to the Tyler Perry cannon, but know this: If the estimates hold up, Tim Story’s decidely secular romantic comedy will have opened higher than every Perry feature save the $41 million debut of Madea Goes To Jail. In fact, aside from that Perry release, I can’t think of another African-American comedy or drama that opened as high as this one perhaps ever. How well the film holds up over the long haul is an open question, and arguably *that’s* where the attempt at cross-racial outreach come into play. If Screen Gems can convince white audiences that this isn’t so much a ‘black film’ as much as it’s a Valentine’s Day-type ensemble piece that happens to star actors of color, it may have strong legs as its sampled by general [...]

Whitney Houston’s daughter reportedly starring in Tyler Perry sitcom

HollywoodNews.com: Whitney Houston’s daughter, Bobbi Kristina, is moving forward with her life as she has reportedly landed a starring role in a Tyler Perry sitcom.
Bobbi Kristina will reportedly have a recurring role on his TBS show ‘For Better Or Worse,’ states RadarOnline.com. She will reportedly be playing the daughter of one of the stylists at the salon on the show.
This will be Bobbi Kristina’s first major role.
Do you think she’s handling all this well?
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IMAX domination coming this Summer

By Scott Mendelson
HollywoodNews.com: Simply put, during the first twelve weeks of summer (May 4th to July 20th), there are six, maybe seven major movies all debuting in IMAX for at least the first week of their respective theatrical runs. Three of them are in May, one is in June, and two or three are in July. What are they you ask? Well…
The Avengers goes first on May 4th, with a week of 3D IMAX play before losing (or sharing?) those screens to Warner Bros’ Dark Shadows. Despite its big-scale action and explosions, Universal’s $212 million Battleship will go out purely on 35mm 2D film, which gives the Tim Burton vampire comedy two full weeks until it loses its 2D IMAX screens to Sony’s Men In Black 3D. Universal again forgoes IMAX for its next major tentpole, the $175 million (!!) Snow White and the Huntsmen, which debuts on June 1st. That gives Will Smith and Tommy Lee Jones a two week run before being supplanted by 20th Century Fox’s Prometheus, which will get 3D IMAX screens for 3.5 weeks, owing to the surprising choice by Pixar to not go IMAX for Brave on June 22nd. and Paramount’s GI Joe: Retribution going out in 35mm 2D on June 29th. If that changes, then just add another one or two to the June tally. But come July 3rd, Sony steals the IMAX screens right back for The Amazing Spider-Man 3D. Spidey gets the IMAX screens for at least 1.5 weeks before Fox debuts Ice Age: Continental Drift on July 13th (which isn’t listed on the IMAX home page but is listed as debuting in IMAX 3D in Fox’s marketing materials). Come what may, summer basically ends on July 20th.
That of course is the release date for Chris Nolan’s The Dark Knight Rises, which not only features large chunks of the film shot on IMAX film but actually seems to be keeping those IMAX screens all the way until October 5th, when Disney debut’s Tim Burton’s Frankenweenie. Although not listed on the IMAX website, it is possible that Disney’s Finding Nemo 3D reissue and/or Sony’s Resident Evil: Retribution will end up going the IMAX route in September. That the last six weeks of summer 2012 features not a single IMAX debut would signify either that Warner Bros scored [...]

Box Office Winner is “Act of Valor”

By Scott Mendelson
HollywoodNews.com: In yet another stupidly crowded weekend at the box office (in such a crowded marketplace where only one new release debuted on more than 2,200 screens), we had yet another solid surprise, as the low-budget Act of Valor topped the box office with a $24.5 million debut. Relativity bought the $12 million production for $13 million and then spent another $30-$40 million to market it. Said marketing campaign highlighted the film’s lone quirk – that it starred actual Navy Seals and allegedly presented a more accurate picture of how such soldiers conduct themselves in the battlefield (they also bought a couple Super Bowl ads and screened the crap out of the film all over the country prior to release). Of course, such lofty attempts at realism didn’t prevent a Perils of Pauline subplot (Roselyn Sanchez plays a kidnapped CIA operative who must be rescued by these manly men from torturous bad guys), but the marketing campaign certainly played on the idea that this film was more ‘real’ than the likes of Navy Seals. The picture earned an A from Cinemascore, which means that audiences obviously didn’t mind the fact that the real life Seals are better at killing people than the whole ‘acting’ thing. As somewhat expected, it played best in regions that have military bases and places that certain parties dismissively refer to as ‘fly-over country’ (don’t be that asshole).
I’m not going to get into the politics of what began as a recruitment advertisement for joining the Navy, as I haven’t seen the film yet (opposing views HERE and HERE), and its value as propaganda is arguably no better/worse than the countless video games that this picture felt like a film adaptation of. Moreover, those on the Dennis Kucinich side of the fence will claim that this film is conservative propaganda, those on the Ron Paul side will say it bolsters support for Obama’s recent military ‘adventures’, while seemingly liberal pundits will again decide that a film that supports the military and emphasizes their bravery and operational successes is somehow a right-wing picture. They are all wrong. But I will say that this is yet another sign that R-rated adult fare can succeed in the marketplace as long as it doesn’t have to break box office records to make a profit. And that’s [...]

“The Vow” and “Safe House” fend off “Ghost Rider: Spirit of Vengeance”

By Scott Mendelson
HollywoodNews.com: It was yet another ‘photo-finish’ at the box office over this President’s Day weekend, but as always, it’s the hard numbers rather than the arbitrary rankings that matter. But since we need to decide which movies to discuss first, in order we shall go! For the moment, it appears that Safe House will top the charts in its second weekend after barely missing the top slot last weekend. It grossed $23.9 million over the Fri-Sun weekend and $28 million over the holiday. Safe House will have grossed $82 million by Monday, a rather huge total for Mr. Washington. In just eleven days, Safe House is Washington’s 7th-biggest grosser, out-grossing such films as Training Day ($76 million), Man On Fire ($77 million), and Unstoppable ($81 million). Barring a complete collapse, Safe House should become Denzel Washington’s fifth $100 million grosser over the next weekend, with an outside shot of eclipsing the $130 million gross of American Gangster, which is currently his top grosser. While we can debate how much credit co-star Ryan Reynolds gets for this one (he certainly didn’t hurt…), Safe House is already his fourth-biggest grosser and will likely out-gross Green Lantern’s $116 million total in a few weeks. I’m frankly shocked at the strong legs for this one, as it’s certainly one of Washington’s worst genre entries in a long career with a number of solid adult-skewing action pictures (it looks like it was shot through a puke filter and edited in a blender, plus the script is so generic it could have been written in a Mad Libs book). Still, star-power is a rare thing these days, and Denzel Washington clearly has it.
So does Channing Tatum and, in the right project, Rachel McAdams, so it will be interesting to see how The Vow’s popularity affect next month’s 21 Jump Street. The Vow is estimated to gross around $23.6 million for the Fri-Sun period and $27.4 million for the Fri-Sun period. No matter who ends up on top, both films exhibited strong holds. With $89 million by Monday, The Vow is already Screen Gems’s highest grossing film ever, topping the $80 million total of Dear John. The 43% drop for The Vow is slightly smaller than the 47% drop for Dear John, but the new film was bolstered by a [...]

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