7TH Write thru, Monday PM: Sony/MGM’s The Magnificent Seven counts a worldwide total to date of $59.3M with an overseas take including MGM territories at $24.6M. Stateside is riding off with $34.7M. Though $300K lighter than yesterday’s domestic estimate, all records still hold: director Antoine Fuqua’s best stateside, second best for a live-action western after Cowboys & Aliens ($36.4M) and third best for Denzel Washington after American Gangster ($43.6M) and Safe House ($40.1M). With its A- CinemaScore, Magnificent Seven is looking forward to a domestic sunset in the 3x multiple horizon much like Fuqua/Washington’s previous combo The Equalizer did ($34.1M opening, final domestic $101.5M). At the end of its global weekend, The Equalizer had already made $53.1M, however, Magnificent Seven had a $5.1M head start in South Korea, before its launch in the U.S. and Sony’s 46 territories.
In its second weekend in the U.S./Canada, Magnificent Seven should ease between 50-52% for a 3-day between $16.7M-$17.3M. It is largely expected that 20th Century Fox’s Tim Burton title Miss Peregrine’s Home for Peculiar Children will win the weekend with a FSS north of $27M in an estimated 3,400 locations. Pic will steal all the little girls away from Warner Bros. Animation’s Storks which flew in with a debut of $21.3M stateside, $39.9M worldwide. Storks is expected to glide down -40% for a $12.8M second domestic weekend.
Exclaimed Sony’s worldwide marketing and distribution chief Josh Greenstein on Sunday AM about Magnificent Seven, “Sony is on a very hot run of profitable movies between The Angry Birds Movie, The Shallows, Sausage Party, Don’t Breathe and now Magnificent Seven is another great win for us. Denzel Washington and Chris Pratt are an incredible winning combination, and we’re in business with them moving forward in the future with Chris on Passengers and Denzel on Inner City. Antoine did a great job, putting his signature stamp on this film and making it the biggest opening of his career.”
Magnificent Seven also reps a win for westerns at the B.O. For years, back in the 1980s, they were a bastard genre to get made. Dances With Wolves and Unforgiven broke the flood gates with best picture wins and big grosses, but in an age where superhero films rule, cowboy movies can still thrive with True Grit, Django Unchained and now Magnificent Seven. The trick is keeping their budgets reasonable, unlike The Lone Ranger ($215M) and Cowboys & Aliens ($163M).
Sony/MGM has equal shares on Magnificent Seven‘s $90M production pricetag, then sold 20% of aggregate to both LStar Capital and Village Roadshow. In essence, this isn’t set up like a 007 film between Sony/MGM, where Sony is merely a distribution partner. Sony has skin in Magnificent Seven. Imax locations for the oater earned $2.9M at 372 locations. Still too soon to call breakeven on Magnificent Seven since it’s just getting started overseas in UK, Germany, Spain and Russia. But here are some details to consider — on the plus side, Magnificent Seven has more working in its favor next to other westerns between its production cost and Pratt/Washington’s appeal (stateside crowds claimed at 61% that they were the reason why they went). Even though foreign B.O. prognosticators don’t expect Magnificent Seven to do Django business abroad, which was huge at $262.6M fueled by Quentin Tarantino’s brand name as well as Jamie Foxx and Leonardo DiCaprio, A Hateful Eight foreign return of $100M isn’t unreasonable for Magnificent Seven. On the downside, what makes breakeven arduous for Magnificent Seven is…it’s a western, and they’re an unpredictable genre abroad. In addition, the pic’s two stars and Fuqua’s profit participations are at cash breakeven.
Storks’ U.S./Canada opening is well under its $30M-projection; an obvious sign that the audiences polled during tracking didn’t show up. Kids’ films can be difficult to peg on tracking. A debut like this for a $70M movie doesn’t scream future franchise and its 3-day is reminiscent of Sony’s Open Season which made $23.6M, earned an A- CinemaScore (which isn’t good for an animated movie when its opening is this low), carried a similar production cost ($85M), and did a 3.6x multiple with a final stateside take of $85.1M. Overseas was $112.2M. Though Open Season created a launchpad for animated pics in late September, property/cost/box office-wise, it didn’t warrant a theatrical sequel (just video), and that might be the case here with Storks. The fact that it skews way younger to the under-10 crowd, and is not a ‘five-quad’ animated film, will slow its pace. If you’re a frosh toon, you need wide appeal if you’re going to be a studio cornerstone franchise. DreamWorks Animation’s The Penguins of Madagascar was another handholder-skewing movie that opened in this Storks range ($25.4M FSS, with an A- CinemaScore and an $83M final stateside take). Though Penguins was pained by its $132M production cost, the reason why it made 78% of its global tally overseas ($289.7M/$373M) stemmed from the fact that it was an established DWA brand. It would be a shocker if Storks hits those foreign B.O. numbers even after ts $18.6M launch this weekend in 33 territories (including China, Russia, Brazil, Mexico and Australia).
Disney’s Mira Nair movie Queen of Katwe made $304,933 at 52 sites. While not an impressive theater average with close to $6K, the movie did earn an A+ CinemaScore. This will likely impact where Disney expands to as it reaches an estimated 1,500 locations. The film premiered at the Toronto International Film Festival and while it touts adult-appealing themes in its marketing and elements (director Nair and stars Lupita N’yongo and David Oyelowo), Queen of Katwe is really a family film at heart. Females repped 54% of the audience, adults over 25 were 76%.
Broad Green’s quirky Kate Winslet comedy, The Dressmaker, which marks the return of Australian director Jocelyn Moorhouse after an 18-year hiatus, is posting a $5K theater average at 36 locations or $185,165.
I’m told by rival sources that these starts for Queen of Katwe and The Dressmaker aren’t good. Both labels are shelling out for national TV ads and they’re largely booked at the best theaters in each of the markets they’re playing in. A $10K opening theater average would have been the ideal minimum. Dressmaker has already twirled around in a number of foreign territories where it’s made $21.6M, $14.4M of that coming from its native Australia.
Overall weekend ticket sales at $103.89M are up +16% over last weekend, but off 25% from a year ago which was when Hotel Transylvania 2 hit an opening record for September of $48.5M, with The Intern serving as lady counterprogramming with $17.7M. But get a load of how well the year is going: ComScore reports that for the period of Jan. 1-Sept. 25, we’re at close to $8.496B, 5.1% ahead of last year at this time.
For Deadline’s Specialty box office report, go here.
Follow Anthony D’Alessandro at @Awardstony on Twitter
Monday’s actuals for the weekend of Sept. 23-25, 2016 courtesy of ComScore:
1). The Magnificent Seven (Sony), 3,674 theaters /3-day cume: $34.7M / Per screen: $9,446 / Wk 1
2). Storks (WB), 3,922 theaters /3-day cume: $21.3M / Per screen: $5,434 / Wk 1
3). Sully (WB), 3,955 theaters (+430)/ 3-day cume: $15.5M (-37%)/ Per screen: $3,423 / Total: $92.1M / Wk 3
4). Bridget Jones’s Baby (UNI), 2,930 theaters (+3)/ 3-day cume: $4.7M (-46%)/ Per screen: $1,589 / Total: $16.6M / Wk 2
5). Snowden (OR), 2,443 theaters (0)/ 3-day cume: $4.1M (-49)/ Per screen: $1,660 /Total: $15.1M / Wk 2
6). Blair Witch (LG), 3,121 theaters (0) /3-day cume: $4.1M (-58)/ Per screen: $1,299 /Total: $16.2M / Wk 2
7). Don’t Breathe (SONY), 2,438 theaters (-770) / 3-day cume: $3.8M (-33%)/Per screen: $1,548 / Total cume: $81.1M / Wk 5
8). Suicide Squad (WB), 2,172 theaters (-568)/ 3-day cume: $3.1M (-34%) / Per screen: $1,431 / Total cume: $318.1M / Wk 8
9). When the Bough Breaks (SONY), 1,444 theaters (-802)/ 3-day cume: $2.5M (-54%)/Per screen: $1,742 / Total: $26.6M /Wk 3
10). Kubo and the Two Strings (FOC), 1,209 theaters (-548) / 3-day cume: $1.1M (-56%) /Per screen: $930 / Total cume: $46M / Wk 6
11). Hell or High Water (CBS/Lionsgate), 1,128 theaters (-377) / 3-day cume: $1.07M (-48%)/ Per screen: $1,379 / Total cume: $24.8M / Wk 7
12). Bad Moms (STX), 986 theaters (-500) /3-day cume: $997K (-44%) /Per screen: $948 / Total cume: $111.7M / Wk 9
13). Pete’s Dragon (DIS), 1,230 theaters (-718) / 3-day cume: $870K (-60%) / Per screen: $707 / Total cume: $74.2M / Wk 7
14). No Manches Frida (LG), 416 theaters (-40) /3-day cume: $721K (-44%) /Per screen: $1,734 / Total cume: $10.3M / Wk 4
15). The Secret Life Of Pets (UNI), 747 theaters (-258) /3-day cume: $692K (-44%) /Per screen: $927 / Total cume: $364.3M / Wk 12
16). Sausage Party (SONY), 551 theaters (-630) /3-day cume: $562K (-53%) /Per screen: $1,021 / Total cume: $96.4M / Wk 7
17). Jason Bourne (UNI), 623 theaters (-385) /3-day cume: $533K (-51%) /Per screen: $856 / Total cume: $161.3M / Wk 9
18). Hillsong (Pure), 763 theaters (-53) / 3-day cume: $415K (-69%) /Per screen: $544 /Total cume: $2.1M / Wk 2
19). The Wild Life (LG), 1,431 theaters (-1,062)/3-day cume: $412K (-85%)/ Per screen: $288 / Total:$7.7M/ Wk 3
20). Beatles: Eight Days a Week (ABR), 151 theaters (+66) /$ 3-day cume: $403K (-35)/ Per screen: $2,671 / Total: $1.5K /Wk 2
******
Sunday’s Studio reported estimates for the weekend of Sept. 23-25, 2016:
1). Magnificent Seven (SONY), 3,121 theaters / $12.7M Fri. / $13.8M Sat. / $8.5M Sun. / 3-day cume: $35M / Wk 1
2). Storks (WB), 3,922 theaters / $5.7M Fri. / $9.4M Sat. / $6.6M Sun. / 3-day cume: $21.8M / Wk 1
3). Sully (WB), 3,955 theaters (+430)/ $4.2M Fri. / $6M Sat./ $3.6M Sun. / 3-day cume: $13.8M (-36%)/Total: $92.4M / Wk 3
4). Bridget Jones’s Baby (UNI), 2,930 theaters (+3) / $1.47M Fri. / $1.97M Sat. / $1.1M Sun. / 3-day cume: $4.5M (-47%)/Total Cume:$16.5M/ Wk 2
5). Snowden (OR), 2,443 theaters / $1.2M Fri. / $1.8M Sat. / $1.1M Sun. / 3-day cume: $4.1M (-49%)/Total Cume: $15.1M/ Wk 2
6). Blair Witch (LG), 3,121 theaters / $1.27M Fri. / $1.75M Sat. / $930K Sun. / 3-day cume: $3.95M (-59%)/Total cume: $16.1M/ Wk 2
7). Don’t Breathe (SONY), 2,438 theaters (-770) / $1.1M Fri. / $1.7M Sat. / $955K Sun. / 3-day cume: $3.8M (-33%)/ Total cume: $81.1M / Wk 5
8). Suicide Squad (WB), 2,172 theaters (-568) / $800K Fri. / $1.5M Sat./ $820K Sun. / 3-day cume: $3.1M (-34%) / Total cume: $318.1M / Wk 8
9). When the Bough Breaks (SONY), 1,444 theaters (-802) /$715K Fri. / $1.2M Sat. / $565K Sun. / 3-day cume: $2.5M (-54%)/Total: $26.6M/ Wk 3
10/11). Kubo and the Two Strings (FOC), 1,209 theaters (-548) / $261K Fri. / $510K Sat. / $332K Sun. / 3-day cume: $1.1M (-57%) / Total cume: $45.9M / Wk 6
Hell or High Water (CBS/Lionsgate), 1,128 theaters (-377) / $327K Fri. / $492K Sat. / $281K Sun. / 3-day cume: $1.1M (-47%)/ Total cume: $24.8M / Wk 7
5TH Write-thru, Saturday AM: Even though estimates for Sony/MGM’s The Magnificent Seven are now pointing to $35.3M, the reality of this $90M production is that it’s a decent opening that’s in sync with the western genre and its leading star Denzel Washington. Should grosses keep up for Magnificent Seven, director Antoine Fuqua should see his best opening at the B.O., besting The Equalizer ($34.1M). In addition, Magnificent Seven looks to rank as the second best opening for a western behind Cowboys & Aliens ($36.4M). For a second last night, it looked like Magnificent Seven might be the best debut for a September release outside of a family (Hotel Transylvania 2‘s $48.5M) or genre title (Insidious Chapter 2‘s $40.3M), but Reese Witherspoon’s Sweet Home Alabama still rules ($35.6M).
Nonetheless, as one distribution executive asserted after last weekend’s tracking mayhem, “The box office is not broken”.
Also note, Magnificent Seven is inching out Sully ($35M), which was also a Village Roadshow co-production. The western remake received an A- CinemaScore, the same grade as Fuqua/Washington’s previous collaboration The Equalizer which turned in close to a 3x multiple with a $101.5M final domestic total.
In regards to theatrical profit, it’s too soon to tell on Magnificent Seven which already counts South Korean cash of $5.1M and is playing in Russia, Spain, German and the U.K. this weekend. Some of Washington’s top grossing movies can gross 40%-50% of their global B.O. abroad. Westerns, as we explained in the previous update, are more wild to predict in their end games. The old notion was that oaters never traveled outside the U.S., but there are exceptions like Tarantino’s The Hateful Eight ($101.1M abroad, 65% of worldwide) Django Unchained (an enormous $262.6M, 62% of global B.O. with Jamie Foxx, Leonardo DiCaprio and Christoph Waltz leading the cast and Sony handling overseas) and even Disney’s bomb The Lone Ranger which despite its huge cost made $171.2M overseas. In the case of Magnificent Seven, we also have to consider Washington and Chris Pratt’s participations.
We often gripe that there aren’t any more stars who can open movies at the box office. However in the last three weeks, we’ve seen Tom Hanks clock the third best opening of his career, and now Washington as well. Magnificent Seven underscores Washington’s reliability in opening a movie to a specific size, and Magnificent Seven isn’t far from his top-career debuts American Gangster ($43.6M) and Safe House ($40M). Not many actors have this B.O. stamina. Liam Neeson can be relied upon to deliver great results with a Taken movie, but ticket buyers see the rest of his canon as derivative of that franchise, and save their money. Washington, on the other hand, changes up his genres rather than dabbling in the same old ones. What further swells his openings is whenever he’s paired with another bankable co-star, i.e. Russell Crowe on American Gangster, Ryan Reynolds on Safe House, Mark Whalberg on 2 Guns (opening $27M, final domestic $75.6M) or here with Pratt on Magnificent Seven. Those coming out for Washington and Pratt repped 61% of Friday night’s audience who gave the movie an A-.
Another thing that Magnificent Seven proves is that classic remakes – like the Coen Bros.’ True Grit redo before it – with the right director and leading cast, can still hit solid opening B.O. results. There was concern after Paramount/MGM’s Ben-Hur nosedive that precious classics were untouchables at the B.O. However, that sword and sandal epic was thrown off its horse by frosh headliner Jack Huston, not to mention it was a boring, laborious history lesson helmed by Timur Bekmambetov.
Males made up 59% of Magnificent Seven‘s audience while females accounted for 41%. Both gave it an A-. 25 and up was huge at 81%.
MGM has been shepherding this reboot of the 1960 John Sturges movie since 2012 when Tom Cruise was attached (read previous update). Sony kicked off their campaign in April when they launched the first trailer, and the cast took to their social media pages to reveal character-by-character what the full in-theater banner would look like.
TV ads kicked off during the summer paired with the NBA finals and BET Awards as well as the Rio 2016 Olympics. Sony rounded out the campaign with a presence in live sporting events such as NFL, NCAA Football and local MLB as well as highly anticipated fall premieres and original programming, like Empire, The Voice, American Horror Story, Fear the Walking Dead and Designated Survivor.
With the onset of NFL season, Sony sponsored a weekly fantasy football both on-air and online with ESPN. Magnificent Seven commanded the conversation with a fantasy draft-themed segment featuring Trent Dilfer, Randy Moss, Matt Hasselbeck, and Charles Woodson from Sunday NFL Countdown and an appearance by New England Patriot’s tight end Rob Gronkowski, as they chose characters from the film to be a part of their draft lineup. Magnificent Seven was also a launch partner of Twitter’s new weekly live stream of NFL football games on Thursday nights. There were tie-ins with Fandango and Facebook, with the latter’s users – for the first time – able to buy movie tickets to Magnificent Seven. In total, iSpot.TV estimates that Sony spent $25.8M in internet and TV ad spots.
In addition, there was a USO stop with Fuqua, Chris Pratt and Haley Bennett at Joint Base McGuire-Dix-Lakehurst in New Jersey. Lastly, Magnificent Seven premiered at the Toronto International Film Festival as the opening night title and as Venice’s closing night title. The TIFF premiere featured a Twitter Q&A with Pratt, Instagram’s new “Stories” platform, a branded SnapChat filter and red carpet social coverage from the festival.
This brings us to Warner Bros.’ animated feature Storks which is filing far below industry and studio expectations with an estimated $21.2M in second off a reported $70M production cost. Many had this between $28M-$33M. We also need to keep in mind that Storks skews younger toward “handholders” and that crowd comes out more on Saturday than on Friday when they’ve been in school. So, we’ll see how much matinee business this brings. Currently, B.O. forecasters have it spiking at least 70% over its $5.7M Friday take. However, I’m told when an animated pic opens with an A- CinemaScore and its grosses are low, it will struggle in its legs and may not churn a 4x-5x multiple that we are used to seeing (read DreamWorks Animation’s Penguins of Madagascar which did $83.4M, a little more than 3x its 3-day of $25.4M off an A-). In fact, it’s akin to an adult movie getting a B CinemaScore. Note it’s the adults dragging Storks grades down with grandparents (over 50) giving it a B-, and the over 25 a B+. Females at 60% indicate moms turned up. Even though the under 18 gave it an A+, I hear that’s no surprise. It’s mom footing the bill, and she’ll decide if the kids go. It’s a different story when a feature toon gets an A- and earns $104.4M in its first FSS like Secret Life of Pets. There’s a want to see there.
Further hurting grosses for Storks is the mediocre critical response at 62% fresh (its rating never got higher). Deadline’s sister Variety says it’s “unfunny” while New York Post‘s wisenheimer Kyle Davis complains, “Less enjoyable than making a baby but more enjoyable than raising one, the animated feature Storks delivers a bouncing bundle of blah.” Political-social satire Zootopia, Storks is not and after digesting some of the best Disney and Universal/Illumination films of the year, families are spoiled and know what toons to sidestep. Movies like Zootopia, Finding Dory and Secret Life of Pets have a “five quad” appeal, while Storks is geared toward the hand-holders. In addition, Sony Animation has a great track record for delivering solid toon properties in this frame that are either based on popular kids’ book adaptations (Cloudy With a Chance of Meatballs) or are solid animated genre satires by mass appealing funny men (Adam Sandler’s Hotel Transylvania). They also skew older toward teens and college kids, and can bring in that extra cash. iSpot.TV reports that Warner Bros. spent an estimated $25.8M on stateside ad spot media, which is hefty by that org’s standards. And to correct what we heard from a source: Warner Bros. has already spent more on The Accountant, which opens three weeks from now, than Fox has spent in TV ads on Miss Peregrine’s Home for Peculiar Children which is opening next week and making a go at Storks’ peeps.
Top 10 films for the weekend of Sept. 23-25 Based on industry estimates as of Saturday AM
1). Magnificent Seven (SONY), 3,674 theaters / $12.65M Fri. (includes $1.75M previews) / 3-day cume: $35.3M /Wk 1
2). Storks (WB), 3,922 theaters / $5.7M Fri. (includes $435K previews) / 3-day cume: $21.2M /Wk 1
3). Sully (WB), 3,955 theaters (+430) / $4.2M Fri. (-35%) / 3-day cume: $13.9M (-36%)/Total cume: $92.5M/Wk 3
4). Bridget Jones’s Baby (UNI), 2,930 theaters (+3)/ $1.47M Fri. (-48%) / 3-day cume: $4.8M (-44%)/Total: $16.75M/Wk 2
5). Snowden (OR), 2,443 theaters / $1.2M Fri. (-60%) / 3-day cume: $4.05M (-49%)/Total: $15M/Wk 2
6). Blair Witch (LG), 3,121 theaters / $1.24M Fri. (-70%) / 3-day cume: $3.9M (-59%)/Total: $16.1M/Wk 2
7). Don’t Breathe (SONY), 2,438 theaters (-770) / $1.1M (-29%) Fri. / 3-day cume: $3.7M (-34%) / Total cume: $81M / Wk 5
8). Suicide Squad (WB), 2,172 theaters (-568) / $800K Fri. (-33%) / 3-day cume: $3.1M (-35%) / Total cume: $318.1M / Wk 8
9). When the Bough Breaks (SONY), 1,444 theaters (-802) / $716K Fri. (-55%) / 3-day cume: $2.4M (-56%) /Total cume: $26.5M/ Wk 3
10). Kubo and the Two Strings (FOC), 1,209 theaters (-548) / $255K Fri. (-50%) / 3-day cume: $1.2M (-52%) / Total cume: $46M / Wk 6
11). Hell or High Water (CBS/LG), 1,128 theaters (-377) / $330K Fri. (-47%) / 3-day cume: $1.09M (-47%) / Total cume: $24.8M / Wk 7
NOTABLES:
Hillsong (PF), 763 theaters (-53) / $125k Fri./$160K Sat. /$120K/ 3-day cume: $405k (-70%)/Total: $2.09M/Wk 2
Queen of Katwe (DIS), 52 theaters / $82K Fri. /$135K Sat./$88K Sun./PTA: $5,9k 3-day cume: $305K /Wk 1
The Dressmaker (BG), 36 theaters / $53k Fri. /$79K Sat./$48K Sun./PTA: $5k/ 3-day cume: $181k /Wk 1
3RD UPDATE, 4:41 PM: The Magnificent Seven is now projected to ride with an estimate in the high $30 million range at 3,674 theaters with a shot at $40M. Evening numbers will indicate how high we get, with Friday now projected between $12M-$13M. The remake of the 1960 John Sturges movie will likely rank as one of Denzel Washington’s top three openers and should become director Antoine Fuqua’s best debut of his career, inching out his R-rated The Equalizer, which opened to $34.1M two years ago at this time. Equalizer earned an A- CinemaScore and legged out to a near 3x multiple with a final domestic of $101.5M. Worldwide, it pulled in $192.3M off an estimated $55M budget.
For Magnificent Seven, Sony has all the PLF, Imax and Dbox venue pricing working in its favor toward this MGM/Village Roadshow/LStar Capital co-production. The film, with its huge acting ensemble including Chris Pratt and Ethan Hawke, carries a $90M price tag.
In regards to how Magnificent Seven will fare overseas, well, Westerns are quite wild at the B.O. Films like True Grit and 3:10 To Yuma made 23%-32% of their global tickets sales abroad, while star-studded oaters like Cowboys & Aliens and The Lone Ranger grossed 43%-66%. Being in the Oscar mix also helps with Quentin Tarantino’s The Hateful Eight grossing $101.1M overseas (65% of worldwide) and Django Unchained drawing $262.6M (62%). Magnificent Seven opened third in South Korea making $5.1M last weekend, and rides into the UK, Russia, Spain and Germany this weekend.
Talk of a Magnificent Seven reboot started back in May 2012 when Tom Cruise was in talks for the project. Nic Pizzolatto, who went on to write and exec produce HBO’s True Detective, wrote a draft and John Lee Hancock came on to rewrite. Two years later, Washington and Fuqua boarded prior to the release of Equalizer. By the end of 2014, Pratt was in talks following his breakout success in Guardians Of The Galaxy.
We might need to stick a fork in Warner Bros’ Storks. One set of rival estimates show the latest animated title from the Burbank lot at $19.6M after a $5.5M Friday — eeesh. Warner Bros will have better news looking at third place on the box office chart, which is where Sully is expected to land with $12.4M, -43%, for a $91M running total through its third session.
Universal/Studio Canal/Working Title/Miramax’s Bridget Jones’s Baby will rank fourth with $4.2M, -51% for $16.1M through 10 days, while Open Road’s Snowden is fifth with a second weekend of $3.8M, -53% for a 10-day run of $14.8M.
More later tonight.
2ND UPDATE, noon: Here’s a quick update of what we’re seeing from matinees. This comes from rival estimates: Sony/MGM/Village Roadshow/LStar’s Magnificent Seven is galloping off with a $14M Friday and a potential $40M weekend. That would give director Antoine Fuqua the best opening of his career, easily eclipsing The Equalizer and it’s bound to rank among Denzel Washington’s top three openings alongside American Gangster ($43.6M) and Safe House ($40M). We’re told that’s not bad for a movie that carries a production cost of $90M.
Warner Bros.’ Storks is doing less than what we thought with a $5M Friday, flying to a $20M weekend. The thing to remember with these kids’ pics is that they pop on Saturday, and they leg out eventually. Again, all these figures could change by evening. Despite the competitive headwind, Warner Bros./Village Roadshow’s Sully is maintaining a great altitude, down 35-40% for the weekend with $13M-$14M putting its cume through three weekends at close to $93M. Universal’s Bridget Jones’s Baby is projected to be down 40% with $5.1M and a 10-day take of $17M. Lionsgate’s Blair Witch is dropping at least 60% to $3.8M and a 10-day of $15.9M. Open Road’s Snowden is -50% with $4M and $15M.
UPDATE, Early Friday AM: Antoine Fuqua’s Western remake got a solid start in 3,096 theaters last night. The Sony/MGM/Village Roadshow/LStar Capital co-production is expected to top the box office this weekend with a take between $30M-$35M. The Magnificent Seven‘s $1.75M beats the $1.45M that Denzel Washington and Fuqua’s previous movie The Equalizer made on its way to a $12.5M Friday and a $34.1M weekend in 2014. That movie repped a career-record opening for Fuqua. Magnificent Seven‘s previews also blow away the $1.27M made by Washington and Mark Wahlberg’s 2 Guns, which posted a $9.9M Friday and $27.1M weekend in 2013.
As of this morning, the Denzel Washington-Chris Pratt-Ethan Hawke ensemble is No. 1 in advance ticket sales on Fandango, repping 40% of the weekend. Earlier this week, the ticket agency noticed that Magnificent Seven was pacing ahead of Equalizer. Males repped 52% of the audience on that movie, with 35% under 25. Equalizer received an A- CinemaScore. That film was rated R vs. Magnificent Seven‘s PG-13.
Magnificent Seven carries a Rotten Tomatoes grade of 63%, which is so-so for an adult skewing feature, and if reviews were higher, we’d see an opening well north of $35M. When the film came on to tracking four weeks ago, some rivals had it at $50M, but as is typical with most tentpoles, particularly when they outshine the other movies on tracking, they start out big in their projections and gradually simmer down close to opening. Sony screened Magnificent Seven at both the Toronto and Venice film festivals.
In previous Septembers at this time, Sony whetted family appetites for big animated films, and last year it hit an opening record for the month with Hotel Transylvania 2 at $48.5M. This weekend, Warner Bros is offering families its animated feature Storks. Unlike other distributors that sidestep Thursday night previews during the thick of school season, Warner Bros. showed off Storks last night and grabbed $435K. The pic is directed by Nicholas Stoller and Doug Sweetland. Last night’s cash beats the preview figures of DreamWorks Animation’s The Croods, which made $265K before minting an $11.6M Friday and $43.6M weekend in 2013. Storks is expected to slot second this weekend with $28M to low-$30Ms. We’re already hearing that matinees are quite strong.
Warner Bros.’ Sully took the No. 1 spot Thursday among all movies in play with $1.7M, for a two-week cume of $78.56M. The Clint Eastwood movie starring Tom Hanks as U.S. Airways hero pilot Chesley Sullenberger is expected to take in $10M-$11M, down 50% from last weekend. On the specialty side, Disney has Mira Nair’s Queen Of Katwe opening in 52 metropolitan locations with an eye at $7K-$10K per venue. Broad Green is opening Amazon’s quirky Kate Winslet comedy The Dressmaker at 34 theaters in nine markets: Boston, Chicago, Denver, Los Angeles, New York, Phoenix, San Diego, San Francisco and Washington D.C. The movie, co-produced with Universal Australia, was acquired out of TIFF last year.
They remade Ben-Hur and now The Magnificent Seven. I guess the next thing will be a remake of Gone With the Wind. They will cast whites to play the slaves.
Homefoamer, get a life other than writing racially motivated comments online…You know its a Big World out there…People love to hide behind the internet.
“People love to hide behind the internet”
And you are…uh…Anonymous?
Except that Mag 7 will probably make a profit, unlike the flat out bomb that was Ben Hur. Not all remakes tank.
FWIW western areas of the country were far more racially diverse than hollywood has historically depicted. Montana for example in 1880 had close to the same percentage of black population as the country as a whole did.
You have noticed that MAGNIFICENT SEVEN (unlike the original) has an African-American lead, and Asian and Latino supporting leads, right?
Who cares what race they are as long as they’re good actors? Enjoyed the hell out of this cast, especially Denzel. He’s just fun to watch. This is one of those remakes that can be remade (being a remake itself). Many movies are too precious or have too much of a cult following but this one is in the sweet spot. Bring on the diverse cast too, love it. Love seeing different races working together.
You win you win LMBO!!!!!!
Actually there’s 3 major “remakes/redos” next year; Beauty & the Beast (complete with the original songs from the musical), The Rock’s Jumanji and the James Norton led Flatliners. There’s also rumours of an Oliver! remake. And then there’s Disney’s new turn their animations into live action campaign.
You do know there is a whole new generation that probably have never seen those classics, so to remake them could be a money maker. Film buffs might be pissed but studios make movies to make money. Personally I would’ve like to have seen “Wild in the Streets” (1968 AIP) remade it is really fitting for this election season.
They made jungle book.
Beyonce could play Scarlett O’Hara and Meryl Street could play Mammy.
Despite its off-putting title – for men anyway – The Dressmaker is a terriific movie, with an outstanding performance by Kate Winslet, which you won’t forget in a hurry. According to The Numbers, its already taken some 21 Million Dollars at the overseas Box-Office, about three-quarters of which has come from Australia and New Zealand. In the UK it was released last year, but it has since been shown on Sky. I note that Deadline calls the movie a quirky comedy, maybe so, but it is really a stunning revenge movie, full of unexpected twists and turns. It also includes great performances from Judy Davis and Liam Hemsworth.
I don’t believe a dressmaker would be destructive.
At the basis of anything, next week’s trio of releases (Masterminds, Deepwater Horizon and Ms. Peregrine) are going to gobble up at least one of this weekend’s releases. My bet is that Storks is going to be a flop. This is compounded by an erratic release schedule overseas…
Really? I’m more convinced that all three of next week’s releases will flop. Miss Peregrine looks over-budgeted and way too niche-appeal; Deepwater Horizon documents an unappealing historical event that many audiences are unfamiliar with (the trailers I say never really made the connection with the BP Oil Spill) and Masterminds is another victim of the Relativity bankruptcy that got poorly marketed and most people don’t seem to know it exists. Magnificent Seven should retain the top spot next week and Deepwater Horizon will probably be fighting Storks for second place.
The magnificient 7 will not retain no1 spot next weekend. At best 3rd place finish and if this weekend box office b/n it and storks is close enough, storks could even overtake it next weekend.
@Ted – It’s obvious you’re doubting the star power of Denzel, Chris Pratt, Ethan Hawke and company for whatever ridiculous reason. I can say you’re sadly mistaken and you’ll find that out come this weekend and the following weekend.
Denzel movies aren’t known for thier legs. And “pratt and hawke star power” yeah right! Chris pratt is like downey jr when most people thought he is a draw. He can be a draw if he choose right movies in the next few years but now he is not a draw. Hawke is not a draw at all.
@Ted – You’re wrong man, “American Gangster”, “Inside Man”, “Safe House” and “The Equalizer” all of recent memory had legs. Denzel’s movies might not have grossed $200 million domestic at the box office but his films are consistent and deliver between $80-$120 million at the box office. I agree with you that Pratt is still making a name for himself and Hawke is not a big draw, but their names are established and recognizable.
Storks is over Ted. Over at least here in the states. It’s so far below tracking and it skews to those diapers.
And what in the wide wide world of sports are you talking about Ted. Denzel movies are known for a decent 3 time multiple and some even do more. Why the heck do you think they make them? Flight did close to 3.9 multiple.
MISS PEREGRINE is “niche appeal”? It’s a Tim Burton fantasy film based on a best-selling novel. You may recall Burton’s ALICE IN WONDERLAND, which was far from a great film, did over $1 billion worldwide. If MISS PEREGRINE doesn’t top the box office next weekend, I’ll be extremely surprised.
It all depends on whether or not the regions near the Gulf of Mexico boycott Deepwater Horizon outright, if they do, not even Mark Wahlberg can save it.
Tim Burton’s Miss Peregrine won’t have to worry about any Johnny Depp/Amber Heard scandal since he’s surprisingly absent this time round.
Whilst Tim Burton’s Dark Shadows muse Eva Green has had a raised profile with her Penny Dreadful series, she hasn’t actually headlined a movie in her own right until now (before this she’s appeared as part of an ensemble).
Why would anyone boycott DEEPWATER HORIZON? It very clearly makes out BP to be the bad guys.
It IS niche appeal though. The books aren’t even as popular as third generation Hunger Games knock-off the Maze Runner. And there’s been some upset already about the movies taking too much liberties with the books among some of the fans.
Asa Butterfield doesn’t have the cute boy vibe to draw in the teenage girl crowd. Tim Burton might put some butts in seats, but that’s not always guaranteed. Eva Green is a FANTASTIC actress, but she doesn’t have a great deal of star power. Plus, this is a weird time to release it. Not close enough to Halloween.
No, I think Miss Peregrine will, at best, have a moderately successful weekend followed by a nose dive.
Since when was star power important? I thought that concept was king of the multiplexes these days.
As far as Halloween is concerned, being released so close to Halloween didn’t exactly help Crimson Peak or Goosebumps hit the big grosses last year.
The one upside for Peregrine’s Home for Peculiar Children is, given that Storks seems to be doomed on arrival, there isn’t another “big” family film being released until Trolls in November, thereby giving Peculiar Children decent legs for a while. I wouldn’t consider that Wimpy Kid knock-off that’s coming in October as big.
Historically, Denzel solo is good for $70 million. Anything above that, in this case, can be attributable to Chris Pratt, plus older audiences who are starving for a real western, even if it’s not that great.
Probably about 10 years ago or so I would agree with you, but over the last 10 years i would say Denzel is closer to being good for about 85-120 million at the box office. Over the last decade his films have grossed significantly more than his previous films did, he’s been one of the more consistent box office grossing actors over the past decade.
Over the past 10 years, Denzel has averaged 85-mil domestic. That’s 10 movies, minus The Great Debaters which was a more limited release.
But the more telling stat is that ALL of his movies in this span were hits. His least successful movies were Pelham 123 and Deja Vu at 65-mil domestic… not blockbusters, but nowhere near disappointments.
They say movie stars need one hit for ever two releases. Some are about 1-for-9. Denzel never misses, and he’s been on top for close to 30 years. Who other than Hanks and Cruise can say the same?
Pratt is great, but two years ago he was a supporting actor on a TV comedy.
PLEASE show a bit of respect to the legend.
How can you compare
Denzel washington – 5 movies above 100ml domestic – average 50ml per movie domestic – 266ml worldwide highest grossing movie
With Tom Cruise – 16 movies above 100ml domestic – average 100ml per movie domestic – more than 20 movies above 200ml worldwide
I know denzel is great but cruise is in his own league.
I never said Denzel eclipsed Cruise, who’s arguably the greatest movie star of all time. But how many besides Cruise can you say top Denzel as a lead actor?
Also, has a movie with a black guy in the lead ever drawn more than flies in Europe or Asia?
Compare Denzel to Will Smith, whose movies are designed to play overseas.
Denzel makes dramas, not blockbusters. If he was making movies with budgets and effects like I, ROBOT and SUICIDE SQUAD, criticism of his worldwide grosses would be more valid.
Hmm. You’re making the bizarre assumption that the co-lead in all of Denzel’s movies (always the hot young white actor of the moment be it Ryan Reynolds in Safe House or Chris Pratt in Magnificent Seven for example) is bringing nothing to the table box office wise. I wonder why.
It’s because I’m black.
(I’m actually not).
It’s because I’m anti-white!
(No, I’m a total honky).
And yes, I’m sure Ryan Reynolds – coming off about fifteen straight flops before Safe House – is really getting the short end when I say that Denzel was by far the primary draw for that movie.
And the point about Pratt is that nobody knows what kind of draw he is. The two movies that put him onto the A-list were a Marvel movie and a Jurassic Park sequel.
Putting Pratt on Denzel’s level right now isn’t quite as idiotic as claiming Ryan Reynolds opened Safe House, but it’s still plenty idiotic.
In what universe did I disrespect Denzel? On the contrary, his rock-steady stream of hits is commendable in this age where stars are almost meaningless. (If you doubt me, go to the Grove and ask 100 people to name the star of AVATAR.) I will concede that $70 million may have been a bit on the low side, but that still doesn’t rise to the level of a knock.
Sigourney Weaver was the star, right?
(Hi Cad! :) )
I just came home from seeing a matinee of “Magnificent Seven.” I’m a huge fan of the original, having seen it dozens of times over the years. My advice to folks is forget the 1960 version and let this tale stand on its own. Much to admire, particularly in the directing. I disagree with the critics who harp about the lack of character development and the final battle sequence was well choreographed.
I’d give M7 a solid 3.5 stars (out of four). Liked it much better than I expected.
Comcast got DWA for a discount now along with their other animation film studio-Illumination, I dont think anyone will be cash in on that market other than Disney.
When I saw the trailer, I thought it was a United Colors of Benetton ad.
When you have to qualify a record two different ways (it’s the biggest opening for a September release…except for family films…and genre movies), then it’s not actually a record.
“Magnificent Seven is opening higher than Sully ($35M), ”
Hilarious. A Western remake stuffed with (alleged) stars, expensive action sequences and the kind of swaggering, posturing machismo that’s supposed to pull in the under 25 crowd en masse can barely make a couple of million more than an Eastwood movie aimed squarely at those way over the age of 30 (if not 50). What happened to all those 40/50/60 million projections, hmm?
You can spin your reporting as much as you like but this is one underwhelming debut for Mag7.
I agree 100%.
My goodness, your point couldn’t be more true.
@Gary – While I do agree that “Magnificent Seven” came in under box office projections, I sure hope your not foolishly trying to call Denzel Washington an alleged star. I hope your not that damn ignorant SMH. This man is too great of an actor and has been in the game far too long for some nobody like you to question rather he’s a star or not.
Question is, is it Denzel who’s opening this movie big, or Chris Pratt? Pratt had two of the biggest hits of the decade while I don’t think Denzel has ever had a movie top $100m in the US.
Pelican Brief, Safe House, American Gangster, Remember the Titans and The Equalizer. Come on guy! Do a little research! Wow!
The Pelican Brief being a hit wasn’t just because of Denzel Washington. Please. The movie starred Julia Roberts at her career peak and it was a John Grisham adaptation which came out right after the blockbuster Grisham adaptation The Firm.
No it wasn’t a hit just because of Denzel but he was one of the reasons it was a hit.
good question
Denzel was the overall draw. We do know that Pratt added nothing to the typical Denzel opening this weekend, contrary to what many were expecting (some prognosticators were saying $60m+ LOL).
Jake definitely told you off on your ignorance about Denzel’s box office history, joke’s on you jack hahaha.
Storks ad campaign was poor. Their first trailer was the opposite of a Pixar trailer – confusing, showed too much at once but not clearly showing what the movie is about. A shame.
Yeah, it’s to bad. It’s a fantastic animated flick. This was one of those times where I looked at the aggregator sites and was somewhat baffled by what I read. It’s very funny. It’s not a cookie cutter animated movie. (Plot-wise maybe, but it has some downright weird voice performances for a mainstream movie.) It deserves much better.
Go Suicide Squad!!!
Is $330 million the new estimate for the final total for SS? The number keeps changubg every other week it seems. It was 300 at the end of August, then 310 mid September, last week it was 320…which it will be over that by next weekend, probably around 322. Just keeps on going. So is $330 the new guess? My guess is $333 it finishes up at.
No. It won’t do more than 325 MN. It is still a big victory and the movie has shown unbelievably decent legs Even better than Civil War. The big question is can it do 750 MN globally. It is at 731 MN currently. Let’s hope for the best. Blockbuster Suicide Squad!!
Denzel AND Pratt?
Should’ve been bigger…
Although the media is desperately touting Pratt as a bona fide “movie star”, the truth is that he merely lucked out by being cast in two blockbusters (“Guardians of the Galaxy”, “Jurassic World”) that moviegoers flocked to because of their CGI fireworks, NOT because Pratt was in them. Last week, ABC-TV’s “Nightline” aired a fawning segment on Pratt hyping him as a to-die-for male sex symbol when, if truth be told, he came across as (at best) ordinary, pleasant enough and inoffensive. Sure, these qualities are preferable to the downright repulsive and nauseating likes of a James Franco or Shia LaBarf. But in an era when talented, likeable (albeit getting-on-in-years) genuine “stars” like Mr. Washington, Tom Hanks and Tom Cruise are few and far between, the fact that non-entities like Chris Pratt, Channing Tatum and Zac Efron are being shoved in our faces as the best leading men Hollywood has to offer is one of the many reasons why audiences are slowly but surely losing what was once taken for granted as “a moviegoing habit”.
Audiences like Pratt. Box office speaks louder than your opinion, which is pretty much all you have here.
You try so hard to sound contemplative and mature in your thinking, and then you mention “Shia Labarf” and reveal yourself to be either an old person with too much time on your hands, a young person with too much time on your hands, or someone who works in the industry and is bitter about the state of your own career.
There was once a day when Tom Hanks was only considered a failed sitcom star, Cruise was considered a heart-throb with no dramatic chops, and Denzel was seen as a good actor who couldn’t sell tickets.
If movies don’t excite you anymore, you should re-visit the way you spend your spare time.
Are they charging by the word for space use.
It remains to be seen but it appears that “audiences ultimately turned their backs” on more than one movie this weekend…
Maybe people went to see Matt Bomer in what is becoming his signature in film-he acts-he dies. Most times,he’s the premise of the movie
Matt Bomer should have achieved major movie stardom years ago. He’s a terrific actor (and deserved every award he earned for his heartbreaking performance in HBO’s “Normal Heart”) and has the looks and charisma of a matinee idol. But Hollywood continues to waste him in crap like the “Magic Mike” bores. He’d be a great leading man for the dynamic Jennifer Lawrence. Instead, the romantic lead in her next movie is Chris Pratt. Go figure.