6TH WRITETHRU Monday PM: Updated with final actuals Disney’s family juggernaut Zootopia keeps growing. We thought it was going to do in the $40Ms this weekend. Now, Disney has finaled its second weekend at $51.3M, down 32% from its opening weekend of $75M. Currently, B.O. analysts think it’s going to be a close third weekend between Zootopia and Lionsgate’s threequel The Divergent Series: Allegiant both of which are expected to make around $35M.
Zootopia together with Paramount’s new-comer 10 Cloverfield Lane, which finaled at $24.7M in second place, trounced the rest of the wide entries: Lionsgate’s The Perfect Match at $4.3M, Focus Features’ Young Messiah with $3.29M and Sony/Village Roadshow/LStar’s The Brothers Grimsby with $3.26M. Despite the mishaps, ComScore reports total weekend ticket sales at $134.7M, +2% from a year ago when — wow, when Cinderella opened in the top spot to $67.9M. Total domestic box office for 2016 is pacing ahead of the same frame in 2015 at 11% with $2.2B.
Why 'The Brothers Grimsby' Is Sacha Baron Cohen's Grimmest Box Office Yet
There was also a healthy round of holdovers this past weekend. 20th Century Fox’s Deadpool, still putting up double digit numbers with $10.9M in its fifth weekend. Also Gramercy/Focus Features’ London Has Fallen falling an even 50% with a 10-day cume of $39M. Even though Disney’s Star Wars: The Force Awakens comes out on April 5 on DVD, the film is still clearing over $1M in its 13th frame, raising its all-time domestic cume of $930.8M.
Said one distribution chief yesterday about those films that failed to launch in the current B.O. environment: “There’s a weekend-to-weekend trend going on in the marketplace. One movie will overperform its tracking and dominate the social conversation as the ‘it’ movie, while the top spots are continually populated by strong holdovers. As such, the other new movies can’t rise to a value proposition in a way that they should.” Essentially, Young Messiah, Perfect Match and Brothers Grimsby will be flushed from multiplexes, especially as bigger product such as Warner Bros’ Batman v. Superman: Dawn of Justice over Easter weekend encroaches on marquee space. This means that Lionsgate, Sony and Focus Features will have to wait a window before they can start making money back on VOD/DVD. It’s reasons like this weekend’s bombs that has some content providers — not all — raising the controversial suggestion for premium day-and-date VOD releases.
Through 10 days, Zootopia has amassed close to $144M, which is 31% ahead of Disney’s Oscar-winning Big Hero 6 (final domestic $222.5M), 53% ahead of Frozen (final $400M) and synced with Pixar’s Finding Nemo (domestic B.O. first theatrical release $339.7M). In fact, Zootopia‘s $75M opening weekend was $5M more than what Nemo made in its first FSS. The original Disney animated feature saw the best Saturday hike of all the titles in the top 10 with a 90% surge over Friday with $22.8M. As we mentioned last weekend, when a feature toon puts up this kind of numbers, it is making money hand over fist during evening showtimes too, not just matinees.
Paramount’s 10 Cloverfield Lane carries a production budget in the midteens with $16.3M in ad spend, per iSpot TV. And with 16% of K-12 schools off this week, business should continue to click for Zootopia and 10 Cloverfield Lane. That percentage will only getting bigger as we head toward Easter at the end of March.
What’s odd here with 10 Cloverfield Lane is that there’s a huge gap between the upbeat reviews and general audiences’ final grade: Rotten Tomatoes gave it a 91% fresh grade, while CinemaScore crowds have the J.J. Abrams sci-fi thriller production at a B- (that’s the type of grades horror films receive). Some Oscar bloggers are screaming for an awards campaign for John Goodman, who is continually overlooked by the Oscars (hey, Mary Elizabeth Winstead was pretty amazing, too). ComScore PostTrak audiences gave 10 Cloverfield Lane a 66% very good/excellent. Here’s the reason for the discrepancy: As audiences watched the movie, they came up with their own conceit of how it should end, so that when 10 Cloverfield Lane takes a big turn in the third act, there’s a love-it-or-hate-it attitude toward the movie. ComScore PostTRak reports that close to half of the audience is sharing the good word of mouth with their friends. That’s good enough for Paramount moving forward. Also, 10 Cloverfield Lane didn’t play like a horror thriller at the box office. Typically, horror aficionados come out on opening day, and business drops from there, but 10 Cloverfield Lane made $9.7M on Saturday, +8% over Friday. In terms of the audience turnout, the Goodman-Winstead pic remained predominantly male just like the first 2008 title at 61%, but the fanbase grew older: 55% were under 25 for Cloverfield, while this time that crowd dwindled to 32%. The spinoff’s CinemaScore carries a 2.7 multiple, which means 10 Cloverfield Lane will pave its way to about $68M. Imax runs rang up $3.1M with six of the top 10 engagements in the U.S. belonging to the large format’s hub.
Paramount used the first-quarter TV season, considered to be a fertile ground for viewing, to launch teasers for 10 Cloverfield Lane. The film’s trailer played on 13 Hours and went on to clock 11.4M online views in its first 24 hours. Then there was the $1M Super Bowl kickoff TV spot on February 7, followed by a co-branding with the February 14 Walking Dead premiere. In addition, the TV spot aired during such shows as the Academy Awards Pre-Show, The Voice premiere, the Agent Carter finale, Super Tuesday coverage, American Crime finale and the Bates Motel premiere. Paramount always has made a point to link up with burgeoning social media platforms and the studio was Snapchat’s launch partner on a new ad that allowed users to swipe up and watch the entire trailer. In addition, there was a deep augmented-reality game around Goodman’s doomsday-fanatic character.
We went through the bloody entrails of Sacha Baron Cohen’s latest comedy yesterday (see related link above). Said Sony domestic distribution chief Rory Bruer on Sunday in regards to Brothers Grimsby: “Sacha Baron Cohen and Sony’s marketing team worked really hard on this movie. It was a film that was difficult to convert, but we love this movie.” Another factor contributing to the lackluster performance of Young Messiah and Perfect Match was that they were limited releases — in 1,761 and 925 theaters, respectively — hence their P&A was significantly smaller than the average wide release.
In the specialty market, Bleecker Street’s drone thriller Eye in the Sky chalked up a near $23K per-theater average (the best of the weekend) at five New York and L.A. locations for a total FSS of $114K. Bleecker reports that some matinee and evening shows over the past two days sold out. The pic will expand again this Friday. It carries a 95% fresh score. Helen Mirren’s arthouse crossover last spring, The Woman in Gold, played to $33.3M and that was off a 53% rotten score. Roadside Attractions/Sony’s Stage 6 film’s Sally Field dramedy Hello, My Name Is Doris about a sixtysomething woman who falls for a younger man drew the second best theater average of the weekend with $21,246 at four NY and LA locations and a near $85K weekend. The film also will widen to the top markets by this Friday. Doris is also a hit with critics at 89% fresh and RSA has been drumming up word-of-mouth through various advance screenings. IFC’s doc City of Gold which follows food critics Jonathan Gold pegged the third highest PTA of the frame with over $15K.
ComScore’s official top 20 actuals for the weekend of March 11-12:
1). Zootopia (DIS), 3,827 theaters (0)/ 3-day cume: $51.3M (-32%)/ Per screen avg: $13,415 /Total Cume: $144M/Wk 2
2). 10 Cloverfield Lane (PAR), 3,391 theaters/ 3-day cume: $24.7M /Per screen: $7,285 / Wk 1
3). Deadpool (FOX), 3,331 theaters (-293) / 3-day cume: $10.9M (-35%) / Per screen: $3,285 / Total Cume: $328.2M / Wk 5
4). London Has Fallen (FOC), 3,492 theaters (+2)/ 3-day cume: $10.8M (-50%)/ Per screen: $3,103 / Total Cume: $39M/ Wk 2
5). Whiskey Tango Foxtrot (PAR), 2,413 theaters (+39)/ 3-day cume: $4.7M (-37%) / Per screen: $1,933 / Total Cume: $14.6M /Wk 2
6) The Perfect Match (LG), 3,391 theaters/ 3-day cume: $4.3M / Per screen: $4,642 / Wk 1
7) The Young Messiah (FOC), 1,761 theaters/ 3-day cume: $3.29M / Per screen: $1,871 / Wk 1
8.) The Brothers Grimsby (SONY), 2,235 theaters/ 3-day cume: $3.26M / Per screen: $1,458 / Wk 1
9). Gods of Egypt (LG), 2,306 theaters (-811)/ 3-day cume: $2.5M (-51%) / Per screen: $1,104 / Total cume: $27.4M/ Wk 3
10). Risen (SONY), 2,095 theaters (-412) / 3-day cume: $2.3M (-42%) / Per screen: $1,089 / Total cume: $32.4M / Wk 4
11). The Revenant (FOX), 1,303 theaters (-185) / 3-day cume: $2.1M (-40%) / Per screen: $1,578 / Total cume: $179.2M / Wk 12
12). Kung Fu Panda 3 (DWA/FOX), 1,650 theaters (-1,050) / 3-day cume: $1.7M (-52%) / Per screen: $1,035/ Total cume: $136.5M / Wk 7
13). Eddie the Eagle (FOX), 1,568 theaters (-476) / 3-day cume: $1.6M (-50%)/ Per screen: $1,002 / Total cume: $13.5M/ Wk 3
14). Star Wars: The Force Awakens (DIS), 760 theaters (-261) /3-day cume: $1.3M (-30%)/ Per screen: $1,708 /Total cume: $930.8M / Wk 13
15). The Witch (A24), 945 theaters (-770) / 3-day cume: $1M (-60%) / Per screen: $1,064 / Total cume: $22.9M / Wk 4
16). Spotlight (OR), 847 theaters (-380) / 3-day cume: $931K (-47%) / Per screen: $1,100 / Total cume: $43.2M / Wk 19
17). How To Be Single (WB/MGM/New Line), 767 theaters (-835) /3-day cume: $924K (-56%)/ Per screen: $1,205 / Total: $45.1M/ Wk 5
18). Race (FOC), 689 theaters (-597)/3-day cume: $731K (-52%)/ Per screen: $1,062 / Total cume: $17.8M / Wk 4
19). The Other Side of the Door (FOX), 585 theaters (+39)/3-day cume: $690K (-43%)/ Per screen: $1,179 //Total cume: $2.3M /Wk 2
20). The Lady In The Van (SPC), 363 theaters (-66) / 3-day cume: $573K (-20%) /Per screen: $1,579 / Total cume: $8.1M/ Wk 9
Eye in the Sky (BLST), 5 theaters/ 3-day cume: $114K / Per screen: $22,761 / Wk 1
Knight of Cups (BROAD), 36 theaters (+32)/ 3-day cume: $96K (+58%) / Per screen: $2,657 / Total: $181K/ Wk 2
Hello, My Name Is Doris (RSA), 4 theaters/ 3-day cume: $85K / Per screen: $21,246 / / Wk 1
City of Gold (IFC), 4 theaters/ 3-day cume: $63K/ Per screen: $15,740 / Wk 1
Remember (A24), 2 theaters/ 3-day cume: $20K / Per screen: $10,244 /Total cume: $639K / Wk 1
Creative Control (MAG), 3 theaters/ 3-day cume: $7K / Per screen: $2,321 / Wk 1
Lolo (FRR), 1 theaters/ 3-day cume: $4,242 / Wk 1
Talent Has Hunger (FR), 1 theaters/ 3-day cume: $3,709 /Wk 1
River Of Grass (OSP), 1 theaters/ 3-day cume: $2,942 /Wk 1
The Automatic Hate (FM), 1 theaters/ 3-day cume: $2,346 /Wk 1
Yalom’s Cure (FR), 1 theaters/ 3-day cume: $684 /Wk 1
The top 10 films per Sunday studio estimates as assembled by Amanda N’Duka:
1). Zootopia (DIS), 3,827 theaters (0)/ $12M Fri. /$22.8M Sat. (+90%) / $15.2M Sun. (-33%) / 3-day cume: $50M (-32%)/Total Cume: $142.6M/Wk 2
2).10 Cloverfield Lane (PAR), 3,391 theaters/ $9.7M Fri. / $9.7M Sat. (+8%) / $M Sun. (-%) / 3-day cume: $25.2M / Wk 1
3). Deadpool (FOX), 3,331 theaters (-293) / $3M Fri. /$4.85M Sat. (+62%) / $2.95M Sun. (-39%) / 3-day cume: $10.8M (-38%) / Total Cume: $328.1M / Wk 5
4). London Has Fallen (FOC), 3,492 theaters (+2)/ $3M Fri. /$4.7M Sat. (+57%) / $3M Sun. (-36%) / 3-day cume: $10.7M (-51%)/Total Cume: $38.85M/ Wk 2
5). Whiskey Tango Foxtrot (PAR), 2,413 theaters (+39)/ $1.3M Fri. /$2.08M Sat. (+55%) / $1.2M Sun. (-44%) / 3-day cume: $4.5M (-38%) /Total Cume: $14.57M /Wk 2
6) The Perfect Match (LG), 925 theaters/ $1.6M Fri. /$1.7M Sat. (+11%) / $860K Sun. (-50%) / 3-day cume: $4.15M / Wk
7) The Young Messiah (FOC), 1,761 theaters/ $1.4M Fri. /$1.1M Sat. (-21%) / $846K Sun. (-15%) / 3-day cume: $3.4M / Wk 1
8.) The Brothers Grimsby (SONY), 2,235 theaters/ $1.2M Fri. /$1.2M Sat. (0%) / $740K Sun. (-38%) / 3-day cume: $3.15M / Wk 1
9). Gods of Egypt (LG), 2,306 theaters (-811)/ $654K Fri. /$1.1M Sat. (+72%) / $736 Sun. (-34%) / 3-day cume: $2.5M (-52%) /Total cume: $27.3M/ Wk 3
10). Risen (SONY), 2,095 theaters (-412) / $634K Fri. / $943 Sat. (+49%) / $673 Sun. (-29%) / 3-day cume: $2.25M (-42%) / Total cume: $32.4M / Wk 4
Spotlight (OR), 847 theaters (-380) / $248K Fri. /$430K Sat. (+73%) / $279K Sun. (-35%) / 3-day cume: $957K(-46%) / Total cume: $43.2M / Wk 19
Love Punjab (WHP), 36 theaters/ $104K Fri. /$176K Sat. (+69%) / $122K Sun. (-31%) / 3-day cume: $402K / Wk 1
Eye in the Sky (BLST), 5 theaters/ $33K Fri. /$50K Sat. (+51%) / $37K Sun. (-26%) / 3-day cume: $117K /PTA: $23K/ Wk 1
Knight of Cups (BROAD), 36 theaters (+32)/ $28K Fri. /$39K Sat. (+39%) / $27K Sun. (-31%) / 3-day cume: $94K(+54%) /Total: $179K/ Wk 2
Hello, My Name Is Doris (RSA), 4 theaters/ $24K Fri. /$36K Sat. (+49%) / $24K Sun. (-33%) / 3-day cume: $85K /PTA: $21K/ Wk 1
Remember (A24), 2 theaters/ 3-day cume: $20K / Wk 1
4TH WRITETHRU, SATURDAY, 8 AM: Zootopia is showing more muscle than originally expected — so much so that it’s now cutting into 10 Cloverfield Lane‘s business, with a respective $49.1M to $24.5M projected for the frame. The total B.O. for the Disney original animated film is set to swell to $141.7M through 10 days, pacing 51% ahead of Frozen over the same period. This puts Paramount/Bad Robot’s Cloverfield spinoff at the lower end of its opening-weekend projections.
The bright side here is that 10 Cloverfield Lane isn’t expected to play like a horror film with shrinking tickets sales over three days; rather the pic’s business is expected to spike by at least 5% on Saturday after making $9M on Friday. This despite the fact that CinemaScore crowds graded 10 Cloverfield Lane like a horror film with a B-, which beats the first chapter’s C grade.J.J. Abrams has mentioned in interviews that the title wasn’t revealed until January. That’s when Paramount unveiled its enticing teaser campaign of John Goodman, Mary Elizabeth Winstead and John Gallagher Jr. residing in a bunker while something sinister lurks — maybe — outside. The studio dropped a second $1M spot during the Super Bowl. Abrams has also explained to the press that 10 Cloverfield Lane is more akin to a Twilight Zone anthology entry rather than a true sequel. Sixty-one percent males stopped by 10 Cloverfield Lane, with 68% over 25. Fifty-five percent came out because it was a sci-fi thriller.
Meanwhile, Sony/Village Roadshow/LStar’s The Brothers Grimsby is Sacha Baron Cohen’s lowest opening at the box office ever with $3.1M at 2,235 in eighth place, a complete dud with an estimated production cost of $35M-$37M (though we hear the budget was north of $80M when Paramount passed). Oy. Audiences didn’t entirely hate the R-rated comedy with a B+ CinemaScore overall and an A- among under 25ers. But, man, where were they? At Fox’s Deadpool, of course, which is sitting there like a cat with a canary in its mouth, bagging cash with a strong $10.5M fifth weekend in third place and a running domestic total of $327.8M.
Lionsgate’s The Perfect Match is also coming in under expectations with an estimated $4.1M-$4.5M FSS in sixth. It received a B CinemaScore, and largely hooked older females at 66% women, 80% over 25. The under-18 bunch gave it a B+.
Focus Feature’s Christ childhood title The Young Messiah received the best grade of the wide entries with an A-, but its estimated opening is nothing miraculous at $3.8M-$4M. Like most faith-based movies, older females were the core here at 57% women, 91% over 25. Focus shelled out a minimum guarantee for the film, while Young Messiah was financed by Ocean Blue Entertainment, which slashed the film’s production budget from $40M to an estimated $18.5M. In regards to throwing stones at this film’s ticket sales, we have to consider that Young Messiah is in 1,154 fewer theaters than the first weekend of Sony Affirm’s Risen ($11.8M opening at 2,915 venues, $32.4M to date). In addition, this Lent season in particular has been flooded with faith-based product. Despite assumptions that this audience eats up whatever is placed in front of them, the fact is these parish busloads have become more discerning. In addition, word is the faith-based are saving their money for next weekend’s Sony Affirm follow-up Miracles From Heaven, which is scheduled to hit 3,000-plus engagements.
****Brothers Grimsby — what happened here?****
Observing from their perch outside the studio walls, rival distribution chiefs believe Sony dumped Brothers Grimsby in the market, though the Culver City studio tried to nurture this along the way with release-date changes and testing.
Grimsby originated at Paramount in December 2013 with Clash Of The Titans director Louis Leterrier attached before Sony’s previous administration acquired the title in February 2014 with an original release date of July 31, 2015. Test screenings for this Baron Cohen raunch romp started early and audiences weren’t kind during every bump along the way. Grimsby wasn’t the witty satire they loved in Borat. What’s telling here, and explains a lot, is that Baron Cohen’s core audience has grown significantly older since The Dictator. That film played to an under-25 audience of 56% versus Brothers Grimsby, which skewed 72% over 25. Sony screened to 50 campuses across the country and Brothers Grimsby just didn’t penetrate with younger audiences. Also fewer guys turned out for Brothers Grimsby than for Dictator, 52% to 65%. Forty percent of Friday night’s audience came out for Baron Cohen (vs. Dictator‘s 47%).
Additionally, it felt like the marketing campaign didn’t have a long enough lead time. Arguably, Brothers Grimsby didn’t really land in the public consciousness until Baron Cohen appeared on Jimmy Kimmel Live with his too-crude-for-broadcast clip all of one month ago. Compare this to Paramount’s runway for The Dictator in 2012. Even though that R-rated comedy had a May 16 release, Baron Cohen started an awesome uproar at the Oscars that year with his General Aladeen alter ego and his supposed boycott by the Academy. More headlines were heard around the world as the General dumped Kim Jong Il’s ashes on Ryan Seacrest, and was kicked off the red carpet. In addition, Paramount also had a Dictator adult game app. This resulted in a third-place opening with $17.4M (final $60M) in the wake of The Avengers’ third weekend, and Universal’s Battleship.
Two things you can never knock Baron Cohen for: He’s a master of guerrilla theater PR, and he’s a tireless promoter. Even on Brothers Grimsby, I hear Baron Cohen was a studio’s dream when it came to star collaborators. During a college tour he mingled with students in New York, Boston and Austin, and did some interviews in character as Nobby. He even handcuffed himself to Matt Lauer.
Downsides to Brothers Grimsby‘s marketing efforts is that the one-sheets and billboards looked like ripoffs on Adam McKay’s The Other Guys and even Sony’s Spectre. The title is so British it’s alienating to U.S. audiences, and second banana Mark Strong isn’t known for marquee power. “The conceit of the movie looks funny, but on a mass consumption basis, there’s a been-there-done-that to the elements,” criticized one studio marketing executive who has handled Baron Cohen vehicles in the past. According to iSpot, Sony shelled out $7.7M this weekend for Brothers Grimsby TV spots, while Paramount spent $16.3M for 10 Cloverfield Lane ads.
That said, what was clever about Sony’s online/social media campaign was how it built off the audience reaction gimmick that began on Jimmy Kimmel Live (4.1M YouTube views). Sony just kept hitting this joke in its viral marketing. They posted video reactions to the infamous elephant scene from pastors and rabbis (1M YouTube views), fashion model Cara Delevingne (439K), the Kardashians (420K on Kim’s Instagram, 255K on Kourtney’s), Dwayne Johnson and Zac Efron on the set of Baywatch (371K Instagram likes), Pharrell (48K likes) and The Lonely Island guys (8K likes). In total, two dozen social media influencers participated.
But still, why did 20th Century Fox’s Borat work as an overnight success with a $26.4M opening at 837 theaters (a $32K per theater, global take of $262M) and everything else just gradually slid downhill for Baron Cohen’s comedic solo vehicles? “Borat succeeded because it was a stroke of genius that was never seen before,” said one studio executive. “It was shock theater. It was horribly offensive, rightfully funny to most.” Then came Bruno which opened to No. 1 in July 2009 to a decent $30.6M, but petered out to a 2x multiple at the domestic B.O. with $60M.
Added the same executive, “Bruno was more of the same shtick. Even though it was a different character, he wasn’t nearly as charming as Borat, and his effeminate bent was off-putting to audiences. There was a meanness to Bruno that wasn’t as far reaching. In Borat, Baron Cohen was an equal-opportunist in his insulting. Then when he started doing the scripted material like The Dictator, it was as though it was the same guy.”
Some rival distribution chiefs think Baron Cohen’s dirty sense of humor has grown too long-in-the-tooth for the big screen. Still, you can’t take away the fact that he’s a brilliant, multi-talented actor who continues to be in demand by auteurs for his sublime acting chops. Baron Cohen next appears in James Bobin’s Alice Through the Looking Glass as Time. Talking to Deadline during his press tour for Les Miserables, Baron Cohen spoke about the hurdles in pulling off docu-comedies like Borat in this day and age, and why he changed to script-driven material like Dictator and Brothers Grimsby: “The problem is it is definitely challenging, especially now with Twitter and Facebook. It’s very, very hard to get away with,” he said. “You don’t just want to interview some doorman at a hotel; you want to interview the incredibly wealthy guests at the penthouse, high-ranking politicians or people who are threatening.”
1). Zootopia (DIS), 3,827 theaters (0)/ $12.2M Fri. (-38%)/ 3-day cume: $49.1M (-35%)/Total Cume: $141.7M/Wk 2
2).10 Cloverfield Lane (PAR), 3,391 theaters/ $9M Fri. / 3-day cume: $24.5M / Wk 1
3). Deadpool (FOX), 3,331 theaters (-293) / $3M Fri. (-36%) / 3-day cume: $10.5M (-37%) / Total Cume: $327.8M / Wk 5
4). London Has Fallen (FOC), 3,492 theaters (+2)/ $3M Fri. (-60%)/ 3-day cume: $10.2M (-53%)/Total Cume: $38.4M/ Wk 2
5). Whiskey Tango Foxtrot (PAR), 2,413 theaters (+39)/ $1.3M Fri. (-45%) / 3-day cume: $4.5M (-40%) /Total Cume: $14.5M /Wk 2
6) The Perfect Match (LG), 925 theaters/ $1.6M Fri. / 3-day cume: $4.1M-$4.5M / Wk
7) The Young Messiah (FOC), 1,761 theaters/ $1.4M Fri. / 3-day cume: $3.8M-$4M / Wk 1
8.) The Brothers Grimsby (SONY), 2,235 theaters/ $1.2M Fri. / 3-day cume: $3.1M / Wk 1
9). Gods of Egypt (LG), 2,306 theaters (-811)/ $653K Fri. (-51%) / 3-day cume: $2.5M (-52%) /Total cume: $27.3M/ Wk 3
10). Risen (SONY), 2,095 theaters (-412) / $629K Fri. (-41%) / 3-day cume: $2.28M (-42%) / Total cume: $32.4M / Wk 4
Spotlight (OR), 847 theaters (-380) / $241K Fri. (-50%) / 3-day cume: $875K (-50%) / Total cume: $43.1M / Wk 19
Love Punjab (WHP), 36 theaters/ $98K Fri. / 3-day cume: $302K / Wk 1
Eye in the Sky (BLST), 5 theaters/ $33K Fri. / 3-day cume: $107K /PTA: $21K/ Wk 1
Knight of Cups (BROAD), 36 theaters (+32)/ $28K Fri. (+33%) / 3-day cume: $87K (+44%) /Total: $173K/ Wk 2
Hello, My Name Is Doris (RSA), 4 theaters/ $24K Fri. / 3-day cume: $75K /PTA: $19K/ Wk 1
City of Gold (IFC), 4 theaters/ $17K Fri. / 3-day cume: $52K/PTA: $13k / Wk 1
Born To Be Blue (EONE), 2 theaters/ $14K Fri. / 3-day cume: $39K/PTA: $19K / Wk 1
Sweet 20 (CJE), 4 theaters/ $9K Fri. / 3-day cume: $26K / Wk 1
Remember (A24), 2 theaters/ $6K Fri. / 3-day cume: $17K / Wk 1
Marguerite (CMG), 3 theaters/ $4K Fri. / 3-day cume: $14K / Wk 1
********The top 10 films as of late late Friday night per industry estimates for weekend of March 11-13:
1). Zootopia (DIS), 3,827 theaters (0)/ $12.5M Fri. (-36%)/ 3-day cume: $51M/Total Cume: $143M/Wk 2
2).10 Cloverfield Lane (PAR), 3,391 theaters/ $9M Fri. / 3-day cume: $24.7M / Wk 1
3). Deadpool (FOX), 3,331 theaters (-293) / $2.9M Fri. (-38%) / 3-day cume: $10.4M (-38%) / Total Cume: $327.7M / Wk 5
4). London Has Fallen (FOC), 3,492 theaters (+2)/ $3M Fri. (-60%)/ 3-day cume: $10.3M (-52%)/Total Cume:$38.5M/ Wk 2
5). Whiskey Tango Foxtrot (PAR), 2,413 theaters (+39)/ $1.3M Fri. (-45%) / 3-day cume: $4.55M (-39%) /Total Cume:$14.5M /Wk 2
6) The Young Messiah (FOC), 1,761 theaters/ $1.3M Fri. / 3-day cume: $3.7M-$3.8M / Wk 1
The Perfect Match (LG), 3,391 theaters/ $1.35M Fri. / 3-day cume: $3.7M-$3.8M / Wk 1
8.) The Brothers Grimsby (SONY), 2,235 theaters/ $1.2M Fri. / 3-day cume: $3.3M / Wk 1
9). Gods of Egypt (LG), 2,306 theaters (-811)/ $622k Fri. (-52%) / 3-day cume: $2.3M (-56%) /Total cume: $27.1M/ Wk 3
10). Risen (SONY), 2,095 theaters (-412) / $629K Fri. (-41%) / 3-day cume: $2.27M (-42%) / Total cume: $32.37M / Wk 4
Spotlight (OR), 847 theaters (-380) / $220K Fri. (-54%) / 3-day cume: $817k (-54%) / Total cume: $43.1M / Wk 19
Love Punjab (WHP), 36 theaters/ $100k Fri. / 3-day cume: $308k / Wk 1
Eye in the Sky (BLST), 5 theaters/ $30k Fri. / 3-day cume: $93k /PTA: $19k/ Wk 1
Knight of Cups (BROAD), 36 theaters (+32)/ $26K Fri. (+27%) / 3-day cume: $85K (+40%) /Total: $171K/ Wk 2
Hello, My Name Is Doris (RSA), 4 theaters/ $22K Fri. / 3-day cume: $69K /PTA: $17K/ Wk 1
City of Gold (IFC), 4 theaters/ $16k Fri. / 3-day cume: $50k/PTA: $12k / Wk 1
2ND UPDATE, 12:12 PM: Zootopia and 10 Cloverfield Lane are the two top travel destinations for moviegoers this weekend. Disney’s animated film is looking to collect in the high $40M range, while Paramount/Bad Robot’s thriller is looking at $32M. Both titles respective Friday hauls are currently $500K apart, $12M to $11.5M. The box office business theory never gets old: matinees will continually be a family title’s best friend.
On social, Relish Mix reports that #10CloverfieldLane led the run-up to opening with 2K combined hashtags across Twitter and Instagram. The social media monitor notices that the conversation has been positive for the movie with mentions of producer J.J. Abrams as well as predictions on what the monster might look like. Other fans are curious as to what might lie outside the bunker. The good word of mouth counters any hurdle of the cast’s low wattage on social media. Nonethless, star Mary Elizabeth Winstead leads the charge with 663K social followers across Twitter, Instagram and an unofficial Facebook page. In addition, the endorsements by Chris Hardwick and Amy Schumer have been shared across Twitter. Trailers have pulled in 20.9M YouTube views, while the Super Bowl teaser counts 11.3M views on the film’s Facebook page.
Meanwhile, Gramercy/Focus Features London Has Fallen is looking at a second weekend between $10M-$12M. This would raise it’s 10-day cume to $38M-$40M. Meanwhile, Lionsgate’s romantic comedy The Perfect Match at 925 venues looks to be beating the rest of the wide release competition with a FSS of $5M, pegging ahead of Focus Features’ Young Messiah with an estimated $3.75M and Sony/Village Roadshow/LStar Capital’s Sacha Baron Cohen comedy The Brothers Grimsby at $3.5M (ouch). Typically when it comes to an R-rated comedy at this time of year, matinees are null. It’s during the wee hours of the night that the prime twentysomething demo comes out.
1ST UPDATE, 8AM: Paramount reports that Bad Robot’s 10 Cloverfield Lane rang up $1.8M at 2,500 theaters. Pic is expected to move to 3,391 locations today with a projected FSS between $25M-$30M. 10 Cloverfield Lane‘s Thursday beats the $1.5M preview night cash of Super 8 which went on to open to $35.5M. In addition, it outstrips the $1.02M Thursday night grossed by Universal’s horror thriller The Visit, which opened to $25.4M back in September. 10 Cloverfield Lane is a spinoff to 2008’s monster movie Cloverfield, which was an MLK holiday hit with a $40M opening and final cume of $80M. Currently, 10 Cloverfield Lane is charting a 91% fresh Rotten Tomatoes rating, and it’s something clever to behold. It’s not just some Godzilla-like sequel. John Goodman and Mary Elizabeth Winstead are receiving high praise for their respective portrayals of an apocalypse fanatic and a car accident victim in rural Louisiana.
Outside of previews, among regularly ranked films, Disney’s Zootopia ranked first on Thursday with $3.88M taking its first week’s cume to $92.6M. Many expect Zootopia to hold No. 1 again with a $38M-$45M second frame.
Focus Feature’s The Young Messiah took in $475K last night at 1,300 locations. Industry projections are at $7M-$8M for this faith-based title which follows a year in the childhood of Jesus Christ. In spreading the word about The Young Messiah, director Cyrus Nowrasteh spoke at a number of religious conferences including the National Religious Broadcasters convention in Nashville, Tenn. Producer Chris Columbus, director of the first two Harry Potter films, has also been banging the drum for the movie in TV and radio interviews, including an appearance on The Today Show. There’s also been a number of local premieres for the movie hosted by churches, local faith leaders and community groups around the country.
Sony/Village Roadshow/L Star Capital’s The Brothers Grimsby got the short end of the stick last night with $235K at 1,937 theaters. Here’s hoping that the 10 Cloverfield Lane crowd finds this hysterical R-rated comedy after getting their fill of J.J. Abrams- sci-fi spinoff production. The Brothers Grimsby is expected to make $7M-$8M this weekend. Currently, Brothers Grimsby has a 43% Rotten Tomatoes score, but then again, it’s quite hard for critics to swallow gross out films and this one has more than its fair share of an elephant co-starring in it. The British action comedy, directed by Louis Leterrier, has already logged more than $7M at the overseas box office.
Also in play this weekend among wide entries is Lionsgate’s African American romantic comedy The Perfect Match which is projected to post a FSS between $5M-$6M.
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