7TH UPDATE, 2:12 PM: Director Clint Eastwood and Tom Hanks’ Sully landed with a smooth $35 million this past weekend for Warner Bros and Village Roadshow. Another newcomer, When The Bough Breaks from Sony, wasn’t as lucky, dipping to $14.2M off of industry estimates of $14.8M-$15M after suffering a bigger than expected Sunday fall. In addition, Lionsgate’s animated family film The Wild Life barely scraped by, while Relativity’s The Disappointment’s Room failed miserably.
This weekend will bring three new pictures into the market with only Sully expected continue to hold well:
Blair Witch from Lionsgate, which has a built-in younger audience from the horror crowd and also, since the first was released in 1999, may play slightly older. The first one was made for $60K and grossed about $250M worldwide. The horror film will go date and date worldwide.
Oliver Stone’s long-anticipated, ripped-from-the-headlines Snowden, starring an ensemble cast led by Joseph Gordon-Levitt and Shailene Woodley, will drop from Open Road. It will bow in a smattering of countries, the biggest being (where else?) Russia.
Lastly, Bridget Jones Baby — which marks the third film in the franchise found by Sony’s Michael Lynton when he read the book as a top executive in NY’s publishing world — will release worldwide. It opens in 41 markets including biggies the UK and Ireland, Russia, Australia, Mexico and Spain. Domestically, it is being distributed by Sony and internationally by Universal.
Here is this weekend’s final Top 20 chart:
1). Sully (WB), 3,525 theaters / 3-day cume: $35M / Per screen average: $9,937 / Wk 1
2). When The Bough Breaks (SONY), 2,246 theaters / 3-day cume: $14.2M / Per screen: $6,323 / Wk 1
3). Don’t Breathe (SONY), 3,384 theaters (+333) / 3-day cume: $8.25M / Per screen: $2,438 / Total cume: $66.8M / Wk 3
4). Suicide Squad (WB), 3,103 theaters (-189) / 3-day cume: $5.7M / Per screen: $1,844 / Total cume: $307.48M / Wk 6
5). The Wild Life (LG), 2,493 theaters / 3-day cume: $3.3M / Per screen: $1,341 / Wk 1
6). Kubo And The Two Strings (FOC), 2,335 theaters (-650) / 3-day cume: $3.3M / Per screen: $1,414 / Total cume: $40.9M / Wk 4
7). Pete’s Dragon (DIS), 2,685 theaters (-587) / 3-day cume: $3.1M (-52%) / Per screen: $1,155 / Total cume: $70.1M / Wk 5
8). Bad Moms (STX), 1,888 theaters (-418) / 3-day cume: $2.59M / Per screen: $1,374 / Total cume: $107.28M / Wk 7
9). Hell Or High Water (CBS/Lionsgate), 1,445 theaters (+142) / 3-day cume: $2.4M / Per screen: $1,703 / Total cume: $19.68M / Wk 5
10). Sausage Party (SONY/APP), 2,071 theaters (-695) / 3-day cume: $2.3M / Per screen: $1,131 / Total cume: $93.2M / Wk 5
11). No Manches Frida (LG/PANT), 465 theaters (+103) / 3-day cume: $2.1M (-43%) / Per screen: $4,545 / Total cume: $7.3M / Wk 2
12). War Dogs (WB), 1,781 theaters (-1067) / 3-day cume: $2M / Per screen: $1,138 / Total cume: $39.8M / Wk 4
13). Light Between Oceans (DIS/DWA), 1,500 theaters / 3-day cume: $1.8M (-61%) / Per screen: $1,233 / Total cume: $9.46M / Wk 2
14). Jason Bourne (UNI), 1,510 theaters (-466) / 3-day cume: $1.7M / Per screen: $1,157 / Total cume: $158.7M / Wk 7
15). Mechanic: Resurrection (LGF), 1,901 theaters (-357) / 3-day cume: $1.7M / Per screen: $902 / Total cume: $18.6M / Wk 7
16). The Secret Life Of Pets (UNI), 1,210 theaters (-659) / 3-day cume: $1.5M / Per screen: $1,094 / Total cume: $361.8M / Wk 10
17). The Disappointments Room (REL), 1,554 theaters / 3-day cume: $1.4M / Per screen: $903 / Wk 1
18). Star Trek Beyond (PAR), 748 theaters (-454) / 3-day cume: $932 / Per screen: $1,247 / Total cume: $156.57M / Wk 8
19). Florence Foster Jenkins (PAR), 1,062 theaters (-279) / 3-day cume: $853K / Per screen: $804 / Total cume: $25.7M / Wk 5
20). Baar Baar Dekho (ERO), 150 theaters / 3-day cume: $612K / Per screen: $4,194 / Wk 1
22). Morgan (FOX), 2,020 theaters / 3-day cume: $504K (-75%) / Per screen: $205 / Total cume: $3.59M / Wk 2
6TH UPDATE, SUNDAY, 7:45 AM: Sully will land smoothly today for Clint Eastwood and Tom Hanks with an estimated weekend haul of $35.5M. And in doing so, the Warner/Village Roadshow Bros.’ film posts the highest September opening for the studio as well as the biggest post-Labor Day haul for the industry. It also logged the highest opener for a drama in September. The story about the pilot hero Chelsey “Sully” Sullenberger who eased a water landing on the Hudson River when plane’s engines were disabled after running into a flock of geese was the first film ever to be shot 100% with Imax cameras and the film paid off giving the premium-platform company its highest September opening for a wide release.
Sully captured $4M on 375 domestic Imax screens, besting The Equalizer‘s previous record of $3.1M and its former 2D record for the company as well. Expect long legs as this film played equally well with both genders and especially with its mainly adult audience. With an A CinemaScore, a 3.6 multiple is the average.
“We are so proud of Sully. Clint Eastwood made a sensational movie, and Tom Hanks and Aaron Eckhart gave amazing performances. The stars aligned and it over-performed,” said Jeff Goldstein, exec VP domestic theatrical distribution. Asked about how Sully may fare in its second weekend when a number of new films push into it, he said: “We’re not the least bit concerned. Dramas like this hold strongly and have big multiples. So I think this next weekend, we’ll do fine.”
Warner Bros. launched a stellar marketing campaign on the film, giving it early exposure with spots during the Olympics and, of course, the strong critical kudos from Telluride had the picture generating strong word of mouth leading into its opening weekend. Despite Eastwood and Hanks being pretty much anti-social media, the duo traveled in traditional promotional tours and it hit a strong note on social media when one of the Q&A’s was broadcast live on Facebook.
The studio also released Sully in 39 countries this weekend and on roughly 3,900 screens, the film took in $9.5M and enjoyed the biggest opening of any Eastwood film in Russia. That puts Sully‘s global bow at $45M so far with Japan on the horizon to open later this month.
Newcomer When the Bough Breaks will end the weekend with an estimated $14.8M to $15M and a B CinemaScore. Its best comp, also a Sony film — The Perfect Guy — was released in the same date last year and opened to $25.9M and an A- CinemaScore. The thriller that stars Morris Chestnut and Regina Hall was a low-risk movie for Sony, made for about $10M (not including P&A) and skews more female than Perfect Guy.
“Anytime you can open higher than your production budget, it’s a good weekend,” said Josh Greenstein, president of worldwide marketing and distribution for Sony. “It’s another in a streak of profitable films for us. The core female audience turned out, and we’re hoping that with not a lot of offerings out there, it will have a good multiple.”
In terms of hits, look no further than No. 3 down the chart for Sony’s surprise hit from director Fede Alvarez, Don’t Breathe, which has been holding up exceptionally well. After this weekend, the modestly budgeted film (around $10M as well) is heading towards $100M globally and will end its third weekend out with around a $66.7M cume.
While last weekend, holdovers took all the top spots, at least this weekend two newbies grabbed center stage. Traditionally, the weekend after Labor Day is a deadzone and one that distributors have shied away from. However, with the plethora of films coming up Warner Bros. (wisely) chose to go out early to get ahead of the fall pack. Next weekend alone we’ll have three big players releasing wide: Blair Witch from Lionsgate for the younger audience, Oliver Stone’s Snowden (from Open Road) — which may give Sully some competition with older audiences — and the counter-programmer comedy Bridget Jones’s Baby from Sony.
There were two other newcomers this weekend — The Wild Life, Lionsgate’s foreign animated acquisition from CanalPlus — which, despite getting a boost up the Top Ten chart yesterday from family audiences, will debut with only $3.3M, while Relativity’s The Disappointments Room lived up to its name and will bring in about $1.4M for the weekend.
We had two wide releases in their second weekends and both have almost faded from memory. DreamWorks’ Light Between The Oceans will fall about 62% thanks to Disney while the not so scary horror film Morgan dropped a big 75% for Fox.
(On a personal note, on this day where the nation’s No. 1 movie is one that honors a true Americcan hero, I just wanted to say that we remember the lives taken 15 years ago in New York, D.C. and in Shanksville, PA and also the 6,000 injured. One of those taken was Stuart Meltzer, a father of two little boys, who worked at Cantor Fitzgerald and previously was on the desk of then Miramax co-head Bob Weinstein. His great uncle was Phil Weltman who ran the William Morris training program and was the mentor to the CAA co-founders. Stuart’s father Zach Meltzer is an unsung hero who pressed Sen. Ted Kennedy to compensate the 9/11 victims after charities ran off with the money they collected from Americans and the world, leaving the victims without a penny).
Anita Busch compiled Saturday and Sunday estimates.
1). Sully (WB), 3,525 theaters / $12.2M Fri. (includes $1.35M preview) / $14.6M Sat. (+20%) / $8.7M Sun. (-40%) / 3-day cume: $35.58M / Wk 1
2). When the Bough Breaks (SONY), 2,246 theaters / $5.4M Fri. / $6.1M Sat. (+16%) / $3.6M Sun. (-40%) / 3-day cume: $14.8M to $15M / Wk 1
3). Don’t Breathe (SONY), 3,384 theaters (+333) / $2.3M (-42%) Fri. / $3.78M Sat. (+55%) / $2M Sun. (-48%) / 3-day cume: $7.8M to $8M+ / Total cume: $66.5M to $66.8M / Wk 3
4). Suicide Squad (WB), 3,103 theaters (-189) / $1.4M Fri. (-38%) / $2.7M Sat. (+91%) / $1.5M Sun. (-45%) / 3-day cume: $5.65M / Total cume: $307.4M / Wk 6
5). The Wild Life (LG), 2,493 theaters / $715K Fri. / $1.5M Sat. (+120%) / $1M Sun. (-35%) / 3-day cume: $3.3M / Wk 1
6). Kubo and the Two Strings (FOC), 2,335 theaters (-650) / $677K Fri. / $1.59M Sat. (+135%) / $955M Sun. (-49%) / 3-day cume: $3.2M / Total cume: $40.8M / Wk 4
7). Pete’s Dragon (DIS), 2,685 theaters (-587) / $645K Fri. (-56%) / $1.48M Sat. (+132%) / $890K Sun. (-53%) / 3-day cume: $2.9M to $3M (-52%) / Total cume: $70M / Wk 5
8). Bad Moms (STX), 1,888 theaters (-418) / $830K Fri. (-32%) / $1.2M Sat. (+45%) / $667K to $790K Sun. (-43%) / 3-day cume: $2.6M to $2.8M / Total cume: $107.4M / Wk 7
9). Hell or High Water (CBS/Lionsgate), 1,445 theaters (+142) / $681K Fri. (-41%) / $1.1M Sat. (+55%) / $680K Sun. (-40%) / 3-day cume: $2.5M / Total cume: $19.7M / Wk 5
10). Sausage Party (SONY/APP), 2,071 theaters (-695) / $700K Fri. (-49%) / $1M Sat. (+48%) / $570K Sun. (-45%) / 3-day cume: $2.3M / Total cume: $93.19M / Wk 5
14). Light Between Oceans (DIS/DWA), 1,500 theaters / $575K Fri. (-59%) / $786K Sat. (+37%) / $430K Sun. (-45%) / 3-day cume: $1.79M (-62%) / Total cume: $9.4M / Wk 2
17). The Disappointments Room (REL), 1,554 theaters / $475K Fri. / $590K Sat. (+25%) / $355K Sun. (-40%) / Per screen average: $900 to $915 / 3-day cume: $1.4M / Wk 1
22). Morgan (FOX), 2,020 theaters / $148K Fri. (-76%) / $220K Sat. (+49%) / $133K Sun. (-40%) / 3-day cume: $500K (-75%) / Total cume: $3.59M / Wk 2
5th UPDATE, Saturday, 11:15 PM: Climbing higher on Saturday than expected, Sully could end its three-day debut weekend of anywhere between $35.5M to $36M, depending on the strength of its Sunday. It took in about $15M today. This film should have some strong legs in the coming weeks, given it appeals to an older audience and its high A CinemaScore.
Holding steady in second position is another newcomer, When the Bough Breaks, which may pick up a total of $14.8M to $15.2M after all is said and done tomorrow; Sunday usually is a strong moviegoing day for its core demo. It grabbed roughly $6.1M today, up about 17% from Friday.
There are two other newbies in the marketplace, but their business is almost non-existent. The animated family film The Wild Life is holding on by its claws to keep the No. 10 position right now with maybe a $3.3M take in its opening weekend while The Disappointments Room will be lucky to get $1M and change. More tomorrow in the AM.
4th WRITETHRU, Saturday, 7:55 AM (UPDATED, Friday 11:20PM): No big surprises this Saturday morning as Warner Bros./Village Roadshow’s Sully edges slightly higher for director Clint Eastwood and star Tom Hanks. The film garnered an A CinemaScore (Hanks’ fourth in a row) and the star is on the way to seeing his third best live-action feature opener with an estimated $34.5M. The success of Sully this weekend speaks volumes about Hanks’ resilience as a star particularly when he’s attached to the right material and director, in this case Eastwood. And with an all-American hero story like Chesley Sullenberger, there’s no better actor who brings more poignancy to him than Hanks.
Among Hanks’ opening B.O. records, Sully will slot behind Da Vinci Code ($77M) and Angels & Demons ($46.2M), while among Eastwood’s debuts, his latest is a solid second after his career record American Sniper ($89.3M FSS).
A few years ago, Hanks-led films appeared to be in a slump at the B.O., with such misfires as Charlie Wilson’s War ($9.7M opening, $66.6M domestic), Larry Crowne ($13M, $35.6M) and the woeful Cloud Atlas ($9.6M, $27.1M), but ever since 2013’s Captain Phillips which delivered his first $100M-grossing live action film in four years and six noms for the film (sans its Captain Hanks), the actor has been on an upswing. Very surprisingly, Hanks has not received an Oscar nomination since Castaway in 2000.
Sully‘s big start this weekend truly gives it a leg up heading into the crowded fall space. Warner Bros. tried to start the autumn awards season promptly after Labor Day 2011 with Steven Soderbergh’s ensemble thriller Contagion which posted a solid $22.4M opening and final stateside gross of $75.7M. But Contagion didn’t catch on at the Golden Globes, SAGs or Oscars and was relegated to being a popcorn film that season.
Bridge of Spies and Captain Phillips, both with A CinemaScores put up final totals that were well in excess of 4x their openings (Saving Mr. Banks because it went wide during the year-end holidays posted close to an enormous 9x multiple, typical for that time of year). Adult-driven demos also usually have strong legs and when a film garners an A CinemaScore, it usually carries with it (on average) a 3.6 multiple. While Sully should leg out like Bridge of Spies and Captain Phillips, the one risk Warner Bros. runs by launching the film this early in the fall is that voters might forget about it (in the same way Golden Globes and AMPAS voters forgot about Johnny Depp’s sublime turn as Whitey Bulger in Black Mass which opened to $22.6M last September, but much later in the month).
Then again, this is the same studio that reawakened AMPAS months following their May tentpole Mad Max: Fury Road which landed 10 Oscar noms, including best picture and six wins.
Sully‘s CinemaScore audience split is 56% females/44% males who both awarded the Eastwood pic ‘A’s. Big older crowd here at 90% over 25 (A) with the 50-plus demo at 63% giving Sully an A+. With a great start like that among the older folk, they’re just going to keep comin’. On PostTrak, Sully earned an awesome 90% positive score, a 72% definite recommend with moviegoers saying that the US Airways pilot’s story was the primary reason that intrigued them (48%) as well as Hanks himself (40%). Sully carries an estimated production cost of $60M and has the best reviews of the wide entries this weekend with an 83% fresh Rotten Tomatoes score.
In all fairness to Sony, mid-week tracking seemed to be off on their Screen Gems African American thriller When the Bough Breaks with agencies forecasting it in the $20M range. Essentially, they had The Perfect Guy on their minds, which grabbed the top spot at the B.O. exactly a year ago, opening to $25.9M and an A- CinemaScore. This weekend Bough is bound to make an estimated $14.4M to $14.6M per industry reports. Sunday is usually a big day for the targeted demo so we figure it will be on the higher side. While that $14.5M is less than what we’ve seen recently with these Screen Gems thrillers, it’s a return to the teen openings these pics previously produced, i.e. The Call ($17.1M) and September 2008’s Lakeview Terrace ($15M). Bough gets a B CinemaScore, which is lower than No Good Deed‘s B+, but higher than Lakeview‘s C+. PostTrak also shows a mediocre 74% positive, a 52% definite recommend with largely older African American female crowds (AA at 71%, Females 59% and over 25 at 70%).
Sony started its marketing campaign for the picture in June as Bough’s stars Morris Chestnut and Regina Hall offered up a sneak peek of the film during the BET Awards and they continued promoting the film together during numerous talk show appearances. The film has a social star in Chestnut, too. He shared that sneak peek on his FB page and shared all of the red carpet photos across his pages. He has 6.9M fans/followers.
Meanwhile, writer/director’s Fede Alvarez’s Don’t Breathe (Screen Gems) is exhaling at -52% for a third weekend and third place take of $7.6M and running cume of $66.2M.
Lionsgate’s foreign animation pick-up The Wild Life from CanalPlus is even lower at $2.7M than the distributor’s cheapie January toon Norm of the North which debuted to $9.4M, boosted by the four-day MLK holiday weekend. Family audiences know the difference between high-end animation and everything else with Wild Life earning a B-, the same CinemaScore as Norm. That film ended its stateside run just above $17M.
The dumping continued at the box office with Relativity’s The Disappointments Room which earned a D CinemaScore and lowly FSS of $1.2M; that’s under $800 a theater per screen. Perhaps they should have changed the title of the movie or sent this one out straight to DVD. Some recent horror films that also hit rock bottom in their exit polls were 20th Century Fox’s 2014 title Devil’s Due with a D+, and Paramount’s The Devil Inside, which received one of the few Fs (however, that Paramount title can crow over the fact that it notched a phenomenal No. 1 opening of $33.7M). Relativity’s film didn’t even crack the Top Ten and will come in somewhere around No. 17.
Granted Disappointments Room survived Relativity’s bankruptcy proceedings, but the question begged here is whether the distributor spent a cent on marketing. Most horror labels love boasting about the bang for the buck they get from digital promotions. That doesn’t appear to be the case here.
One of the biggest social stars on Disappointments Room is Kate Beckinsale at 910K, but she’s busy promoting here Jan. 6 genre film Underworld: Blood Wars on Twitter (see below). Per Relish Mix, Disappointments Room has a very low social media universe at 7.6M across Twitter, Instagram and YouTube. The social media monitor firm also reports that the online chatter for Disappointments Room is lame with zero excitement for a haunted house movie.
Disney’s final DreamWorks live action title The Light Between Oceans is on track to drop 58% in its second weekend, CBS’ Hell or High Water is staying alive among adult audiences in 9th place with close to $20M in its fifth weekend, while Sony/Annapurna’s Sausage Party is sleeping its way past $90M.
Anthony D’Alessandro posted the Friday late night box office update.
The top 10 films and notables per early Friday PM estimates for the weekend of Sept. 9-11:
1). Sully (WB), 3,525 theaters / $12.2M Fri. (includes $1.35M preview) / 3-day cume: $34.5M / Wk 1
2). When the Bough Breaks (SONY), 2,246 theaters / $5.4M Fri. / 3-day cume: $14.4M to $14.6M / Wk 1
3). Don’t Breathe (SONY), 3,384 theaters (+333) / $2.3M (-42%) Fri. / 3-day cume: $7.8M to $8M (-50%) / Total cume: $66.5M to $66.7M / Wk 3
4). Suicide Squad (WB), 3,103 theaters (-189) / $1.4M Fri. (-38%) / 3-day cume: $5.1M to $5.3M (-48%) / Total cume: $307M / Wk 6
5). Kubo and the Two Strings (FOC), 2,335 theaters (-650) / $677K Fri. (-52%) / 3-day cume: $3.2M (-50%) / Total cume: $40.7M to $40.9M / Wk 4
6). Pete’s Dragon (DIS), 2,685 theaters (-587) / $645K Fri. (-56%) / 3-day cume: $3M (-52%) / Total cume: $70M / Wk 5
7). The Wild Life (LG), 2,493 theaters / $715K Fri. / 3-day cume: $2.77M / Wk 1
8/9). Bad Moms (STX), 1,888 theaters (-418) / $830K Fri. (-32%) / 3-day cume: $2.69M (-44%) / Total cume: $107.3M / Wk 7
Hell or High Water (CBS/Lionsgate), 1,445 theaters (+142) / $681K Fri. (-41%) / 3-day cume: $2.62M (-40%) to $2.68M / Total cume: $19.8M to $20.2M / Wk 5
10). Sausage Party (SONY/APP), 2,071 theaters (-695) / $700K Fri. (-49%) / 3-day cume: $2.2M (-56%) / Total cume: $93.1M / Wk 5
11). Light Between Oceans (DIS/DWA), 1,500 theaters / $575K Fri. (-59%) / 3-day cume: $1.98M (-58%) / Total cume: $9.58M / Wk 2
17). The Disappointments Room (REL), 1,554 theaters / $475K Fri. / Per screen average: $800 / 3-day cume: $1.2M / Wk 1
No Manches Frida (LG/PANT), 465 theaters (+103) / $480K Fri. / 3-day cume: $1.9M (-47%) / Total cume: $7.1M / Wk 2
Morgan (20TH), 2,020 theaters / $148K Fri. (-76%) / 3-day cume: $480K (-76%) / Total cume: $3.5M / Wk 2
Author: The JT LeRoy Story (MAG), 5 theaters / $7,900 Fri. / Per screen average: $5K / 3-day cume: $27K / Wk 1
UPDATED, 3:53 PM: With strong matinee tallies coming in for the Tom Hanks-starring Sully, industry observers are betting that the film about the Miracle on the Hudson could come in around $12M today and around $30M-$33M for the three-day weekend for Warner Bros./Village Roadshow. Sony’s When the Bough Breaks is heading toward about $7M tonight with a possible low-$20M weekend, depending on Sunday’s haul. Meanwhile, Lionsgate’s The Wild Life and Relativity’s The Disappointments Room are mere blips today. Wild Life could end up with a $3M weekend, while Disappointment’s might not even break $1M.
PREVIOUSLY, 7:25 AM: Sully, Tom Hanks and Clint Eastwood’s tribute to a true American hero, flew in this morning and landed with a staggering $1.35M from yesterday on about 2,900 screens for Warner Bros. and Village Roadshow, which is co-producing and financing with the studio.
The gross surpasses all of its comps by far: the Tom Hanks-starring Bridge of Spies opened in mid-October last year to $600K on Thursday in 2,387 runs before it went on to grab $15.37M on 2,811 runs for its three-day. The differences are that Sully has higher interest from both older females and males (overall) than Bridge of Spies. Another comp picture, the Hanks-starring Captain Phillips, opened to $600K in late nights before grossing $25.7M during its opening weekend in October 2013. Sony opened Phillips wide in 3,143 theaters.
We are still expecting a weekend in the mid-$20Ms.
Sully has more runs than either of those films. Five or six years ago, Sully would have been designated a mid-October release, but with all of the films in the marketplace this year — and it’s crammed — September has become a vital time to release. Usually, distributors don’t want to touch the weekend after Labor Day because of the general lack of moviegoing.
But four new pictures are coming into the weekend this year. Of all the new releases — including When the Bough Breaks (Sony), The Wild Life (Lionsgate), The Disappointments Room (Relativity) — Sully has had the highest awareness by far.
The other three films opening did not release into theaters last night. Sully‘s Thursday night grosses are folded into the Friday number (as always), so it should have a very good day and night. These adult-demo films tend to draw a nice multiple, and the reviews on the picture mostly are positive, boosted by critical acclaim from Telluride, so this picture could have pretty strong legs.
In terms of social media reach, Sully has the strongest video views of any of the new releases; it’s in the 15K daily viewing range and an earned/owned ratio of 8:1. The ripped-from-the-headlines film is about US Airways pilot Chesley Burnett “Sully” Sullenberger’s water landing on the Hudson River in January 2009 after geese flew into the engines of the commercial airliner and disabled it. The film is flexing its muscle across the board with an SMU (social media universe) of 84.9M. Breaking it down, Sully has 41.9M Facebook fans, 20.3M Twitter followers, 2.4M Instagram followers and more than 20.3M YouTube views.
What’s interesting about his film, says RelishMix, which compiles the data every week for Deadline, is that Hanks and Eastwood are dutifully participating in the film’s traditional press tour with Q&As, but neither is social at all.
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