7th Update, Sunday 6:51 AM: Industry estimates have Spider-Man: Homecoming counting an estimated $37M last night, putting it on track for a $116M-$118M opening, which would rank as the second best for the franchise and the Culver City, CA lot after 2007’s Spider-Man 3 ($151.1M). Sony also sees its sixth Spider-Man in that range, with $117M. Homecoming represents a huge rebound for Sony since the 2014 hack, and a win for Tom Rothman since being promoted to Sony Pictures Entertainment’s Motion Picture Group Chairman more than two years ago.
Consider the feat that Sony and Marvel have accomplished here with Homecoming: Few – if any – franchises within a seven-year span are rebooted three times with different stars and reach these B.O. heights (it took 007 ten years between Roger Moore’s last movie View to a Kill and Pierce Brosnan’s Goldeneye, a major drought in between with the late ’80s Timothy Dalton titles). Could you imagine if this was done with Iron Man? In the middle of a franchise-fatigued summer, here’s a movie that bucks the trend: Completely fresh, and a superhero movie like no other in its John Hughes homage. Sony’s reboot here is reminiscent of what the studio did with Bond in its Daniel Craig-Casino Royale makeover in that it takes the franchise back to its roots. In the books, Bond is a gritty guy, and in the comics, Peter Parker is a wide-eyed teenager.
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“This is a triumphant return of Spider-Man, it’s one of the best-reviewed superhero movies of all-time and an incredible win for Sony and Marvel,” beamed Josh Greenstein, Sony’s president of worldwide marketing and distribution this morning.
There was always the notion that this Spider-Man would skew younger and ComScore/Screen Engine’s PostTrak supports that showing 43% under 18 in updated audience polls. Since Friday, the under 25 crowd swelled with females moving from 18% to 22%, the third best demo for Homecoming after guys under 25 (35%), men over 25 (24%) and ahead of women 25+ (19%). Quite often studio marketing chiefs refer to older teens and young twentysomethings as the “lost generation” — a reliable moviegoing demographic in the 1980s and 1990s, now a challenge to get into seats with their social media, YouTube and Netflix distractions. Sony conquered that hurdle by marketing Homecoming to millions of young males around the world on Playstation with the pic’s opening sequence “A Film by Peter Parker.” That clip showed the over-excited young lad shooting his Civil War adventures with the Avengers on his cell phone. Rolling out the marketing for Homecoming was critical, and being woven into the greater MCU was key. Again, this all began at CinemaCon last year when Disney/Marvel’s Captain America: Civil War introduced Tom Holland’s Spider-Man as a member of the Avengers team. We further detail the marketing below and Sony’s $140M+ promotional partnerships here.
Among those titles produced by the Kevin Feige-led Marvel Cinematic Universe, Homecoming‘s domestic start ranks seventh behind The Avengers ($207.4M), Avengers: Age of Ultron ($191.3M), Captain America: Civil War ($179.1M), Iron Man 3 ($174.1M), Guardians of the Galaxy Vol. 2 ($146.5M) and Iron Man 2 ($128.1M).
Compared to its $51M Friday which was padded by $15.4M Thursday previews, Homecoming‘s Saturday is -27%, but backing those previews out, Saturday was actually +6%. By comparison, Wonder Woman was -8% on Saturday (and +29% in strict day-to-day comparisons) while The Dark Knight was -29% in its first first Friday to Saturday (and -2% in real comparative box office dollars). This is just the nature of these superhero movies when they open so big on Thursday and Friday: There’s a front-loaded flood of fanboys. Rival analysts believe Homecoming will lead the July box office, easily surpassing $300M in its domestic run. Whatever the marketplace lacks in August without a Guardians of the Galaxy, Suicide Squad or tentpole, July will prop up the summer with the combination of Homecoming, Baby Driver, 20th Century Fox’s War for The Planet of the Apes, Warner Bros.’ Dunkirk and Focus Features’ Atomic Blonde. The industry thinks Homecoming can clear between $28M-$30M today.
Overall total positive score is still a great 89% and 4 1/2 stars with a ton of walk-up business; 83% buying their tickets at the theater. This indicates that Homecoming is playing beyond the hardcore cinema-going audience. Forty-nine percent of Homecoming‘s audience was Caucasian, 24% Hispanic, 13% African American while 10% were Asian.
Social Media monitor Relish Mix relays that the Homecoming buzz continues to swell even after people leave the theater: “What’s uncanny on social with Homecoming is that most tentpoles peak by Friday night and taper-off, but this Marvel-Sony movie continues to build with YouTube views in the 120-140k range per day and now in the 160-190k range per day for the top 25 videos, owned and earned. The third trailer for Homecoming on the Marvel channel clocked 345K views yesterday and that’s organic and exceptional. Even Zendaya with 42.8M Instagram and Robert Downey Jr. with 15.8M IG, both popped by adding 21k new followers each on those accounts.” Homecoming‘s social media stars included Zendaya (62.1M across Twitter, Facebook, Instagram), Downey Jr (53M), and Holland (2.8M).
Also on the charts, Amazon Studios/Lionsgate’s The Big Sick jumped into the top 10 with $3.65M at 362 locations for a strong $11K theater average in its third weekend. Cume to date is $6.9M. “This weekend’s performance demonstrates the robust marketplace for independent films as an alternative to the summer blockbusters,” said Bob Berney, Head of Marketing & Distribution for Amazon Studios in a statement. “Audiences are loving meeting Kumail and Zoe and their crazy families in this movie, finding a universal connection no matter where they are from.” Next weekend, the romantic comedy which touts 97% Certified fresh on Rotten Tomatoes will go wide at 2,500 venues, counterprogramming War for The Planet of the Apes and Broad Green’s horror title Wish Upon.
Weekend box office for July 7-9 as of Sunday morning according to studio estimates:
1). Spider-Man: Homecoming (SONY/MARVEL), 4,348 theaters / $50.9M Fri. (includes $15.4M previews) /$37.1M Saturday/$29M Sunday/$26,9K PTA/ 3-day cume: $117M /Wk 1
2). Despicable Me 3 (UNI/ILL), 4,535 theaters (+6) / $11.4M Fri. /$12.9M Sat/$9.7M Sun/ 3-day cume: $34M (-53%) /Total: $149.1M Wk 2
3). Baby Driver (SONY), 3,226 theaters (0) / $3.9M Fri. /$5.1M Sat/$3.7M Sun/ 3-day cume: $12.75M (-38%)/ Total cume: $56.9M / Wk 2
4.) Wonder Woman (WB), 3,091 theaters (-313) / $3M Fri. /$4M Sat/$3.2M Sun/ 3-day cume: $10.1M (-35%)/ Total: $368.8M / Wk 6
5). Transformers: The Last Knight (PAR), 3,241 theaters (-891) / $1.8M Fri. /$2.6M Sat/ $1.9M Sun/ 3-day cume: $6.3M (-63%)/ Total cume: $118.9M / Wk 3
6). Cars 3 (DIS), 2,702 theaters (-874) / $1.7M Fri. /$2.1M Sat/$1.8M Sun/ 3-day cume: $5.6M (-42%) / Total: $133.7M / Wk 4
7). The House (WB), 3,134 theaters (0)/ $1.5M Fri. /$1.89M Sat/ $1.4M Sun/ 3-day cume: $4.8M (-45%)/Total: $18.6M/ Wk 2
8.) The Big Sick (AMAZ/LGF), 326 theaters (+255) / $1.1M Fri /$1.49M Sat/$1M Sun/ 3-day cume: $3.65M (+121%) / Per screen: $11K /Total: $6.9M/Wk 3
9.). 47 Meters Down (ENT), 1,740 theaters (-510) / $852K Fri. /$1.1M Sat/$855K Sun/ 3-day cume: $2.79M (-38%) / Total: $38.5M / Wk 4
10.) The Beguiled (FOC), 941 theaters (+267) / $660K Fri / $839K Sat/$587K Sun/3-day cume: $2.09M (-34%)/Total: $7.4M/ Wk 3
Kinnu Kori (INDIN), 144 theaters / $227K Fri. /$279K Sat/$209K Sun/PTA: $5K/3-day cume: $715K /Wk 1
A Ghost Story (A24), 4 theaters / $39K Fri. / $37K Sat/$31K Sun/PTA: $27/3-day cume: $108K /Wk 1
City of Ghosts (IFC/AMZ) 2 theaters/ $5K Fri/$5,9K Sat/$4,1K/PTA: $7,5K/3-day: $15K/Wk 1
The Little Hours (GPS) 37 theaters (+35)/ /PTA: $5,2K/3-day: $194K (+213%)/Total: $282K/Wk 1
6TH UPDATE writethru, Saturday AM following Friday 11 PM post: Spider-Man: Homecoming is poised to become the second-highest domestic opening ever for Sony with a three-day gross that’s between $125 million-$127 million per industry estimates as of this morning at 4,348 theaters. That’s easily the second-best stateside start for the webslinger superhero in his six-title canon.
Homecoming‘s Friday, including $15.4M from Thursday night shows, is looking at an opening day’s take that’s between $51.2M-$51.5M. We originally saw it between $48M-$49M last night.
Homecoming will rank under Spider-Man 3‘s $151.1M opening and above the original 2002 title which solidified the first weekend of May as the start of summer with a FSS of $114.8M. Given how young the movie skews (CinemaScore showed 31% under 18 last night), it will be interesting to see whether Homecoming gets a huge boost from Saturday matinees. Typically, older-skewing male superhero movies are frontloaded, with Saturday taking a dip because Friday is padded with Thursday night preview figures.
Should Homecoming miss these projections today and wind up being the third-best domestic start for both Sony and Spider-Man, it’s still nothing to complain about. This is a phenomenal comeback for Sony and a long time coming, especially in the wake of the 2014 hack. Currently, Sony sees Homecoming coming in at $120M.
How do you improve the Spider-Man franchise a third time around? Team with Disney’s Marvel and its chief Kevin Feige in the production process. If you want to ensure your film is a success, then put it through the Marvel quality control process which pleases audiences and critics. Marvel will remain a partner on the next sequels of Homecoming, plus Spider-Man star Tom Holland will reprise his role in Disney’s Avengers: Infinity War series. Given the great start with Homecoming, Sony and Marvel should consider remaining creative partners on Spidey spinoff movies like Venom (Clarification: Homecoming isn’t a Disney/Sony financial co-production in the Titanic kind of way, rather strictly creative. Sony’s partner LStar covered 25% of the $175M production cost along with Sony).
Rotten Tomatoes or franchise fatigue ruining your tentpole’s box office grosses? These are pains Marvel doesn’t suffer. On Friday, Homecoming earned a solid A CinemaScore, the best grade ever for a Spider-Man title (its previous highs being A-s for Spider-Man 1 & 2 and The Amazing Spider-Man) and the 11th A grade in the Feige-lead Marvel Cinematic Universe, the most recent one being for Guardians Of The Galaxy Vol. 2.
The Marvel title is a major win for Tom Rothman since becoming chairman of Sony Pictures Entertainment’s Motion Picture Group more than two years ago, and a major win for Amy Pascal in her second outing as a producer post-Ghostbusters. Jon Watts, the indie director of the horror film Clown and the Kevin Bacon crime thriller Cop Car, proves he can handle the big guns of a tentpole and deliver a blockbuster with Homecoming, much like Colin Trevorrow did in graduating from Safety Not Guaranteed to Jurassic World. Josh Greenstein, Sony’s president of worldwide marketing and distribution also gets credit here, not only for driving a campaign that maintained the goodwill established by Spider-Man‘s insertion into the greater Marvel Cinematic Universe in last year’s Captain America: Civil War, but also selecting the right release date for Baby Driver and Homecoming: go after the adults, who’ll come out over the Independence Day holiday with an original R-rated action movie, and save the family-pleasing tentpole for the weekend after so as to avoid any turnstile slowdown. Baby Driver slots third in its second weekend with $13M, a 37% dip, and a running total by Sunday of $57.1M.
In February 2015, Marvel and Sony first announced they were collaborating on Homecoming. We hear that Feige and Pascal, when she was Sony chief, had talks as early as 2014 about the their two studios working together on a Spider-Man film. By June 2015, Feige handpicked Holland as the title superhero and Watts as director with Rothman’s OK. The Sony chief previously worked with Bryan Singer on the X-Men films at 20th Century Fox and liked the idea of a new filmmaking voice on a superhero series. Holland was chosen from hundreds of actors around the globe who were taped. The young British actor screen-tested twice: once with Iron Man star Robert Downey Jr, and a second time with Captain America star Chris Evans.
Sony introduced Holland at last year’s CinemaCon prior to the exhibitor screening of Captain America: Civil War, and from that point on, the 21-year-old was game for anything promo wise and worked overtime. Next up, a month after starting production in Atlanta, the Homecoming cast and filmmakers gathered for a surprise panel at Comic-Con last July, where the first footage dropped. However, fans outside Hall H had to wait until December 8 for the official trailer, which debuted on Jimmy Kimmel Live marking Sony’s kickoff campaign for the film.
Homecoming turned into one of the most viewed superhero trailers of all time – propped by the main cast including Holland and Zendaya on their social pages – notching 266 million global views in its first week and reaping 91% positive sentiment. Relish Mix measures the social media universe for Homecoming at 750M across Facebook, Twitter, Instagram and YouTube views, and that doesn’t include the previous titles in the franchise. That figure easily outstrips the superhero tentpole SMU average of 464M. Ten Homecoming videos from Sony have gone viral at a rate of 59:1, which beats the superhero pic average of 12:1. Some online highlights included the hysterical Spider-Man-drops-into-Starbucks video which debuted 10 days ago. Sony partnered with Goodwill, top YouTube talent and YouTube Space LA to promote “we can all be Spider-Man” with a build-your-own suit contest and custom creator videos. In addition, the studio leveraged the power of Sony Playstation to launch exclusive content (“A Film By Peter Parker”) across game consoles, social handles, and an official blog. At SXSW, Sony R&D built an immersive installation that included a Spidey-themed wall-climbing experience and projection mapping gamification.
Watts directed an NBA Finals integrated promotion which went viral across ESPN, Sony, and the Homecoming talent’s social handles. The spot starred Holland, Downey’s Iron Man and his right hand Happy played by Iron Man 1 & 2 helmer Jon Favreau. Also featured in the spot, which drew 2.2M on Sony’s YouTube page were DJ Khaled, Stan Lee, Magic Johnson, Tim Duncan and Cari Champion. Holland and Downey would also appear on a special Jimmy Kimmel NBA special on June 4 following Game 2 of the Finals.
The TV component of Homecoming‘s campaign further swelled in March with trailers that aired during The Voice, The Americans, SportsCenter, Tonight Show With Jimmy Fallon and The Late Show With Stephen Colbert. In addition, Sony capitalized on buzzworthy shows like The MTV Movie & TV Awards (Holland and Zendaya debuted a two-minute clip), Fear The Walking Dead, the Better Call Saul finale, the BET Awards and Lip Sync Battle (where Holland and Zendaya faced off).
Notable Homecoming custom spots included “From Local Hero to Superhero” which aired across NBCU properties and celebrated local heroes around the U.S. by honoring them with their very own Spider-Man local red carpet premiere. There was an “On the Set” vignette with Holland, Zendaya and Jacob Batalon on Disney Channel/Disney XD. On Freeform, there was a “Rookie in Training” interstitial where Holland performed different stunts from Homecoming and tries to train Zendaya. Other custom spots aired on Cartoon Network and Univision.
CinemaScore shows males repping 60% of last night’s audience with 51% under 25. Fifty-eight percent bought tickets because they love Spider-Man movies, while Holland and Downey pulled in 17% of the ticket buyers. While men 25+ were dominant Thursday night, that’s switched to younger men under 25 leading the charge at 31% in ComScore/Screen Engine PostTrak polling followed by men 25+ (29%), females 25+ (21%) and women under 25 (18%). The under 25 set loves Homecoming a bit more than the older crowd, 93% to 83% total positive. PostTrak also shows a lot of walk-up business with 79% of those surveyed purchasing tickets Friday. Word of mouth has spiked to a 74% definite recommend.
Below are industry estimates for the weekend of July 7-9 as of Friday night — numbers being updated as of Saturday AM (Spidey already updated)
1). Spider-Man: Homecoming (SONY/MARVEL), 4,348 theaters / $51.2M-$51.5M Fri. (includes $15.4M previews) / 3-day cume: $125-127M /Wk 1
2). Despicable Me 3 (UNI/ILL), 4,535 theaters (+6) / $11.4M Fri. (-61%) / 3-day cume: $37.3M (-48%) /Total: $152.4M Wk 2
3). Baby Driver (SONY), 3,226 theaters (0) / $3.9M Fri. (-35%)/ 3-day cume: $13M (-37%)/ Total cume: $57.1M / Wk 2
4.) Wonder Woman (WB), 3,091 theaters (-313) / $2.9M Fri. (-33%)/ 3-day cume: $9.9M (-37%)/ Total: $368.6M / Wk 6
5). Transformers: The Last Knight (PAR), 3,241 theaters (-891) / $1.8M Fri. (-63%)/ 3-day cume: $6M (-65%)/ Total cume: $118.6M / Wk 3
6). Cars 3 (DIS), 2,702 theaters (-874) / $1.7M Fri. (-43%) / 3-day cume: $5.6M (-42%) / Total: $133.7M / Wk 4
7). The House (WB), 3,134 theaters (0)/ $1.5M Fri. (-55%) / 3-day cume: $4.7M (-46%)/Total: $18.5M/ Wk 2
8.) The Big Sick (AMAZ/LGF), 326 theaters (+255) / $1.1M (+105%) / 3-day cume: $3.3M (+106%) / Per screen: $10K /Total: $6.6M/Wk 3
9.). 47 Meters Down (ENT), 1,740 theaters (-510) / $862K Fri. (-38%) / 3-day cume: $2.7M (-40%) / Total: $38.4M / Wk 4
10.) The Beguiled (FOC), 941 theaters (+267) / $661K Fri. (-37%) / 3-day cume: $2.1M (-32%)/Total: $7.4M/ Wk 3
Kinnu Kori (INDIN), 144 theaters / $287K Fri. / PTA: $4,7K/3-day cume: $684K /Wk 1
A Ghost Story (A24), 4 theaters / $39K Fri. / PTA: $28,5K/3-day cume: $114K /Wk 1
City of Ghosts (IFC/AMZ) 2 theaters/ $5K Fri/PTA: $7,4K/3-day: $15K/Wk 1
4th Update, Midday Friday: “It’s definitely going over $100M, there’s no way the wheels are falling off this one.”
Those are the words of a wise rival distribution executive on the expected results for Sony/Marvel’s Spider-Man: Homecoming, which on the low end is looking at a three-day of $105M. That’s bound to be the third best debut for both a Sony release and a Spider-Man movie following 2007’s Spider-Man 3 ($151.1M) and the original 2002 film ($114.8M). Some even see Homecoming busting past $112M, possibly even hitting $120M, but it’s still too early to call those figures. Today alone, Homecoming looks to clear between $42M-$45M with last night representing 34%-37% of that figure. Following in the wake of last weekend’s Baby Driver, which is bound to make $3.7M today and $12.5M in weekend two (bringing its running cume to $56.6M by Sunday), it’s boom times for Sony. The Culver City studio has been hit-starved ever since that 2014 hack (although MGM’s Spectre was a bright spot with over $880M at the global B.O.).
We hear that Homecoming won’t face the slowdown that impacted Universal/Illumination’s Despicable Me 3 last weekend where Friday numbers came on high then fell off. A lot of that had to do with families being distracted by the July 4th holiday. And it’s for that very reason why the sixth Spider-Man is opening post holiday, and why Marvel has slotted Ant-Man and The Wasp post Independence Day next year on July 6: To avoid any box office monkey wrenches. Homecoming is a fanboy film, with some potential family audience built in to spike matinees. It will be interesting to see how frontloaded business is on this Marvel title. Homecoming is running about 5% ahead of Warner Bros./DC’s Wonder Woman at the same time and slowly widening the gap (she ended day 1 with Thursday previews at $38.2M). Plus Homecoming had $4.4M more in previews than WW‘s $11M. Sony is seeing $99M, but we hear that there’s too much love out there from audiences for Homecoming.
Just look at the social buzz: RelishMix says, “Homecoming has its fans in a fever pitch heading into open. They are discussing the flow of clips with looks at the villains, the new Spider-Man suit and more. Moviegoers are calling out their favorite characters – even Marisa Tomei as Aunt May is getting some shout outs…next-gen Spider-Man and MCU Fans make it clear they can’t wait.”
This Spider-Man cost before P&A a similar amount to other titles in the Marvel Cinematic Universe: $175M. That’s more than a third cheaper than Sony’s previous title in the franchise, The Amazing Spider-Man 2 which even with combined theatrical P&A and production costs of $430M saw a profit of $70M-plus after all global TV and home entertainment monies were counted.
Despicable Me 3 is looking at an estimated $34M in weekend two, -53%, after $10.5M today for a total by Sunday of $149.1M. Warner Bros./DC’s Wonder Woman isn’t being bullied by Spider-Man in the marketplace with an estimated weekend six that’s poised to be -30% with $11M and a potential total by Sunday of $369.7M. Gosh, at this pace, can Wonder Woman beat Marvel’s Guardians of the Galaxy Vol. 2 ($384.7M) to become the highest grossing title of summer?
3RD UPDATE, Friday AM (after Thursday 9 PM & 6:08 PM posts): After strong West Coast ticket sales, Sony/Marvel’s Spider-Man: Homecoming box office cash swelled from $10 million at 6 PM to $13M at 9 PM to finally $15.4M last night in previews. ComScore/Screen Engine PostTrak audiences gave the film 4 1/2 stars, with an 86% overall positive and a 69% definite recommend. These are all great signs for a prosperous weekend as Homecoming aims for a $95M-$100M-plus weekend.
Homecoming played at 3,450 locations last night, starting at 7 PM in every U.S./Canadian time zone. The Jon Watts-directed movie, which incorporates Spider-Man into the greater Marvel Cinematic Universe, will expand to 4,348 sites today. It is the only major studio release this weekend.
At $15.4M, Homecoming is ahead of such Thursday preview nights as Deadpool ($12.7M), Guardians Of The Galaxy ($11.2M), Wonder Woman ($11M), Captain America: The Winter Soldier ($10.2M, 2014), Spider-Man 3 ($10M, 2007), Doctor Strange ($9.4M, 2016) and The Amazing Spider-Man 2 ($8.7M, 2014). Homecoming was just $1.6M shy of what Guardians Of The Galaxy Vol. 2 earned, $17M on Thursday.
The Thursday nights of Wonder Woman, Winter Soldier and GOTG repped close to a third of their Friday business, which ranged from $36.9M to low $38M — and that’s about where Homecoming could wind up EOD. Out of those three, Wonder Woman earned a $103.2M opening, its business spurred largely by young and old females yearning to see their favorite classic superhero on the big screen. Meanwhile, GOTG and Winter Solder opened to $94M-$95M.
PostTrak shows Homecoming skewing toward men at 63% last night compared with females’ 37%. Men over 25 repped the majority at 35%, followed by men under 25 (28%), females 25 and over (24%) and females under 25 (13%). Sixty percent said Homecoming met their expectations, while 37% said it exceeded expectations. Forty-nine percent bought tickets to Homecoming because they love Spider-Man, 18% said it was the cast featuring Robert Downey Jr., Michael Keaton, Tom Holland and Zendaya; 25% watched because they went with someone who wanted to see it, 19% heard it was good; and 11% cited it was the film’s great reviews.
Deadpool, which churned out a first day of $47.3M and three-day weekend of $132.4M, is an outsider in regards to comps. It was a box office anomaly as an R-rated superhero comedy and its business was further fueled by Valentine’s Day/Presidents’ Day foot traffic. Homecoming has the benefit of being more family-friendly than the dark Andrew Garfield titles and the edgy Sam Raimi pics. That quality could work to Homecoming‘s benefit during matinees versus being frontloaded like other Marvel movies. Out of all the comps we listed above, Homecoming has the best reviews, with a certified fresh Rotten Tomatoes rating of 93%. That’s the second-best reviewed Spider-Man title after 2004’s Spider-Man 2 (94%) and it’s a complete improvement over Amazing Spider-Man 2 which earned the worst reviews in the six-pic series at 52% Rotten.
Sony originally forecast an $80M-plus opening for Homecoming, while the industry and tracking has been higher with a FSS that’s around $100M over three days. The latter isn’t out of the question given last night’s number.
Fandango reported yesterday morning that advance tickets sales for Homecoming are outstripping that of Wonder Woman at the same point in their sale cycles. Per Fandango’s survey of 1,000 moviegoers, 89% were more excited to see the latest Spider-Man because of star Holland’s credibility as a high school student. Eighty-seven percent of those polled have seen multiple Spider-Man movies on the big screen, while 86% are fans of Downey and 70% fans of Keaton.
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