Update Sunday AM: Universal is reporting $38.6M for its BDSM romance Fifty Shades Freed this morning which is lower than what many were seeing yesterday at $40M, but toward the top of where earlier week tracking pegged it. Still the bigger scream for Fifty Shades Freed is overseas where the pic has tied up $98.1M for the weekend, $136.9M worldwide, escalating the whole Fifty Shades trilogy to $1.08 billion which is what Deadline predicted heading into the weekend.
Similar to the first movie, Universal domestic distribution boss Jim Orr pointed out the threequel is “overindexing in a lot of Midwestern markets you wouldn’t associate with an R-rated film.” In addition there was strong business among the sophisticated, dine-in theater crowd. In sum, Fifty Shades continues to play coast and coast and isn’t just a glossy brand relegated to metropolitan business. Fifty Shades Freed continues to show Uni’s muscle when catering to a female audience, a track record that includes such titles as Bridesmaids, Girls Trip, and Trainwreck. “We take great pride in providing adult female audiences with an incredible experience. The marketing, and the dating really broadened the appeal beyond Fifty Shades Freed‘s core demo,” says Orr.
'Fifty Shades Freed' Review: No Shades Of Grey In Final Chapter Of E L James' Sex Fantasy
Also, despite the less than $40M weekend, there’s a whole other set of Valentine’s Day business which is coming to this E.L. James feature adaptation on Wednesday, on part to the $11M made by its predecessor Fifty Shades Darker on the lovers’ holiday. If you back out Freed‘s $5.6M previews from Friday’s $18.5M, Saturday take of $12.69M is only -2% from Friday’s $12.9M — so essentially business wasn’t entirely frontloaded. Imax auditoriums at 394 repped $2.7M stateside of the $4M global business for Freed.
As previously reported, the pic kept in good standing with its fans earning a B+ CinemaScore, the same grade as its second chapter Fifty Shades Darker a year ago, which made an improvement from the response of the original Fifty Shades of Grey which earned a C+. CinemaScore shows that 78% females turned out giving the James Foley-directed movie a B+ with the under 25 kissing it with an A- (27% of all moviegoers), and the slim margin of those under 18 (3%) who ducked under the ropes and bought tickets to this R-rated affair giving it an A.
Meanwhile, Sony’s Peter Rabbit had a great jump of 97% on Saturday for $11.4M, sending its opening to $25M. This is above the $18M-$23M range that tracking was eyeing, and well above where Sony was figuring it would come in. They were daunted by Paddington 2‘s lackluster business ($11M opening, $38.4M), and that movie isn’t even a comp given its history of being flipped from the Weinstein Co. to Warner Bros. at the last minute, and a hasty marketing campaign that didn’t distinguish it from 2015 release. Peter Rabbit is different: an updated take on a classic piece of literature from Beatrix Potter, mixed in with the raging comedy hijinks of James Corden with a huge 360-fan experience marketing campaign that Sony is known for on its titles like Jumanji: Welcome to the Jungle and Spider-Man: Homecoming (see details further down).
Peter Rabbit also reps a win for former Sony executive Doug Belgrad as its his first release under his 2.0 Entertainment production label, of which it’s a minority co-financier.
With Jumanji: Welcome to the Jungle continuing to hold, -10% in weekend 8 with $9.8M, and raising its cume to $365.7M, the Culver City lot has had the edge this weekend on family product. The Jake Kasdan-directed avatar comedy is $7.8M away from overtaking Sony’s second highest grossing pic stateside, Spider-Man 2 ($373.5M).
James Corden, the voice of Peter Rabbit, was the axis of Sony’s campaign. Some of their stunts and marketing highlights included Blue Jacket Day (in honor of Peter’s favorite piece of clothing) which was celebrated on February 3rd. Corden surprised a NYC classroom with a reading of the classic book. Blue Jacket Day was created to draw awareness to the importance of children’s literacy through its beneficiary, Reading Is Fundamental (RIF). Book donation boxes were present at promo screenings in 35 top markets and 12 top Hispanic markets, as well as the junket and premiere. A Peter Rabbit walkabout character appeared at local events, libraries, local media in 23 major markets that has garnered 60 million impressions thus far.
Blue Jacket Day coincided with an epic three-day takeover of The Grove in Los Angeles with Corden, Domhnall Gleeson, Rose Byrne, Margot Robbie, Elizabeth Debicki and director Will Gluck participating throughout the weekend. Starting on Feb. 2 with a garden-style junket for national press and mommy bloggers, a kid-friendly World Premiere on Saturday afternoon, complete with scavenger hunt at 11 participating Grove stores, a Peter’s garden-themed amusement park with a mini-maze, a double decker bus, costumed characters, crafts, garden games, photo opportunities with Peter Rabbit himself and a live-streamed red carpet via Facebook. On Super Bowl Sunday, Sony held a Bunny Bowl event to benefit The Bunny Bunch Rescue charity with bunnies hopping around on a mini-football field. There was a Facebook live-stream of the entire event and two :60 second TV spots on Animal Planet’s Puppy Bowl.
Among some of Peter Rabbit’s custom TV promos, there was a sneak peek on ABC’s The Bachelor, cut to the same tone as the show and highlighting the hijinks between Peter and McGregor. Peter offers funny pointers on how to maintain one’s home and garden in “Peter’s Home & Garden Tips” piece on HGTV. Other custom bits aired on such family and kid networks as Hallmark, Nickelodeon, Cartoon Network and Disney XD. There was also an extensive Hispanic outreach, one notable segment being on Univision/Unimas which featured a faux-vela spot entitled “Wildest Rabbit” that captured the dramatic tone of telenovelas.
Sony ran a vibrant outdoor campaign that included special executions such as a custom double decker bus decked out with 3D & lighting embellishments, and a domination of JFK’s American Airlines terminal that displayed the lively creative through sight, sound, and motion.
Warner Bros./Village Roadshow’s The 15:17 to Paris also climbed on Saturday to $5.4M, +46% for an opening of $12.6M which is still low for this $30M budgeted Clint Eastwood film. Sometimes the director hits it out of the ballpark, and other times, he falls short commercially. Nonetheless, it’s Eastwood’s 36th time directing a feature, and he took a shoot at changing-up the re-telling of this American heroes story by starring the real guys who were involved in foiling the 2015 terrorist attack on the Thalys train much to the disappointment of critics. 15:17, is similar to, though not exactly like Relativity’s 2012 movie Act of Valor which literally featured a cast of actual NAVY Seals, though not replaying a specific incident. That pic popped to a $24.4M opening in late February and made its way to $70M (it had more action in it than 15:17). Outside of Eastwood’s notable big openers, read American Sniper, Sully and Gran Torino, 15:17 is in that double-digit opening echelon of Flags of Our Fathers ($10.2M) and J. Edgar ($11.2M).
CinemaScore showed roughly an even female-to-male ratio of 51/49% on 15:17, with 57% over the age of 50 giving the pic a B, to its overall B-. Close to half the crowd at 44% came out because it was an Eastwood movie and they gave the pic a B.
Shorts TV and Magnolia’s 2018 set of Oscar-nominated short films drew $615K at 180 screens for a $3,4K average. Magnolia is looking to beat last year’s total for 2017’s set which totaled $2.8M.
Note: Entertainment Studios on Sunday night at 6:38PM is claiming that Hostiles is jumping into the top 10 with $3.2M and a running cume of $26.4M in weekend 8. Essentially, Entertainment Studios originally reported $2.65M which was very much in sync with where rivals were estimating them as well in the $2.6M-$2.7M range as of Sunday morning. If their update is true and kosher by tom’w Monday, it will put Den of Thieves in No. 11, and Shape of Water at 10. Both respective distributors STX and Fox Searchlight are bound to get ticked off, especially after Entertainment Studios is claiming that their Sunday of $1.22M is now double what they saw it at $686K (this AM) and only -3% off Saturday’s $1.26M. To be continued.
Studio-reported figures for the weekend of Feb. 9-11:
1..) Fifty Shades Freed (UNI), 3,768 theaters / $18.5M Fri (includes $5.6m previews)/ $12.7M Sat/ $7.6M Sun/3-day: $38.8M /Wk 1
2..) Peter Rabbit (SONY), 3,725 theaters / $5.7M Fri / $11.4M Sat/ $7.8M/3-day: $25M /Wk 1
3..) The 15:17 to Paris (WB), 3042 theaters / $3.7M Fri /$5.4M Sat/ $3.4M Sun/3-day: $12.6M /Wk 1
4.) Jumanji: Welcome to the Jungle (SONY), 3,126 theaters (-226) / $2.2M Fri /$4.8M Sat/ $2.8M Sun/3-day: $9.8M (-10%)/Total:$365.7M/ Wk 8
5..) The Greatest Showman (FOX), 2,373 theaters (-215) / $1.6m Fri / $3M Sat/$1.8M Sun/3-day: $6.4M (-17%)/Total: $146.5M/Wk 8
6..) Maze Runner: Death Cure (FOX), 2,923 theaters (-870) / $1.4M Fri /$2.8M Sat/ $1.8M Sun/3-day: $6M (-43%) /Total: $49M/Wk 3
7..) Winchester (CBS), 2,480 theaters / $1.3M Fri /$2.3M Sat/$1.3M Sun/3-day: $5.05M (-46%)/Total: $17.1M/Wk 2
8..) The Post (FOX/DW), 1,865 theaters (-597) / $860K Fri /$1.7M Sat/$940K Sun/3-day:$3.5M (-33%)/Total: $72.8M/Wk 8
***Hostiles (EST) 2,214 theaters (-720)/$713K Fri/$1.26M Sat/ $1.22M Sun/3-day: $3.2M (-37%)/Total: $26.3M.
9..) The Shape of Water (FSL), 1,780 theaters (-561) / $760K Fri /$1.4M Sat/ $840K Sun/3-day: $3M (-33%)/Total: $49.7M/Wk 11
10…) Den of Thieves (STX), 1,468 theaters (-644)/ $750K Fri /$1.3M Sat/ $800K Sun/3-day: $2.8M (-37%) /Total: $40.9M/Wk 4
Writethru, Saturday 8AM: E.L. James’ Fifty Shades Freed continues to keep it up at the B.O. with a $40 million-plus opening weekend, still only 14% off from the opening of Fifty Shades Darker last year ($46.6M), which is a solid ease for a threequel. Threequels are notorious for being the lowest out of a franchise’s bunch at the box office with the exception of most superhero movies.
Even more hope for Freed‘s longevity? The Universal erotic drama release ties up its second B+ CinemaScore tonight after Fifty Shades Darker a year ago; proof that the fans are attending versus when Fifty Shades of Grey was slapped with a C+. Uni insiders blamed that on non-fans sinking that pic’s grade.
And in second we have Sony Animation’s Peter Rabbit with $22M, which gets an A- CinemaScore tonight — which is the same grade that Illumination/Universal’s Hop earned. That was a similar project (sans the Beatrix Potter source material) built around a British comedian playing a rabbit. That Easter bunny film opened to $37.5M seven years ago and bounced to $108M domestic, $183.9M worldwide. Given the lack of family fare for quite some time, it will be interesting to see if Peter Rabbit jumps higher than that. Sony has a history for reigniting a children’s classic and succesfully turning into popcorn fare: Between two movies, Stuart Little logged $470M worldwide.
Even though this weekend will likely pale in terms of ticket sales when compared to a year ago’s $188.6M, which was built on Lego Batman ($53M), Fifty Shades Darker, and John Wick:Chapter 2 ($30.4M), next weekend is bound to thrust 2018 greatly ahead of 2017 with Black Panther‘s projected $130M-$160M. This weekend’s takeaway is that moviegoing remains very healthy, and as one film financier pointed out, “You have two films that weren’t that well received by critics which are leading the box office and bound to be profitable. Fifty Shades Freed is unwatchable!” Not every film is built for critics, nor should a film’s box office fate be determined by them, but Fifty Shades Freed and Peter Rabbit provide hope for studio executives that some titles can still be built to simply serve the entertaining needs of their audiences.
While Universal went to great lengths to induct the unfaithful (those who never read E.L. James trilogy) on the first Fifty Shades of Grey, they’ve relied on the brand’s fanbase (ComScore/Screen Engine’s PostTrak shows 81% females, with 59% ladies over 25 taking up the most seats), which they stoked socially, and a killer soundtrack recipe which works like it’s the 1980s all over again. While music was always an essential part of movie marketing back then, every now and then that extra ancillary kicks in, raising a pic’s profile further. Such was the case with the Twilight movies, and that’s definitely the case again with the Fifty Shades of Grey trilogy.
Social media monitor RelishMix expounds, “Universal took a page out of its playbook for Fate of the Furious and Sing! by consistently sharing music videos -which obviously included quick looks from Freed– throughout the campaign. Featuring a partnership with VEVO and some of today’s hottest musical artists like Rita Ora & Liam Payne, Sia, Beyonce and Justin Bieber, Freed has been dropping music videos now and again over the past two months leading up to open. In fact, the second most-viewed clip of the campaign behind the film’s official trailer is Liam Payne and Rita Ora’s ‘For You’ music video which has logged over 32M views”. Recently the soundtrack was made available to stream over the internet, with other big Freed music videos being Hailee Steinfeld and BloodPop’s “Capital Letters” at close to 6M over the last week and Julia Michael’s “Heaven” nearing 2M views. In addition, these artists further drive awareness for the pic on social, read Payne has 57M-plus social media followers while Ora, who appears in the movie, counts over 27M.
For a threequel, RelishMix is also praising Freed‘s half billion social media universe reach across Facebook, Twitter, Instagram, and YouTube even though it’s behind the previous chapters of Fifty Shades of Grey (890M) and Fifty Shades Darker (945M). Universal kicked off the campaign in September with an announcement teaser, generating more than 100M views. Two months later, the official trailer drew 200M views-plus. Taking a page from Warner Bros/New Line’s It haunted house in Hollywood, Uni staged the pop experience F I F T Y, which featured six artfully designed rooms –including Christian Grey’s famed red room of sex toys. Another opportunity for fans to share the love on social media. In addition to James, producer Dana Brunetti has always been generous in providing fans with BTS images and intel from the set. With producer Michael De Luca, left and author/producer James far right:
Another luxury boost for Freed: the New York flagship store of Saks Fifth Avenue has dressed its windows with the costumes and inspirations from the James Foley-directed film.
It is very hard to emulate the American Sniper-effect at the box office, which won over Middle America with a $350.1M domestic gross, even if its Clint Eastwood making another go-round with another American heroes’ tale, in this case The 15:17 to Paris which is looking at $11.7M in 3rd. Many have tried before: 12 Strong recently, 13 Hours: The Secret Soldiers of Benghazi a few years ago, but nothing pops. And if you even dote heavily on PTSD (heavier than American Sniper), read Thank You For Your Service or Billy Lynn’s Long Halftime Walk, that doesn’t pull in the masses at the B.O.
While 15:17 is obviously playing to the flyover states, that crowd isn’t impressed with a B- CinemaScore next to the As they’ve bestowed on 12 Strong and 13 Hours. That’s not good for business. Warners marketed the film as a thriller (which is a smart means to get folks in the door), but once you’re in, it’s a slow origins drama about the real guys who play their older selves. And they struggle to emote on screen. Rival executives point out the title being a problem as a selling point (what does it exactly mean?) in addition to the fact that many aren’t in the know about the the 2015 Thalys train attack and the three American heroes who foiled it. On the upside, Eastwood is always dependable about keeping his titles at a thrifty cost, and this one carries a reported production cost of $30M with Village Roadshow co-financing. But from a commercial and critical standpoint, Sully this is not. Oscar bloggers and pundits were always wondering if this title would get showcased in the heat of this year’s Oscar season, however, Warner Bros. was the wiser.
And as for the holiday holdover greats:
Sony’s other family pic Jumanji: Welcome to the Jungle looks like $2.2M today for a three-day of $9.6M in Weekend 8, down 12%, with a running total of $365.4M. This momentum smells like it’s set to topple Sony’s Spider-Man 2 ($373.5M) to become the studio’s second highest-grossing title stateside after Sam Raimi’s original Spider-Man ($403.7M).
And 20th Century Fox’s underdog musical The Greatest Showman looks like $1.6M today for a three-day of $6.1M, -20%,for a running total in Weekend 8 of $146.2M. The pic will soon overtake Les Miserables ($148.8M), and is less than $5M from overtaking Benj Pasek and Justin Paul’s previous Oscar-winning song-scripted musical La La Land ($151.1M).
Fox Searchlight’s 13 Oscar nominee leader The Shape of Water is nearing $50M.
Industry estimates for Feb. 9-11:
1..) Fifty Shades Freed (UNI), 3,768 theaters / $18.4M Fri (includes $5.6m previews)/3-day: $40.3M /Wk 1
2..) Peter Rabbit (SONY), 3,725 theaters / $5.7M Fri /3-day: $22M /Wk 1
3..) The 15:17 to Paris (WB), 3042 theaters / $3.7M Fri /3-day: $11.7M /Wk 1
4.) Jumanji: Welcome to the Jungle (SONY), 3,126 theaters (-226) / $2.2M Fri /3-day: $9.6M (-12%)/Total:$365.4M/ Wk 8
5..) The Greatest Showman (FOX), 2,373 theaters (-215) / $1.6m Fri / 3-day: $6.1M (-20%)/Total: $146.2M/Wk 8
6..) Maze Runner: Death Cure (FOX), 2,923 theaters (-870) / $1.45M Fri /3-day: $5.7M (-45%) /Total: $48.7M/Wk 3
7..) Winchester (CBS), 2,480 theaters / $1.4M Fri (-61%) /3-day: $4.7M (-49%)/Total: $16.8M/Wk 2
8..) The Post (FOX/DW), 1,865 theaters (-597) / $863K Fri /3-day:$3.3M (-37%)/Total: $72.6M/Wk 8
9..) The Shape of Water (FSL), 1,780 theaters (-561) / $780K Fri /3-day: $3M (-33%)/Total: $49.7M/Wk 11
10…) Den of Thieves (STX), 1,468 theaters (-644)/ $733K Fri /3-day: $2.7M (-40%) /Total: $40.8M/Wk 4
PREVIOUSLY, Friday, 7:02 AM: Universal’s feature adaptation of Fifty Shades Freed, the last chapter in E.L. James’ BDSM trilogy, minted $5.6 million last night at 3,150 theaters. That’s a great start considering it’s only 2% behind last year’s $5.72M preview cash for Fifty Shades Darker.
Pre-weekend opening estimates are ranging from $33M all the way up to $39M on Fifty Shades Freed, but don’t be surprised if it creeps up into the $40M range. Fifty Shades Darker opened to $46.6M last February. In total this weekend, the global ticket sales for Fifty Shades Freed will push the trilogy past the $1 billion mark.
Last year, Fifty Shades Darker‘s previews (beginning at 7 PM) played at 3,120 venues, making it the sixth-best R-rated Thursday night preview of all time. Three years ago, Fifty Shades of Grey opened to $8.6M at 2,830 theaters on its first Thursday night, and currently ranks as the third-best R-rated Thursday night preview behind Deadpool ($12.7M) and The Hangover 2 ($10.4M).
Fifty Shades Freed is leading ticket sales for those pics in play this weekend on Fandango. A recent poll with 1,000 moviegoers showed that 59% plan to see the threequel as part of their Valentine’s Day plans, while 82% saw the first two titles on the big screen. A year ago, Fifty Shades Darker got a pop on the lovers’ holiday, grossing $11M and leading all titles that day.
Previews weren’t held last night for Warner Bros/Village Roadshow’s American hero Clint Eastwood drama The 15:17 to Paris and Sony Animation’s Peter Rabbit. They are expected to draw around $10M-$12M and $20M-ish, respectively, for the weekend.
Critics haven’t been wowed by any of this weekend’s wide entries, with Fifty Shades Freed earning a traditional slam of 13% Rotten, 15:17 getting a 21% Rotten Tomatoes Score, and Peter Rabbit an OK 60% fresh. Given the impact that Rotten Tomatoes usually has on a pic’s box office results, that really isn’t anything that Fifty Shades Freed and Peter Rabbit have to worry about. Both are largely Teflon against reviews: Fifty Shades Freed in its erotic soap opera is a destination for its female book fans, and Peter Rabbit is a premium family title, and there arguably isn’t another one of those the marketplace until Disney’s March 9 release A Wrinkle in Time.
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