April 8, 2018

‘A Quiet Place’ Makes Noise as the Biggest Box Office Opening Since ‘Black Panther’

What does “A Quiet Place’ have that “Pacific Rim: Uprising” and “Tomb Raider” don’t? Quite a few things, it turns out, including the best domestic box office opening since “Black Panther.”

The critically acclaimed third feature from actor John Krasinski, who stars opposite wife Emily Blunt, nearly tripled its budget on opening weekend. That will propel it into a major profit for struggling Paramount and provides an easy route to over $100 million in domestic. Overseas, initial reports have its take at $21 million.

Jonny Cournoyer

Any way you look at it, this is a hit, but here’s the elements that stand out.

— Its $17 million budget is minuscule by studio standards — especially compared to “Pacific Rim” ($150 million) and “Tomb Raider” ($94 million), both of which will struggle to reach a domestic gross over $60 million. Foreign grosses should get “Tomb Raider” in the black, but the more expensive “Pacific Rim” remains in question.

— It is a non-franchise, original story, similar to recent lower-budget successes like “I Can Only Imagine” and “Game Night.” That makes five of the top 10 releases of 2018 releases unconnected to sequels or franchises; last year at this time, we had three.

— The success of “A Quiet Place” comes with not only strong reviews (not unheard of in the horror genre, but atypical) but also with carefully crafted marketing that accentuated fresh story elements.

— Like “Ready Player One” and “Blockers,” “A Quiet Place” used SXSW as a more populist Sundance to build interest for a mainstream studio release.

— It includes a strong central female figure among its leads, contrary to traditional genre, appealed to a slight majority of female ticket buyers.

“A Quiet Place” parallels the better-than-expected opening for “Blockers,” an R-rated comedy in the spirit of “Bridesmaids.” The $21 million film had the best comedy opening weekend of the year.

With budgets at this level, the need to shape a film for universal appeal becomes less important. For two films like this to open so well in one weekend is great news.

At $50 million, “A Quiet Place” is the second-biggest opener for 2018. Last year, it would have ranked no higher than sixth. So while it deserves the fuss, it isn’t exactly an unprecedented gross for early spring.

All told, this weekend provided the strongest grosses since late February. Coming in at around $164 million, it represents an increase of over a third above the same weekend last year. The fact that it comes via smaller films is all the more impressive.

“Ready Player One” kept its drop to 40 percent, with a 53 percent drop from its four-day initial total. With very strong international included, it is nearing $400 million; more than a half billion looks certain. An expensive film, but one that is scoring above the recent franchise standard.

“Black Panther,” of course, remains the franchise film par excellence. Even with the surge of interest in newer films, it dropped only 27 percent. It should remain track to reach a staggering $700 million domestic total.

Two other new films opened wide to lesser results. The Ted Kennedy/Mary Jo Kopechne retelling “Chappaquiddick” actually did more than anticipated, with $6.2 million on 1,560 screens. The acquisition from last year’s Toronto International Film Festival, with a reported $20 million price tag (that includes marketing commitments), will face a challenge sustaining a run, but its 31 percent Saturday increase and per-theater average give it a shot.

“The Miracle Season,” produced by LD Entertainment, fell short of the top 10 with just over $4 million in 1,707 theaters. However, the inspirational girls volleyball team story got a strong A Cinemascore and a 19 percent Saturday increase; despite a weak start, it might have further appeal.

The Top 10

1. A Quiet Place (Paramount) NEW – Cinemascore: B+; Metacritic: 82; Est. budget: $17 million

$50,000,000 in 3,508 theaters; PTA (per theater average): $14,252; Cumulative: $50,000,000

2. Ready Player One (Warner Bros.) Week 2; Last weekend #1

$25,060,000 (-40%) in 4,234 theaters (no change); PTA: $5,919; Cumulative: $96,921,000

3. Blockers (Universal) NEW – Cinemascore: B; Metacritic: 69; Est. budget: $21 million

$21,439,000 in 3,779 theaters; PTA: $6,345; Cumulative: $21,439,000

4. Black Panther (Disney) Week 8; Last weekend #3

$8,430,000 (-27%) in 2,747 theaters (-241); PTA: $3,069; Cumulative: $665,356,000

5. I Can Only Imagine (Roadside Attractions) Week 4; Last weekend #4

$8,537,000 (-20%) in 2,894 theaters (+246); PTA: $2,888; Cumulative: $69,084,000

6. Acrimony (Lionsgate) Week; Last weekend #2

$8,065,000 (-53%) in 2,066 theaters (no change); PTA: $4,020; Cumulative: $31,350,000

7. Chappaquiddick (Entertainment Studios) NEW – Cinemascore: B; Metacritic: 67; Est. budget: (not reported)

$6,200,000 in 1,560 theaters; PTA: $3,974; Cumulative: $6,200,000

8. Sherlock Gnomes (Paramount) Week 3; Last weekend #6

$5,600,000 (-20%) in 2,733 theaters (-929); PTA: $2,049; Cumulative: $33,898,000

9. Pacific Rim: Uprising (Universal) Week 3; Last weekend #5

$4,910,000 (-48%) in 2,627 theaters (-1,081); PTA: $1,869; Cumulative: $54,919,000

10 Isle of Dogs (Fox Searchlight) Week 3; Last weekend #11

$4,600,000 (+56%) in 554 theaters (+389); PTA: $8,303; Cumulative: $12,049,000

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Source: IndieWire film

April 8, 2018

Elon Musk Wants You to Watch ‘Do You Trust This Computer?’ in Memory of Stephen Hawking, and It’s Free

Because “nothing will affect the future of humanity more than digital super-intelligence,” Elon Musk thinks you should watch Chris Paine’s artificial-intelligence movie “Do You Trust This Computer?” And, wouldn’t you know it, the film is streaming for free until later tonight.

Here’s the synopsis: “Science fiction has long anticipated the rise of machine intelligence. Today, a new generation of self-learning computers has begun to reshape every aspect of our lives. Incomprehensible amounts of data are being created, interpreted, and fed back to us in a tsunami of apps, personal assistants, smart devices, and targeted advertisements. Virtually every industry on earth is experiencing this transformation, from job automation, to medical diagnostics, even military operations. ‘Do You Trust This Computer?’ explores the promises and perils of our new era. Will A.I. usher in an age of unprecedented potential, or prove to be our final invention?”

Musk notes that his endorsement of the film is “in memory of Stephen Hawking,” who passed away last month at 76. Watch “Do You Trust This Computer?” here.

Nothing will affect the future of humanity more than digital super-intelligence. Watch Chris Paine’s new AI movie for free until Sunday night at https://t.co/WehHcZX7Qe

— Elon Musk (@elonmusk) April 6, 2018

Source: IndieWire film

April 8, 2018

‘A Quiet Place’ Praised by Chris Pratt, Ryan Reynolds, and More: ‘John Krasinski and Emily Blunt Are My New Parents’

As evidenced by its $50 million opening weekend and 97% score on Rotten Tomatoes, “A Quiet Place” is the movie of the moment. John Krasinski’s near-silent thriller was hailed as “an extraordinary piece of work” by Stephen King earlier this week, and now Chris Pratt, Ryan Reynolds, and others are chiming in as well. Here’s what they have to say.

I’ve seen #AQuietPlace twice in one week. SEE THIS FILM! @johnkrasinski and #EmilyBlunt are my new parents. Congratulations, Ryan.

— Ryan Reynolds (@VancityReynolds) April 8, 2018

Just watched #AQuietPlace. Congrats @johnkrasinski, I can’t sleep and I’m all out of Gilmore Girls to watch to clear my head. What psycho wrote this? Oh you did. What crazy person directed this. You again. Cast your real wife as your wife? Come on!?! We have to talk. https://t.co/CE2hYbAGUs

— jimmy fallon (@jimmyfallon) April 3, 2018

Ahhh @johnkrasinski !
Another amazing example of the high praise A QUIET PLACE is receiving. So happy for you, man! https://t.co/zC4yUDnrJ2

— Will Poulter (@PoulterWill) April 7, 2018

Can’t wait to go see it! Wife and I be waiting so patiently. #HorrorHouseWeHave https://t.co/0R9Lg9om9B

— LeBron James (@KingJames) April 5, 2018

Source: IndieWire film

April 8, 2018

‘Empire Records’: Ethan Embry Reveals the Sad, Poignant Reason Why Rex Manning Day Is April 8

It’s April 8, which holds special significance for fans of “Empire Records”: Today is Rex Manning Day. That exciting anniversary, which comes shortly after the news that the 1995 cult classic is being revived as a Broadway musical, is being celebrated online with the usual barrage of gifs and memes; courtesy of one of the film’s stars, it’s also being marked with some sad, poignant trivia.

“The reason we picked April 8th as the day to have the powdered/coifed Rex Manning visit Empire is because Kurt was found on the 8th of April, the day the music of the 90s lost its mascot,” Ethan Embry tweeted. He’s referring to the fact that Nirvana frontman Kurt Cobain was found dead on April 8, 1994, less than a year and a half before “Empire Records” was released.

Set in the eponymous record store (remember those?), the film was a critical and commercial failure upon release. Its reputation has grown over the years, largely thanks to children of the ’90s claiming it as a vital part of their youth.

“We musn’t dwell. No, not today. We can’t! Not on Rex Manning Day!” Embry’s character says at one point. Let us all take that lesson to heart on this most sacred of days.

The reason we picked April 8th as the day to have the powdered/coifed Rex Manning visit Empire is because Kurt was found on the 8th of April, the day the music of the 90s lost its mascot.#RexManningDay

— Ethan Embry (@EmbryEthan) April 8, 2018

Source: IndieWire film

April 8, 2018

‘You Were Never Really Here’ Opens Strong, Bringing More Good News to Specialty Box Office

Lynne Ramsay’s “You Were Never Really Here” continues the welcome trend of limited crossovers that includes “Isle of Dogs” and “The Death of Stalin.” This tough New York-set crime film is the best initial performer in the acclaimed Scottish director’s career, with a Joaquin Phoenix performance that’s viewed as some of his best work.

“Lean on Pete” from Andrew Haigh, another established British director working in an American setting, had a more modest but credible opening. The business needs a consistent supply of films like these, which can fill top specialized theaters.

Opening

You Were Never Really Here (Amazon) – Metacritic: 87; Festivals include: Cannes 2017, Sundance 2018

$129,911 in 3 theaters; PTA (per theater average): $43,304

Ramsay’s acclaimed drama stars Phoenix as a tortured soul rescuing young girls from sex slavery. Similar to her earlier “We Need to Talk About Kevin,” this is tough material, told in unflinching form centered on stark, gripping performances.

This opened better than “Kevin,” which opened in a single theater in 2011 to a little less than $30,000. “You Were Never Really Here” opened in three New York/Los Angeles theaters, with a star/director appearance in LA’s Cinerama Dome Friday, its best day. Beyond that, totals are impressive in for material that’s hard to market.

What comes next: Ten more cities in expansion next week, with a wider release the following week.

Lean on Pete (A24) – Metacritic: 78; Festivals include: Venice, Telluride, Toronto 2017

$50,118 in 4 theaters; PTA: $12,530

Haigh moves from his acclaimed gay romance “Weekend” and late-crisis marriage “45 Years” to an American setting with “Lean on Pete.” A working-class teen bonds with a quarter horse in Oregon, with an unconventional telling.

This is A24’s first platform release since their company-best result with “Lady Bird.” As usual, it played at top theaters in the first two cities, with an average result for their top releases.

What comes next:  Next week sees other top cities opening as the start of a gradual specialized expansion.

 

“Where Is Kyra”

Where Is Kyra? (Great Point/Paladin) – Metacritic: 74; Festivals include: Sundance 2017

$7,000 in theaters; PTA: $7,000

A Sundance 2017 premiere, this intense drama stars Michelle Pfeiffer living out a grim life that gains some solace when she meets Kiefer Sutherland. It opened in a single Manhattan location to a modest initial result.

What comes next: 20 more theaters open this Friday.

Roadside Attractions

Week Two

Finding Your Feet (Roadside Attractions)

$127,265 in 57 theaters (+43); PTA: $2,233; Cumulative: $229,947

The second weekend for this English comedy about middle-age couples is performing somewhat below the currently expanding “The Leisure Seeker.” It’s finding an interested older audience, with some potential to continue with word of mouth and further additional theaters.

Gemini (Neon)

$73,071 in 56 theaters (+52); PTA: $1,305; Cumulative: $120,624

This murder thriller, set in the LA movie world, got a major boost in its national exposure. Though most reviews have been favorable, negative ones in Washington and San Francisco might have hurt those areas.

Outside In (The Orchard) – also streaming

$23,393 in 14 theaters (+5); PTA: $1,671; Cumulative: $47,203

Edie Falco stars as a high school teacher involved with a former student after his release from prison. Lynn Shelton’s film added more dates this week, along with streaming. It is getting strong reviews, which likely helps its at-home viewing more than theaters.

Love After Love (IFC) – also streaming on ITunes

$14,054 in 3 theaters (+2); PTA: $4,685; Cumulative: $31,417

Andie MacDowell and Chris Dowd  star in this drama about a family dealing with loss opened in Los Angeles after its initial New York start last week. It continues to get top theater and review attention, with mixed results that parallel its initial high-price ITunes availability.

Ongoing/expanding (Grosses over $50,000)’

Isle of Dogs (Fox Searchlight) Week 3

$4,600,000 in 554 theaters (+389); Cumulative: $12,049,000

Wes Anderson’s animated film continues to succeed in expansion. Through three weekends, it is already at the $12 million. That’s where his earlier cartoon feature “The Fantastic Mr. Fox” was (in adjusted numbers) at the same point. What makes the current number impressive is at that point, “Fox” was playing in over 2,000 theaters on Thanksgiving weekend.

This will pass the earlier film’s adjusted $25 million for some margin. It lags beyond his breakout “The Grand Budapest Hotel,” but could near “Moonrise Kingdom.” This jumps to over 1,500 theaters next week, which will test its wider appeal.

The Death of Stalin (IFC) Week 5

$1,109,000 in 557 theaters (+73); Cumulative: $5,596,000

Armando Iannucci’s dark comedy about Kremlin intrigue continues to find appeal above all post-Oscar specialized releases other than “Isle of Dogs.” It is certain to end up as IFC’s second biggest release in the last 15 years (after “Boyhood”) as well as a standalone success in the tricky genre of political satire.

The Leisure Seeker (Sony Pictures Classics) Week 11

$577,912 in 353 theaters (+198); Cumulative: $1,820,000

A big jump in theaters kept the per-theater performance steady. That’s a positive sign for this mid-level success aimed at older audiences with its road trip story with retirees Donald Sutherland and Helen Mirren.

Final Portrait (Sony Pictures Classics) Week 3

$59,600 in 21 theaters (+12); Cumulative: $145,756

Stanley Tucci’s film set in the art world with Geoffrey Rush and Armie Hammer is showing, at best, modest results as it continues to expand in large markets.

Foxtrot (Sony Pictures Classics) Week 6

$58,093 in 45 theaters (+10); Cumulative: $414,117

Similar to other Israeli films, this military-set drama continues to do minor business, though better than many other recent subtitled releases.

Itzhak (Greenwich) Week 5

$51,243 in 29 theaters; Cumulative: $234,487

This documentary on the iconic violinist continues to do niche business in select markets.

Also noted:

1945 (Menemsha) – $45,065 in 11 theaters; Cumulative: $496,892

A Fantastic Woman (Sony Pictures Classics) – $35,419 in 38 theaters; Cumulative: $1,885,000

Call Me  By Your Name (Sony Pictures Classics) – $28,650 in theaters; Cumulative: $18,037,000

Back to Burgundy (Music Box) – $24,864 in 14 theaters; Cumulative: $104,873

Journey’s End (Good Deed) – $23,000 in 28 theaters; Cumulative: $134,544

Flower (The Orchard) – $10,921 in 36 theaters; Cumulative: $321,195

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Source: IndieWire film