March 18, 2018

Comedies Reign as Kim Kardashian Boosts ‘Flower’ and ‘The Death of Stalin’ Tops Tepid Specialty Box Office

Holdover “The Death of Stalin” (IFC) led the way as the specialized market transitions to post-awards season titles. Its second weekend was at the level of “Wind River,” the last specialized success without an award-season boost ($33 million total).

This is balm for art houses starving for new product after the long run of awards titles has run its course. Wes Anderson’s “The Isle of Dogs” will be next up among hopefuls to equal its success.

Still, the weekend yielded two new limited openings with better than expected results. “Flower” (The Orchard) with rising star Zoey Deutch as a lively Valley Girl showed some initial New York/Los Angeles success despite mixed reviews. And “Keep the Change” (Kino Lorber) in a single Manhattan theater delivered a decent first weekend result.

Opening

Flower (The Orchard) – Metacritic: 51; Festivals include: Tribeca 2017

$57,851 in 3 theaters; PTA (per theater average): $19,284

The queen of social media Kim Kardashian tweeted Saturday how much she liked the movie to her 59 million followers, which gave it a boost on top of its strong start. This comedy about an oddball household with some tricky relationships also benefited from aggressive marketing and strong New York/Los Angeles theater placement to get an unexpectedly strong initial total. Appearances by the film’s principals at multiple shows in Los Angeles boosted the grosses, particularly on Friday (its biggest day), along with an innovative MoviePass tie-in which looks to have amplified the New York gross.

What comes next: This moves quickly to limited dates in most top cities this week, shortly followed by a wider release.

Liam Daniel

7 Days in Entebbe (Focus) – Metacritic: 49; Festivals include: Berlin 2018

$1,630,000 in 838 theaters; PTA: $1,942

Brazilian director Jose Padilha first got some festival and specialized attention (“Bus 174”), then studio (“RoboCop”) and cable (“Narcos”). With this retelling of the 1970s Uganda hostage rescue, Focus Features took a fairly wide opening route similar to their release of “The Zookeeper’s Wife” last year. With almost 300 more theaters, it managed only about half the gross.

What comes next: This looks like it has reached about as wide an audience as is likely, with the gross good enough to sustain in many theaters for a few more weeks.

Journey’s End (Good Deed) – Metacritic: 72; Festivals include: Toronto 2017

$12,700 in 2 theaters; PTA: $6,350

The latest version of this oft-filmed World War I novel (best known from its 1930 James Whale-directed Universal rendition) boasted exclusive New York and Los Angeles initial dates. With an ensemble cast of British actors including Paul Bettany, Tom Sturridge, Toby Jones, and Asa Butterfield, this got some initial sampling but not a lot more.

What comes next:  Some additional dates in its initial markets this week, with more cities added the following.

Keep the Change (Kino Lorber) – Metacritic: 74; Festivals include: Tribeca, Los Angeles 2017

$13,000 in 1 theater; PTA: $13,000

This romantic drama set in the world of autism, with all the characters on the spectrum played by actors from that world, opened exclusively at New York’s Quad Cinema to strong initial results. Aided with a New York Times’ Critic’s Pick and with marketing to the community portrayed, this looks to have a draw that could be nationwide in select locations beyond specialized niches.

What comes next: New dates including Chicago and San Francisco start the national rollout this Friday. Los Angeles is set for April 20.

Photo by Nicola Dove, courtesy of IFC Films

Week Two

The Death of Stalin (IFC)

$580,576 in 32 theaters (+28); PTA: $18,143; Cumulative: $843,967

The second weekend for “Veep” ex-showrunner Armando Iannucci’s speculative comedy about the demise of the Soviet dictator showed results above several similarly timed expansions for recent major awards contenders “Darkest Hour” and “I, Tonya.” Aided by continued strong reviews and coming out just when new blood is needed in specialized theaters, this already shows crossover potential and significant future appeal in wider release.

Thoroughbreds (Focus)

$470,000 in 564 theaters (+15); PTA: $837; Cumulative: $2,267,000

The broad national release for this dark murder comedy led by two young women, released more than a year after its Sundance debut, fell by more than two thirds its second weekend.

The Leisure Seeker (Sony Pictures Classics)

$149,028 in 49 theaters (+21); PTA: $3,041; Cumulative: $326,984

A quicker-than-usual rollout from SPC for this touching senior road movie with veterans Helen Mirren and Donald Sutherland is finding some interest. Shrewdly released to fill in the void after the Oscars –less competition –this won’t be a breakout, but should manage to maximize its niche potential with older audiences.

Ithzak (Greenwich)    2

$37,500 in 19 theaters (+17); PTA: $1,974; Cumulative: $53,796

A rapid expansion in New York and Los Angeles and some new cities led to a decent second weekend showing for this documentary on violinist Itzhak Perlman.

Ongoing/expanding (grosses over $50,000)

The Shape of Water (Fox Searchlight) Week 16; also streaming

$800,000 in 758 theaters (-794); Cumulative: $62,689,000

The big Oscar winner has added over $5 million since its selection, at the high end for recent years (when all the choices like “Shape” have already had home viewing availability).

Three Billboards Outside Ebbing Missouri (Fox Searchlight) Week 19; also streaming

$265,000 in 282 theaters (-270); Cumulative: $53,889,000

Its two acting Oscar winners have added a little under $2 million, while most of its viewing in the last few weeks has been at home.

A Fantastic Woman (Sony Pictures Classics) Week 7

$203,7111 in 190 theaters (+24); Cumulative: $1,496,000

The Chilean Foreign Language Oscar winner is getting a wider than normal release for a subtitled film. Combined with its distinctive transgender story, the movie is in the running to equal “The Salesman” (last year’s winner) total of $2.4 million.

Call Me By Your Name (Sony Pictures Classics) Week 17; also streaming

$128,304 in 118 theaters (-191); Cumulative: $17,743,000

The remaining theaters for this acclaimed coming-of-age story are helping this get to $18 million.

I, Tonya (Neon) Week 15; also streaming

$110,385 in 160 theaters (-183); Cumulative: $29,744,000

Creeping toward its $30 million target, Supporting Actress win in tow.

Darkest Hour (Focus) Week 17; also streaming

$105,000 in 133 theaters (-112); Cumulative: $56,311,000

This has been available for home viewing for a month, but the Best Actor award has kept it in theaters to add to the impressive total.

Phantom Thread (Focus) Week 12

$95,000 in 92 theaters (-92); Cumulative: $20,907,000

Still only in theaters, Paul Thomas Anderson’s latest is only adding a little business after its awards run.

Lady Bird (A24) Week 20; also streaming

$73,800 in 88 theaters (-68); Cumulative: $48,851,000

With no Oscar wins, after nearly five months in release along with alternative viewing possibilities, it’s still adding gross!

The Party (Roadside Attractions) Week 5

$63,040 in 80 theaters (-11); Cumulative: $600,623

Sally Potter’s London dinner party comedy winds down after its modest run.

Foxtrot (Sony Pictures Classics) Week 3

$52,650 in 12 theaters (+6); Cumulative: $175,824

A better-than-average early run result for a subtitled films these days. This Israeli drama has a shot at exceeding $1 million based on early results.

Also noted:

Loveless (Sony Pictures Classics) – $47,730 in theaters; Cumulative: $379,474

The Insult (Cohen) – $17,668 in 12 theaters; Cumulative: $932,230

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) – $12,016 in 38 theaters; Cumulative: $840,916

Source: IndieWire film

March 18, 2018

Hawkeye Is Nowhere to Be Found in the ‘Avengers: Infinity War’ Trailer, Leading Fans to Demand Justice for Jeremy Renner

There are a lot of characters featured on the poster and in the trailer for “Avengers: Infinity War.” The mainsatys are all featured prominently, from Iron Man and Captain America to Black Widow and Thor, as are comparatively recent additions: T’Challa, Doctor Strange, Scarlet Witch, and long-awaited villain Thanos all make the cut.

Among so many faces and names, one is conspicuous in its absence: Hawkeye, the archer played by Jeremy Renner. The low-key marksman has never stood out much among his fellow Avengers, but the snub is being received with raised eyebrows by many fans.

“Hawkeye is important in Infinity War” pic.twitter.com/rhWgAvKOlK

— Film Feed (@FiImFeed) March 17, 2018

fixed it #AvengersInfinityWar #Hawkeye pic.twitter.com/hoQrHQlzQe

— euge (@eugechicle) March 16, 2018

Don’t worry bro @renner4real we got you #hawkeye #infinitywar @Avengers @MarvelStudios pic.twitter.com/pU40cRIYbY

— BossLogic (@Bosslogic) March 17, 2018

I would watch a movie of just Ant-Man and Hawkeye hanging out. No bad guys, just them painting a deck.

— Mundy (@dickfundy) March 17, 2018

Except Hawkeye https://t.co/nqFEe5zhnm

— aaron (@Prospekt_Aaron) March 16, 2018

hawkeye after thanos destroys everyone in the avengers and then the universe but he somehow slips through cracks again and survives pic.twitter.com/lBBw2Us3Ej

— andile (@INDIEWASHERE) March 16, 2018

Read More:  ‘Avengers: Infinity War’ Trailer Breakdown: Get Ready to Say Goodbye to Some of Your Heroes

The Russo Brothers have previously assured fans that Hawkeye is indeed in the film itself, though the precise nature of his role remains to be seen. We’ll know for sure when “Infinity War” arrives in theaters on April 27.

Source: IndieWire film

March 18, 2018

Ellen Barkin: ‘Never Get Into an Elevator Alone With Terry Gilliam’

Terry Gilliam’s decision to refer to #MeToo as being run by “mob rule” continues to go poorly for the Monty Python member and filmmaker, who compared the anti–sexual harassment movement to a group of people “carrying their torches and they are going to burn down Frankenstein’s castle.” After being criticized by the likes of Sarah Silverman and Judd Apatow, he’s received fierce pushback from Ellen Barkin, who tweeted, “My hard won advice: never get into an elevator alone with terry gilliam.”

Barkin, who worked with Gilliam on “Fear and Loathing in Las Vegas,” is also well known for her performances in “Diner,” “Ocean’s Thirteen,” and the TV adaptation of “Animal Kingdom.” She also tweeted that Gilliam is “is the last man to admonish a movement that is trying to protect women from abusive men. #MeToo” and “Terry Gilliam, you talk too much” in response to his interview.

Both messages were preceded by two from January, which also came in response to an interview with Gilliam: “Oh terry gilliam, why couldn’t you keep your mouth shut and stay gone…#1NiteInLa #MeeToo #TIMESUP” and “unfortunately i don’t have the skills to separate a fawning article about a ‘super cool’ director from his actions. #TIMESUP #MeToo”

My hard won advice: never get into an elevator alone with terry gilliam

— Ellen Barkin (@EllenBarkin) March 17, 2018

.@Variety This interview turns my stomach. terry gilliam is the last man to admonish a movement that is trying to protect women from abusive men. #MeToo https://t.co/jPnFhfB5GQ

— Ellen Barkin (@EllenBarkin) March 17, 2018

Terry Gilliam, you talk too much. #MeToo

— Ellen Barkin (@EllenBarkin) March 17, 2018

unfortunately i don’t have the skills to separate a fawning article about a “super cool” director from his actions. #TIMESUP #MeToo

— Ellen Barkin (@EllenBarkin) January 7, 2018

Source: IndieWire film

March 11, 2018

‘A Wrinkle in Time’ Joins ‘Black Panther’ at the Top, But Grosses Continue To Fall

This weekend in history: Two films directed by African-Americans took the top two spots, for the first time ever. “Wrinkle,” directed by Ava DuVernay, is a rare film directed by a woman budgeted over $100 million. (Kathryn Bigelow’s “K-19: The Widowmaker” and Patty Jenkins’ “Wonder Woman” preceded it among non-animated films, but it’s the first from a black woman.

This breakthrough should not be diminished, but it’s only one of several important takeaways this weekend — not all so encouraging. We’re 10 weeks into 2018; last year at this point, five films had opened at $40 million or more. This year, there’s only “Black Panther” and its phenomenal success (it’s approaching $1.1 billion worldwide) may mask some significant issues.

Grosses are still up around 8 percent for the year so far, down from over 12 percent at the end of February That’s nothing compared to the likely drops in upcoming weeks, when last-year comparisons will include the massive numbers for “Beauty and the Beast.”

Atsushi Nishijima

Which brings us to “A Wrinkle in Time.” This long-awaited adaptation of Madeleine L’Engle’s early 1960s novel has been a major project at Disney, positioned to replicate their recent successes in reboots of classic children’s stories. In that group, its $33 million start is lackluster. While it bests “Bridge to Terabithia” (which adjusted opened at $30 million), but far less-anticipated titles opened stronger. “The Last Airbender”: adjusted $48 million. “Percy Jackson and the Olympians”: $36 million. “Jack the Giant Slayer” — a major flop — still managed $31 million.

What’s the problem(s)? Given the film’s anticipation and profile, likely much of the potential audience paid attention to the reviews, which weren’t great. And while the book is beloved, it saw its peak popularity years ago. Though still a perennial, it’s no “Harry Potter;” it doesn’t automatically connect with contemporary kids.

Another issue: Beyond “Black Panther,” business isn’t booming. After a strong end of year that saw multiple surprise successes (“Wonder,” “The Greatest Showman,” and especially “Jumanji: Welcome to the Jungle,” which is still in the Top 10), most other new releases fell short.

“A Wrinkle in Time” doesn’t deserve to be seen as a setback for DuVernay or for the advancement of African-American filmmakers. She made a viable, high-budget film that didn’t work as well as hoped. Disney has the resources to ensure lots of additional revenue comes in and it doesn’t disappear from sight. Anyone who thinks this should be counted as a reason not to continue diversity and taking chances needs to explain why Guy Ritchie keeps getting work.

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That leaves us with “Black Panther,” again. Upcoming weeks will see further records, to be duly noted; this weekend saw the passing of $1 billion worldwide, making it the second by an African-American director (“The Fate of the Furious” ahead of it for now). It’s at $562 million through 24 days domestic. That’s astoundingly only $30 million behind the adjusted number for the biggest Marvel domestic release (“The Avengers”) at the same point.

And that’s where its biggest records will come. International is massive, though despite the better-than-expected China opening (black-cast films rarely open there, let along thrive), it is unlikely “Panther” equals the top grossers from the comic-book world. But it will come close.

YouTube/screencapped

Not standing out applies to three other new wide releases. “The Strangers: Prey at Night” from recently minted Aviron was low budget (perhaps $5 million), so its $10.8 million start is adequate. Further down is the more-expensive “The Hurricane Heist” (Entertainment Studios) from veteran director Rob Cohen. And even worse is “Gringo” from Amazon (shifting away from specialized, distributed in this instance by STX) that didn’t even make the Top Ten.

New films are out there, but what fills the gap is not ultimately strong enough to keep theaters as busy as they should be. “Panther” is stellar, and its drops better than average. But as early as next week, it will fall under $30 million. Compare that to March 2017, which had “Beauty and the Beast”  followed by two more films that opened over $40 million. This year, it’s quite possible that none of the upcoming films over the same period will do as much.

At some point, movies that aren’t “Black Panther” need to step up.

 

The Top Ten

1. Black Panther (Disney) Week 4; Last weekend #1

$41,136,000 (-38%) in 3,943 theaters (-142); PTA (per theater average): $10,435; Cumulative: $562,016,000

2. A Wrinkle in Time (Disney) NEW – Cinemascore: 52; Metacritic: B; est. budget: $103 million

$33,316,000 in 3,980 theaters; PTA: $8,371; Cumulative: $33,316,000

3. The Strangers: Prey at Night (Aviron) NEW – Cinemascore: 50; Metacritic: C; est. budget: $5 million

$10,480,000 in 2,464 theaters; PTA: $4,253; Cumulative: $10,480,000

4. Red Sparrow (20th Century Fox) Week 2; Last weekend #

$8,150,000 (-52%) in 3,064 theaters (+8); PTA: $2,660; Cumulative: $31,199,000

5. Game Night (Warner Bros.) Week 3; Last weekend #4

$7,905,000 (-24%) in 3,061 theaters (-441); PTA: $2,582; Cumulative: $45,046,000

6. Peter Rabbit (Sony) Week 5; Last weekend #6

$6,800,000 (-32%) in 3,112 theaters (-495); PTA: $2,185; Cumulative: $93,458,000

7. Death Wish (MGM) Week 3; Last weekend #3

$6,600,000 (-49%) in 2,882 theaters (+35); PTA: $2,290; Cumulative: $23,875,000

8. (tie) The Hurricane Heist (Entertainment Studios) NEW – Cinemascore: 32; Metacritic: B-; est. budget: $35 million

$3,150,000 in 2,402 theaters; PTA: $1,311; Cumulative: $3,150,000

8. (tie) Annihilation (Paramount) Week 2; Last weekend #6

$3,150,000 in 1,709 theaters (-403); PTA: $1,843; Cumulative: $26,095,000

10. Jumanji: Welcome to the Jungle (Sony) Week 12

$2,755,000 (-38%) in 2,157 theaters (-403); PTA: $1,277; Cumulative: $397,263,000

Source: IndieWire film