{"id":1767,"date":"2017-08-06T18:32:22","date_gmt":"2017-08-06T18:32:22","guid":{"rendered":"http:\/\/commarts.pleather.us\/2017\/08\/06\/box-office-plummets-as-the-dark-tower-leads-weak-openers\/"},"modified":"2017-08-06T18:32:22","modified_gmt":"2017-08-06T18:32:22","slug":"box-office-plummets-as-the-dark-tower-leads-weak-openers","status":"publish","type":"post","link":"https:\/\/blog.valdosta.edu\/m2\/2017\/08\/06\/box-office-plummets-as-the-dark-tower-leads-weak-openers\/","title":{"rendered":"Box Office Plummets as \u2018The Dark Tower\u2019 Leads Weak Openers"},"content":{"rendered":"

Long-planned Stephen King adaptation “The Dark Tower<\/a>” (Sony) managed to score the top spot at the weekend box office<\/a>. Only the second King adaptation to reach theaters since 2007’s “Carrie” remake (which opened even lower), this one contributes a pittance to a mighty adjusted gross of $2.2 billion for all of King’s movies since the original “Carrie” in 1976.<\/p>\n

Coming in under the projected $20 million for the weekend with an estimated $19.5 million, “The Dark Tower” couldn’t save one of the biggest falloffs ever for a summer weekend. The Top Ten came in at just $106 million, compared to $218 million exactly a year ago. That weekend boasted D.C. Comics entry “Suicide Squad.” But a $112 million shortfall and a drop of some 50 percent is grim. Last year’s second-ranked sequel “Jason Bourne” came in ahead of anything in the Top Ten this weekend.<\/p>\n

As Sony kept the budget down on “Tower,” foreign returns could mitigate any losses. The same can’t be said for theaters experiencing the most severe drop yet in a summer that already has declined around 10 per cent from last year.<\/p>\n

\""Detroit"\"<\/p>\n

“Detroit<\/a>”<\/p>\n<\/div>\n

Francois Duhamel<\/p>\n

“The Dark Tower” was one of three films to begin wide release this weekend, all with African-American leads, though widely diverse in their content. The delayed release (because of original distributor Relativity’s demise) of “Kidnap” (Aviron) managed to top $10 million with Halle Berry as the lead. Kathryn Bigelow’s urban uprising drama “Detroit” (Annapurna) expanded after a decent limited opening to a troubling $7 million, below what its acclaim suggested. And “Girls Trip” (20th Century Fox), clearly aimed at a female audience, might end up with a domestic gross as good or close to the other three combined.<\/p>\n

“Dunkirk<\/a>” (Warner Bros.) stabilized a bit after a bigger than expected 47 per drop last weekend. That puts it back on course for an ultimate domestic take closer to $200 million. It won’t hurt that the rest of August offers secondary competition among new wide releases for adult audiences.<\/p>\n

\"\"<\/p>\n

“Girls Trip”<\/p>\n<\/div>\n

Michele K. Short<\/p>\n

“Girls Trip” had a bigger drop than its initial fall, but at $85 million already looks on course for a run at equaling last summer’s women’s comedy “Bad Moms” (which ended up at $113 million).<\/p>\n

“Spider-Man: Homecoming” (Sony) has quietly climbed to third biggest summer domestic release. It could make it to $325 million, which would place it better than either of the “Amazing Spider-Man” reboots, though far below the lowest of the first trilogy (the third and least of those films adjusted grossed $435 million).<\/p>\n

However, with Japan and China and China still to open, “Homecoming” should easily pass $800 million worldwide, enough with its $175 million budget and substantial marketing costs to make a nice profit and propel forward Sony’s most lucrative franchise.<\/p>\n

“Annabelle: Creation” (Warner Bros.) should easily open to over $25 million next weekend, although expect grosses still to be substantially below last year, which saw the top three titles gross close to $100 million.<\/p>\n

\"\"<\/p>\n

“The Dark Tower”<\/p>\n<\/div>\n

Sony<\/p>\n

The Top Ten<\/strong><\/h3>\n

1. The Dark Tower\u00a0<\/strong>(Sony) NEW – Cinemascore: B+; Metacritic: 35; Est. budget: $60 million<\/p>\n

$19,500,000 in 3,451 theaters; PTA (per theater average): $5,651; Cumulative: $19,500,000<\/p>\n

2. Dunkirk\u00a0<\/strong>(Warner Bros.) Week 3 – Last weekend #1<\/p>\n

$17,600,000 (-34%) in 4,014 theaters (+266); PTA: $4,385; Cumulative: $<\/p>\n

3. The Emoji Movie\u00a0<\/strong>(Sony)\u00a0Week 2 – Last weekend #2<\/p>\n

$12,350,000 (-50%) in 4,072 theaters (no change); PTA: $3,031; Cumulative: $49,452,000<\/p>\n

4. Girls Trip\u00a0<\/strong>(20th Century Fox)\u00a0Week 3- Last weekend #3<\/p>\n

$11,419,000 (-42%) in 2,582 theaters (-66); PTA: $4,422; Cumulative: $84,444,000<\/p>\n

5. Kidnap\u00a0<\/strong>(Aviron)\u00a0NEW – Cinemascore: B; Metacritic: 45; Est. budget: $20 million<\/p>\n

$10,210,000 in 2,378 theaters; PTA: $; Cumulative: $10,210,000<\/p>\n

6. Spider-Man: Homecoming\u00a0<\/strong>(Sony) \u00a0Week 5 – Last weekend #5<\/p>\n

$8,800,000 (-34%) in 3,116 theaters (-509); PTA: $2,824; Cumulative: $294,908,000<\/p>\n

7. Atomic Blonde\u00a0<\/strong>(Focus)\u00a0Week 2 – Last weekend #4<\/p>\n

$8,245,000 (-55%) in 3,326 theaters (+22); PTA: $2,479; Cumulative: $34,125,000<\/p>\n

8. Detroit\u00a0<\/strong>(Annapurna)\u00a0Week 2 – Last weekend #16<\/p>\n

$7,251,000 (+1,971%) in 3,007 theaters (+2,987); PTA: $2,411; Cumulative: $7,766<\/p>\n

9. War for the Planet of the Apes\u00a0<\/strong>(20th Century Fox)\u00a0Week 4 – Last weekend #6<\/p>\n

$6,000,000 (-43%) in 2,704 theaters (-670); PTA: $2,219; Cumulative: $130,280,000<\/p>\n

10. Despicable Me 3\u00a0<\/strong>(Universal)\u00a0Week 6 – Last weekend #7<\/p>\n

$5,289,000 (-30%) in 2,445 theaters (-585); PTA: $2,163; Cumulative: $240,780,000<\/p>\n

Source: IndieWire film<\/p>\n","protected":false},"excerpt":{"rendered":"

Long-planned Stephen King adaptation “The Dark Tower” (Sony) managed to score the top spot at the weekend box office. Only the…<\/p>\n","protected":false},"author":245,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_oasis_is_in_workflow":0,"_oasis_original":0,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_vp_format_video_url":"","_vp_image_focal_point":[],"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[45],"class_list":["post-1767","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-careering"],"acf":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paqOTj-sv","_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts\/1767","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/users\/245"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/comments?post=1767"}],"version-history":[{"count":0,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts\/1767\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/media?parent=1767"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/categories?post=1767"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/tags?post=1767"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}