{"id":2177,"date":"2017-10-15T19:53:48","date_gmt":"2017-10-15T19:53:48","guid":{"rendered":"http:\/\/commarts.pleather.us\/2017\/10\/15\/happy-death-day-smells-sweet-at-weekend-box-office\/"},"modified":"2017-10-15T19:53:48","modified_gmt":"2017-10-15T19:53:48","slug":"happy-death-day-smells-sweet-at-weekend-box-office","status":"publish","type":"post","link":"https:\/\/blog.valdosta.edu\/m2\/2017\/10\/15\/happy-death-day-smells-sweet-at-weekend-box-office\/","title":{"rendered":"\u2018Happy Death Day\u2019 Smells Sweet at Weekend Box Office"},"content":{"rendered":"<p>Horror flick &#8220;<a href=\"http:\/\/www.indiewire.com\/t\/happy-death-day\/\" id=\"auto-tag_happy-death-day\">Happy Death Day<\/a>&#8221; (Universal) easily topped the weekend. The latest production from prolific horror supplier Blumhouse ranked below their early year openers &#8220;Get Out&#8221; and &#8220;Split,&#8221; but $26.5 million for a movie with a $5-million production budget marks an instant success.<\/p>\n<p>While some of the Blumhouse aura has been overshadowed by the massive success of Warner Bros.&#8217; Stephen King juggernaut &#8220;It,&#8221; that shouldn&#8217;t take away producer <a href=\"http:\/\/www.indiewire.com\/t\/jason-blum\/\" id=\"auto-tag_jason-blum\">Jason Blum<\/a>&#8217;s mastery at consistently packaging original low-budget smash hits.<\/p>\n<p>&#8220;Happy Death Day&#8221; is a bit lower-profile than other recent Blum house efforts, but it still landed some respectable mainstream reviews. That&#8217;s a big change from how the genre has been treated in recent years.<\/p>\n<aside class=\"pmc-related-link read-more\">\n\t\t\t<strong class=\"pmc-related-type\">Read More:<\/strong><a target=\"_blank\" href=\"http:\/\/www.indiewire.com\/2017\/10\/best-horror-directors-21st-century-1201886695\/\" title=\"The 15 Best Horror Directors of the 21st Century\">The 15 Best Horror Directors of the 21st Century<\/a><br \/>\n\t\t<\/aside>\n<p>The film was positioned well in two ways. Mid-October is often a prime pre-Halloween date for horror entries. Lionsgate claimed the weekend before October 31 for &#8220;Jigsaw,&#8221; so Blumhouse went with the earlier weekend &#8212; without any competition from Halloween parties. Also the timing allowed the trailer for &#8220;Happy&#8221; to play in front of some 30 million ticket buyers for &#8220;It.&#8221; This marks a mid-level Blumhouse success. Both &#8220;Ouija&#8221; and its sequel last October opened smaller.<\/p>\n<p>&#8220;Happy&#8221; led the way for a slight boost in grosses over a year ago. With prime-time TV baseball games with teams from the three largest markets and only one wide opening, that&#8217;s not a bad result. Last year saw &#8220;The Accountant&#8221; open to a bit less, along with a $12-million grossing Kevin Hart comedy concert film.<\/p>\n<div id=\"attachment_1201886346\" style=\"width: 790px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1201886346 size-large\" src=\"http:\/\/www.indiewire.com\/wp-content\/uploads\/2017\/10\/foreigner102-e1507755227854.jpg?w=780\" alt=\"(Left to Right) Jackie Chan as Quan and Pierce Brosnan as Hennessy in hotel suite in THE FOREIGNER\" width=\"780\" height=\"492\" \/><\/p>\n<p class=\"wp-caption-text\">&#8220;<a href=\"http:\/\/www.indiewire.com\/t\/the-foreigner\/\" id=\"auto-tag_the-foreigner\">The Foreigner<\/a>&#8221;<\/p>\n<\/div>\n<p class=\"image-credit\">Courtesy of STXfilms<\/p>\n<p>&#8220;The Foreigner&#8221; (STX), the other wide opener, showed that after decades of success Jackie Chan still can draw a middling audience. Worldwide, the film has already passed $100 million. It had a strong Cinemascore (A-), which might account for its Saturday increase. (That&#8217;s rare for second-day mass market openers; &#8220;Happy Death Day&#8221; was down 19 per cent.) Asian-American audiences remain under-represented among commercial films, and STX reports they were well-represented in the 59 per cent male audience.<\/p>\n<div id=\"attachment_1201886965\" style=\"width: 790px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1201886965 size-large\" src=\"http:\/\/www.indiewire.com\/wp-content\/uploads\/2017\/10\/screen-shot-2017-10-13-at-8-57-41-am.png?w=780\" alt=\"&quot;Blade Runner 2049&quot;\" width=\"780\" height=\"437\" \/><\/p>\n<p class=\"wp-caption-text\">&#8220;Blade Runner 2049&#8221;<\/p>\n<\/div>\n<p class=\"image-credit\">Warner Bros.<\/p>\n<h3>Holdovers<\/h3>\n<p>All eyes were on the second weekend of the disappointing &#8220;Blade Runner 2049&#8221; (Warner Bros.). Its drop was 54 per cent, good enough for second place at $15.1 million. The problem is it fell from a lower number than hoped for last weekend. That is a marked improvement over the 62 and 70 per cent respective drops for summer&#8217;s &#8220;War for the Planet of the Apes&#8221; and &#8220;Alien: Covenant&#8221; and suggests a longer shelf life for Denis Villeneuve&#8217;s acclaimed film. Having reached $60 million at this point, its chances of hitting $100 million domestic are much improved.<\/p>\n<p>Expectations are everything. Take the director&#8217;s recent &#8220;Arrival&#8221; (which topped out at $100.5 million domestic off a budget of $47 million): the sci-fi drama opened on a date that allowed it to have a boost over Thanksgiving, then sustain a longer run that included Christmas dates. That movie reached about $44 million after ten days, dropping 49 per cent on weekend two. But that was strong enough to boost its chances for leading Oscar nominations, which is still possible for the &#8220;Blade Runner&#8221; sequel.<\/p>\n<div id=\"attachment_1201867424\" style=\"width: 790px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1201867424 size-large\" src=\"http:\/\/www.indiewire.com\/wp-content\/uploads\/2017\/08\/it-trailer-2-938x535.jpg?w=780\" alt=\"&quot;It&quot;\" width=\"780\" height=\"445\" \/><\/p>\n<p class=\"wp-caption-text\">&#8220;It&#8221;<\/p>\n<\/div>\n<p>&#8220;It&#8221; only fell 39 per cent, which is incredible. Now at $315 million, figure it to add another $20 million or so before it&#8217;s done. Only one film had a major drop, with the second weekend of &#8220;My Little Pony: The Movie&#8221; (Lionsgate) falling 55 per cent,\u00a0 which is high for an animated film. The second weekend falloff for the disappointing &#8220;The Mountain Between Us&#8221; (20th Century Fox) was more modest at 46 per cent.<\/p>\n<p>Wider niche films continue to hover in the vicinity of the Top Ten. &#8220;Victoria &amp; Abdul&#8221; (Focus) held with a small 25 per cent drop, while still not up to 1,000 theaters. &#8220;<a href=\"http:\/\/www.indiewire.com\/t\/marshall\/\" id=\"auto-tag_marshall\">Marshall<\/a>&#8221; (Open Road) and &#8220;Professor Marston and the Wonder Woman&#8221; (Annapurna) in 821 and 1,229 theaters respectively, were #11 and #14. The former, about the early days of Civil Rights pioneer Thurgood Marshall, made a promising debut. However, &#8220;Professor Marston&#8221; was a complete dud despite upbeat reviews.<\/p>\n<h3>Top Ten <a href=\"http:\/\/www.indiewire.com\/t\/box-office\/\" id=\"auto-tag_box-office\">Box Office<\/a> Chart<\/h3>\n<p><strong>1. Happy Death Day\u00a0<\/strong>(Universal) NEW &#8211; Cinemascore: B; Metacritic: 57; Est. budget: $5 million<\/p>\n<p>$26,500,000 in 3,149 theaters; PTA (per theater average): $8,415; Cumulative: $26,500,000<\/p>\n<p><strong>2. Blade Runner 2049\u00a0<\/strong>(Warner Bros.) Week 2 &#8211; Last weekend #1<\/p>\n<p>$15,100,000 (-54%) in 4,058 theaters (no change); PTA: $3,721; Cumulative: $60,578,000<\/p>\n<p><strong>3. The Foreigner\u00a0<\/strong>(STX) NEW &#8211; Cinemascore: A-; Metacritic: 57; Est. budget: $35 million<\/p>\n<p>$12,840,000 in 2,515 theaters; PTA: $5,105; Cumulative: $12,840,000<\/p>\n<p><strong>4. It\u00a0<\/strong>(Warner Bros.)\u00a0Week 6 &#8211; Last weekend #3<\/p>\n<p>$6,050,000 (-39%) in 3,176 theaters (-429); PTA: $1,905; Cumulative: $314,930,000<\/p>\n<p><strong>5. The Mountain Between Us\u00a0<\/strong>(20th Century Fox)\u00a0Week 2 &#8211; Last weekend #2<\/p>\n<p>$5,650,000 (-46%) in 3,259 theaters (+171); PTA: $1,734; Cumulative: $20,503,000<\/p>\n<p><strong>6. American Made\u00a0<\/strong>(Universal)\u00a0Week 3 &#8211; Last weekend #6<\/p>\n<p>$5,423,000 (-36%) in 3,098 theaters (+171); PTA: $1,750; Cumulative: $40,153,000<\/p>\n<p><strong>7. Kingsman:\u00a0 The Golden Circle\u00a0<\/strong>(20th Century Fox)\u00a0Week 4 &#8211; Last weekend #5<\/p>\n<p>$5,315,000 (-39%) in 2,982 theaters (-506); PTA: $1,782; Cumulative: $89,652,000<\/p>\n<p><strong>8. The LEGO Ninjago Movie\u00a0<\/strong>(Warner Bros.)\u00a0Week &#8211; Last weekend #7<\/p>\n<p>$4,315,000 (-38%) in 3,053 theaters (-558); PTA: $1,413; Cumulative: $51,578,000<\/p>\n<p><strong>9. My Little Pony: The Movie\u00a0<\/strong>(Lionsgate)\u00a0Week 2 &#8211; Last weekend #4<\/p>\n<p>$4,000,000 (-55%) in 2,528 theaters (no change); PTA: $1,582; Cumulative: $15,513,000<\/p>\n<p><strong>10. Victoria &amp; Abdul\u00a0<\/strong>(Focus)\u00a0Week 4 &#8211; Last weekend #8<\/p>\n<p>$3,115,000 (-25%) in 900 theaters (-168); PTA: $3,461; Cumulative: $11,342,000<\/p>\n<p>Source: IndieWire film<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Horror flick &#8220;Happy Death Day&#8221; (Universal) easily topped the weekend. The latest production from prolific horror supplier Blumhouse ranked below their&#8230;<\/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-2177","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-z7","_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts\/2177","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=2177"}],"version-history":[{"count":0,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts\/2177\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/media?parent=2177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/categories?post=2177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/tags?post=2177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}