{"id":2924,"date":"2018-02-04T19:49:54","date_gmt":"2018-02-04T19:49:54","guid":{"rendered":"http:\/\/commarts.pleather.us\/2018\/02\/04\/jumanji-returns-to-the-top-of-the-box-office-on-super-bowl-weekend\/"},"modified":"2018-02-04T19:49:54","modified_gmt":"2018-02-04T19:49:54","slug":"jumanji-returns-to-the-top-of-the-box-office-on-super-bowl-weekend","status":"publish","type":"post","link":"https:\/\/blog.valdosta.edu\/m2\/2018\/02\/04\/jumanji-returns-to-the-top-of-the-box-office-on-super-bowl-weekend\/","title":{"rendered":"\u2018Jumanji\u2019 Returns to the Top of the Box Office on Super Bowl Weekend"},"content":{"rendered":"

“Jumanji: Welcome to the Jungle<\/a>” returned to #1, in large part because there’s so little else of interest in release.<\/p>\n

The lag continues to be a problem with new releases. Films released in 2018 comprise only about 43 percent of business this weekend; compared to 2017 films a year ago, they totaled 60 percent.<\/span><\/p>\n

That’s anemic. This week’s sole new film was Lionsgate’s “Winchester<\/a>” (from partner CBS Films), which managed third place. This horror film with the gimmick of Helen Mirren in the lead did about as expected, with a little over $9 million. That’s only about a third of the most recent horror entry “Insidious: The Last Key” (Universal), which opened to almost $30 million.<\/p>\n

“Winchester,” which CBS acquired for $3.5 million, increased 14 percent Saturday from initial day and a half totals. That’s rare for a genre title, and might suggest Mirren got the attention of older audiences, who frequent theaters much more on that day than Friday.<\/p>\n

\"Jumanji\"<\/p>\n

“Jumanji: Welcome to the Jungle”<\/p>\n<\/div>\n

“Jumanji: Welcome to the Jungle” returned to the the top spot it has now held for four of its seven weeks. It is the first film to be #1 at this point of its run since “Frozen,” which also jumped in and out of the position. It fell 31 percent, an above average hold and remarkably the biggest drop since it opened. It now is at $352 million domestic, with a real chance of reaching $400 million.<\/p>\n

That would get it close to making the top 10 all-time Sony titles. To put it into immediate perspective, it is already Sony’s biggest film this century outside the “Spider-Man” franchise (and bigger than any of its James Bond titles) in terms of domestic appeal.<\/p>\n

“Maze Runner: The Death Curse,” despite its mediocre domestic showing (including a 58 percent fall its second week), likely is not the last in the franchise. Why? Because it will take in more than $200 million worldwide, with about 80 percent coming from foreign.<\/p>\n

\"\"<\/p>\n

“The Greatest Showman”<\/p>\n<\/div>\n

Fox also has, once again, the best-holding film. “The Greatest Showman” is still in fourth place, off 18 percent. It looks headed for an eventual domestic total of $170 million-$175 million, with a somewhat bigger haul oversees. Not bad for what was initially projected as a vanity project for Hugh Jackman, financed to reward him for his loyal service to the “X-Men” series.<\/p>\n

“Hostiles” (Entertainment Studios), the western with Christian Bale, has done better than expected, but now looks likely to end up around $30 million after a significant marketing push.<\/p>\n

Oscar nominees in various categories, all 2017 initial releases, grossed around $25 million. That’s about the same as last year, but with one difference: “Hidden Figures” and “La La Land,” both wide releases with major non-specialized appeal, made up about two thirds of the total then.<\/p>\n

The Top 10<\/strong><\/p>\n

1. Jumanji: Welcome to the Jungle\u00a0<\/strong>(Sony) Week 7 – Last weekend #2<\/p>\n

$11,000,000 (-31%) in 3,553 theaters (-201); PTA (per theater average): $3,282; Cumulative: $353,642,000<\/p>\n

2. Maze Runner: The Death Cure\u00a0<\/strong>(20th Century Fox)\u00a0Week 2 – Last weekend #1<\/p>\n

$10,200,000 (-58%) in 3,793 theaters (+6); PTA: $2,689; Cumulative: $39,760,000<\/p>\n

3. Winchester\u00a0<\/strong>(Lionsgate) NEW – Cinemascore: B-; Metacritic: 30; Est. budget: $3.5 million (acquisition cost)<\/p>\n

$9,250,000 in 2,408 theaters; PTA: $3,730; Cumulative: $9,250,000<\/p>\n

4. The Greatest Showman\u00a0<\/strong>(20th Century Fox) Week 7 – Last weekend #4<\/p>\n

$7,800,000 (-18%) in 2,588 theaters (-75); PTA: $3,014; Cumulative: $137,475,000<\/p>\n

5. Hostiles\u00a0<\/strong>(Entertainment Studios)\u00a0Week 7 – Last weekend #3<\/p>\n

$5,523,000 (-45%) in 2,934 theaters (+118); PTA: $1,882; Cumulative: $21,237,000<\/p>\n

6. The Post\u00a0<\/strong>(20th Century Fox)\u00a0Week – Last weekend #5<\/p>\n

$5,200,000 (-43%) in theaters (-178); PTA: $2,112; Cumulative: $67,185,000<\/p>\n

7. 12 Strong\u00a0<\/strong>(Warner Bros.)\u00a0Week 7 – Last weekend #6<\/p>\n

$4,710,000 (-46%) in 2,462 theaters (-178); PTA: $1,614; Cumulative: $37,304,000<\/p>\n

8. Den of Thieves\u00a0<\/strong>(STX)\u00a0Week 3 – Last weekend #7<\/p>\n

$4,670,000 (-46%) in 2,112 theaters (-320); PTA: $; Cumulative: $<\/p>\n

9. The Shape of Water<\/a>\u00a0<\/strong>(Fox Searchlight)\u00a0Week 10 – Last weekend #8<\/p>\n

$ (-$) in 2,341 theaters (+487); PTA: $2,211; Cumulative: $44,580,000<\/p>\n

10. Paddington\u00a0<\/strong>(Warner Bros.)\u00a0Week 3 – Last weekend #9<\/p>\n

$3,110,000 (-45%) in 2,388 theaters (-404); PTA: $1,302; Cumulative: $36,314,000<\/p>\n

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

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