{"id":3129,"date":"2018-03-11T19:25:04","date_gmt":"2018-03-11T19:25:04","guid":{"rendered":"http:\/\/commarts.pleather.us\/2018\/03\/11\/a-wrinkle-in-time-joins-black-panther-at-the-top-but-grosses-continue-to-fall\/"},"modified":"2018-03-11T19:25:04","modified_gmt":"2018-03-11T19:25:04","slug":"a-wrinkle-in-time-joins-black-panther-at-the-top-but-grosses-continue-to-fall","status":"publish","type":"post","link":"https:\/\/blog.valdosta.edu\/m2\/2018\/03\/11\/a-wrinkle-in-time-joins-black-panther-at-the-top-but-grosses-continue-to-fall\/","title":{"rendered":"\u2018A Wrinkle in Time\u2019 Joins \u2018Black Panther\u2019 at the Top, But Grosses Continue To Fall"},"content":{"rendered":"<p>This weekend in history: Two films directed by African-Americans took the top two spots, for the first time ever. &#8220;Wrinkle,&#8221; directed by Ava DuVernay, is a rare film directed by a woman budgeted over $100 million. (Kathryn Bigelow&#8217;s &#8220;K-19: The Widowmaker&#8221; and Patty Jenkins&#8217; &#8220;Wonder Woman&#8221; preceded it among non-animated films, but it&#8217;s the first from a black woman.<\/p>\n<p>This breakthrough should not be diminished, but it&#8217;s only one of several important takeaways this weekend \u2014 not all so encouraging. We&#8217;re 10 weeks into 2018; last year at this point, five films had opened at $40 million or more. This year, there&#8217;s only &#8220;<a href=\"http:\/\/www.indiewire.com\/t\/black-panther\/\" id=\"auto-tag_black-panther\">Black Panther<\/a>&#8221; and its phenomenal success (it&#8217;s approaching $1.1 billion worldwide) may mask some significant issues.<\/p>\n<p>Grosses are still up around 8 percent for the year so far, down from over 12 percent at the end of February That&#8217;s nothing compared to the likely drops in upcoming weeks, when last-year comparisons will include the massive numbers for &#8220;Beauty and the Beast.&#8221;<\/p>\n<div id=\"attachment_1201934750\" style=\"max-width: 790px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1201934750 size-large\" src=\"http:\/\/www.indiewire.com\/wp-content\/uploads\/2018\/03\/a-wrinkle-in-time-storm-reid-e1520432287199.jpg?w=780\" alt=\"Storm Reid is Meg Murry in Disney\u2019s A WRINKLE IN TIME, an epic adventure based on Madeleine L\u2019Engle\u2019s timeless classis.\" width=\"780\" height=\"438\" \/><\/p>\n<p class=\"wp-caption-text\">&#8220;<a href=\"http:\/\/www.indiewire.com\/t\/a-wrinkle-in-time\/\" id=\"auto-tag_a-wrinkle-in-time\">A Wrinkle in Time<\/a>&#8221;<\/p>\n<\/div>\n<p class=\"image-credit\">Atsushi Nishijima<\/p>\n<p>Which brings us to &#8220;A Wrinkle in Time.&#8221; This long-awaited adaptation of Madeleine L&#8217;Engle&#8217;s early 1960s novel has been a major project at Disney, positioned to replicate their recent successes in reboots of classic children&#8217;s stories. In that group, its $33 million start is lackluster. While it bests &#8220;Bridge to Terabithia&#8221; (which adjusted opened at $30 million), but\u00a0far less-anticipated titles opened stronger. &#8220;The Last Airbender&#8221;: adjusted $48 million. &#8220;Percy Jackson and the Olympians&#8221;: $36 million. &#8220;Jack the Giant Slayer&#8221; \u2014 a major flop \u2014 still managed $31 million.<\/p>\n<p>What&#8217;s the problem(s)? Given the film&#8217;s anticipation and profile, likely much of the potential audience paid attention to the reviews, which weren&#8217;t great. And while the book is beloved,\u00a0it saw its peak popularity years ago. Though still a perennial, it&#8217;s no &#8220;Harry Potter;&#8221; it doesn&#8217;t automatically connect with contemporary kids.<\/p>\n<p>Another issue: Beyond &#8220;Black Panther,&#8221; business isn&#8217;t booming. After a strong end of year that saw multiple surprise successes (&#8220;Wonder,&#8221; &#8220;The Greatest Showman,&#8221; and especially &#8220;Jumanji: Welcome to the Jungle,&#8221; which is still in the Top 10), most other new releases fell short.<\/p>\n<p>&#8220;A Wrinkle in Time&#8221; doesn&#8217;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&#8217;t work as well as hoped. Disney has the resources to ensure lots of additional revenue comes in and it doesn&#8217;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.<\/p>\n<div id=\"attachment_1201931364\" style=\"max-width: 790px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1201931364 size-large\" src=\"http:\/\/www.indiewire.com\/wp-content\/uploads\/2018\/02\/kpa7000_v012_001559-1032.jpg?w=780\" alt=\"Marvel Studios' BLACK PANTHER..Ph: Film Frame..\u00a9Marvel Studios 2018\" width=\"780\" height=\"339\" \/><\/p>\n<p class=\"wp-caption-text\">&#8220;Black Panther&#8221;<\/p>\n<\/div>\n<p class=\"image-credit\">null<\/p>\n<p>That leaves us with &#8220;Black Panther,&#8221; 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 (&#8220;The Fate of the Furious&#8221; ahead of it for now). It&#8217;s at $562 million through 24 days domestic. That&#8217;s astoundingly only $30 million behind the adjusted number for the biggest Marvel domestic release (&#8220;The Avengers&#8221;) at the same point.<\/p>\n<p>And that&#8217;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 &#8220;Panther&#8221; equals the top grossers from the comic-book world. But it will come close.<\/p>\n<div id=\"attachment_1201937611\" style=\"max-width: 790px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1201937611 size-large\" src=\"http:\/\/www.indiewire.com\/wp-content\/uploads\/2018\/03\/hurricane-heist.png?w=780\" alt=\"The Hurricane Heist\" width=\"780\" height=\"427\" \/><\/p>\n<p class=\"wp-caption-text\">&#8220;The Hurricane Heist&#8221;<\/p>\n<\/div>\n<p class=\"image-credit\">YouTube\/screencapped<\/p>\n<p>Not standing out applies to three other new wide releases. &#8220;<a href=\"http:\/\/www.indiewire.com\/t\/the-strangers-prey-at-night\/\" id=\"auto-tag_the-strangers-prey-at-night\">The Strangers: Prey at Night<\/a>&#8221; from recently minted Aviron was low budget (perhaps $5 million), so its $10.8 million start is adequate. Further down is the more-expensive &#8220;The Hurricane Heist&#8221; (Entertainment Studios) from veteran director Rob Cohen. And even worse is &#8220;Gringo&#8221; from Amazon (shifting away from specialized, distributed in this instance by STX) that didn&#8217;t even make the Top Ten.<\/p>\n<p>New films are out there, but what fills the gap is not ultimately strong enough to keep theaters as busy as they should be. &#8220;Panther&#8221; 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 &#8220;Beauty and the Beast&#8221;\u00a0 followed by two more films that opened over $40 million. This year, it&#8217;s quite possible that none of the upcoming films over the same period will do as much.<\/p>\n<p>At some point, movies that aren&#8217;t &#8220;Black Panther&#8221; need to step up.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Top Ten<\/strong><\/p>\n<p><strong>1. Black Panther\u00a0<\/strong>(Disney) Week 4; Last weekend #1<\/p>\n<p>$41,136,000 (-38%) in 3,943 theaters (-142); PTA (per theater average): $10,435; Cumulative: $562,016,000<\/p>\n<p><strong>2. A Wrinkle in Time\u00a0<\/strong>(Disney) NEW &#8211; Cinemascore: 52; Metacritic: B; est. budget: $103 million<\/p>\n<p>$33,316,000 in 3,980 theaters; PTA: $8,371; Cumulative: $33,316,000<\/p>\n<p><strong>3. The Strangers: Prey at Night\u00a0<\/strong>(Aviron)\u00a0NEW &#8211; Cinemascore: 50; Metacritic: C; est. budget: $5 million<\/p>\n<p>$10,480,000 in 2,464 theaters; PTA: $4,253; Cumulative: $10,480,000<\/p>\n<p><strong>4. Red Sparrow\u00a0<\/strong>(20th Century Fox)\u00a0Week 2; Last weekend #<\/p>\n<p>$8,150,000 (-52%) in 3,064 theaters (+8); PTA: $2,660; Cumulative: $31,199,000<\/p>\n<p><strong>5. Game Night\u00a0<\/strong>(Warner Bros.)\u00a0Week 3; Last weekend #4<\/p>\n<p>$7,905,000 (-24%) in 3,061 theaters (-441); PTA: $2,582; Cumulative: $45,046,000<\/p>\n<p><strong>6. Peter Rabbit\u00a0<\/strong>(Sony)\u00a0Week 5; Last weekend #6<\/p>\n<p>$6,800,000 (-32%) in 3,112 theaters (-495); PTA: $2,185; Cumulative: $93,458,000<\/p>\n<p><strong>7. Death Wish\u00a0<\/strong>(MGM) Week 3; Last weekend #3<\/p>\n<p>$6,600,000 (-49%) in 2,882 theaters (+35); PTA: $2,290; Cumulative: $23,875,000<\/p>\n<p><strong>8. (tie) The Hurricane Heist\u00a0<\/strong>(Entertainment Studios)\u00a0NEW &#8211; Cinemascore: 32; Metacritic: B-; est. budget: $35 million<\/p>\n<p>$3,150,000 in 2,402 theaters; PTA: $1,311; Cumulative: $3,150,000<\/p>\n<p><strong>8. (tie) Annihilation\u00a0<\/strong>(Paramount)\u00a0Week 2; Last weekend #6<\/p>\n<p>$3,150,000 in 1,709 theaters (-403); PTA: $1,843; Cumulative: $26,095,000<\/p>\n<p><strong>10. Jumanji: Welcome to the Jungle\u00a0<\/strong>(Sony) Week 12<\/p>\n<p>$2,755,000 (-38%) in 2,157 theaters (-403); PTA: $1,277; Cumulative: $397,263,000<\/p>\n<p>Source: IndieWire film<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This weekend in history: Two films directed by African-Americans took the top two spots, for the first time ever. &#8220;Wrinkle,&#8221; directed&#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-3129","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-Ot","_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts\/3129","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=3129"}],"version-history":[{"count":0,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/posts\/3129\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/media?parent=3129"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/categories?post=3129"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/m2\/wp-json\/wp\/v2\/tags?post=3129"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}