Update #5: Universal estimates that Identity Thief's opening haul will be $36.6 million. The Jason Bateman-Melissa McCarthy vehicle delivered big time on Saturday with $15.3 million, a 36.6% increase over Friday's $11.2 million haul.
Open Road estimates that Side Effects will debut to $10 million. The thriller held up very well on Saturday with $4.1 million, a 47% increase over Friday's $2.8 million gross.
Update #4: Universal is projecting that Identity Thief will end up with a very healthy $35 million debut frame. The comedy managed $11.2 million on Friday.
Boxoffice.com projects that Side Effects will open to $8.5 million. Open Road's thriller took in only $2.8 million on Friday.
Update #3: Despite the fact that theaters were closed Friday in New York, Boston and Connecticut, Identity Thief and Side Effects are both doing well at the box office. Early reports indicate that Identity Thief will debut to more than $30 million this weekend. Side Effects, an intense, R-rated thriller, will end up with around $12 million. Check back tomorrow for official Friday estimates.
Update #2: AMC Theatres will be closing theaters in Boston early on Friday. Here's the list.
Update #1: Winter storm Nemo will force many residents of key Northeast cities such as Boston, New York and Philadelphia to stay off the roads this weekend. CNN reports that more than two feet of snow could hit Boston. New York is bracing for as much as a foot. Supermarkets are now full of people bracing for a weekend spent indoors.
What does this mean for the box office?
Two promising wide releases hit theaters this weekend: Universal's Identity Thief and Open Road's Side Effects. Boxoffice.com is currently predicting that the two films will open to $27.8 million and $13.2 million, respectively. Yet lackluster weekend grosses from the Northeast could dampen the opening frames for both. It will also hurt Warm Bodies, the zombie flick that opened to more than $20 million last weekend despite facing competition from the Super Bowl. Word of mouth is strong for Warm Bodies and the storm could stop a lot of its momentum in crucial markets. Oscar contenders that are still going strong--Silver Lining Playbook in particular--will also feel the impact.
"No doubt weather will diminish Northeast box office today," Nikki Rocco, Universal's President of Domestic Distribution tells Boxoffice. "Hopefully folks can dig out by tomorrow."
All hope is not lost. Identity Thief and Side Effects can rebound as long as moviegoers throughout the rest of the country spread positive buzz on Facebook and Twitter. With plenty of plot twists, Side Effects will have no problem building the kind of buzz that will make people in the Northeast feel like they are missing out.
By Alex Edghill
Ad time during the Super Bowl has long been one of the most sought after (and indeed expensive) airtime slots in America. The average cost to air commercials in this year's game was $4 million for one 30 second slot. That's a whole lot of money considering that the most expensive ads during primetime for regular programming is around $500,000 for 30 seconds. The reason for the bloated rates is simple: over 108 million people tuned in for this year's game.
Traditionally polling has been carried out by firms such as USA Today with their Ad Meter and other large industry monitors to gauge just how effective all of this money was for advertisers by polling pre-defined users for their responses. However, the effectiveness of these polls are becoming increasingly diminished as they often don't take into account the social media response to said ads. The industry has wised up and more focus has been paid in recent years to social media outlets for these ads but one component that's usually missing is historical data.
We decided to take a look back at how other films performed on Twitter after running ads during the Super Bowl. The stats reveal quite a bit about what works and what doesn't.
One thing to note is that a day in our tracking system ends at 7PM EST. Since the super Bowl started at 6:30PM EST that means most of the tweets for the trailers fell into Monday's data which is what is listed for the results.
2011 Super Bowl Trailer Twitter Performance
|7/01/11||Transformers: Dark of the Moon||18,969||1:1||$352.39|
|7/22/11||Captain America: The First Avenger||9,009||16:1||$176.65|
|7/29/11||Cowboys & Aliens||7,148||5:1||$100.24|
2012 Super Bowl Trailer Twitter Performance
|5/04/12||Marvel's The Avengers||28,569||25:1||$623.36|
|3/02/12||Dr. Seuss' The Lorax||5,270||12:1||$214.03|
|2/24/12||Act of Valor||4,792||10:1||$70.01|
|2/10/12||Star Wars: Episode I - The Phantom Menace 3D||2,981||6:1||$43.46|
2013 Super Bowl Trailer Twitter Performance
|5/24/13||Fast & Furious 6||38,031||0:1|
|5/03/13||Iron Man 3||18,540||7:1|
|5/17/13||Star Trek Into Darkness||4,410||9:1|
|3/08/13||Oz: The Great and Powerful||2,261||65:1|
Here are my observations about the numbers
- Fast & Furious 6 had the largest return of any film that aired commercials during the game in the last 3 years.
- Fast & Furious's number obliterated the 3,446 that Fast Five nabbed back in 2011.
- Despite the huge numbers Fast & Furious 6 posted, it also was the first film to have more negative tweets than positive tweets.
- Even though it had the lowest tweet count, Oz: The Great and Powerful had the highest positive to negative ratio of any film in the last 3 years. Also since should skew female and younger and the Super Bowl skews heavily male and older it stands to reason why its tweets lagged.
- Twitter has accurately called the top earner each of the last two years but this year it would be a huge shocker if Iron Man 3 didn't out gross Fast & Furious 6 given the past performances of both franchises.
LOS ANGELES, CA -- Cinedigm (NASDAQ: CIDM) and Voltage Pictures have entered into a three-year, five picture output deal with new genre label Rapid Eye Film. Rapid Eye Film, founded by filmmaker Marco Weber ("Igby Goes Down," "The Thirteenth Floor", "Unthinkable", "The Informers"), will develop, finance and produce the films, and Cinedigm will provide a US theatrical release and subsequent roll out across on-demand, digital, TV and DVD. Nic Chartier's Voltage Pictures ("The Hurt Locker," "Don Jon's Addiction") will handle international sales on all five films.
The first film green lit under the agreement is the sci-fi thriller "Unraveling," with casting under way. "Unraveling" was written and will be directed by Weber, who is producing alongside his longtime producing partner Vanessa Coifman ("Fireflies in the Garden," "A Late Quartet") and producer Miggel Schwickerath ("The Informers"). The film will shoot on location in Los Angeles this spring. "Unraveling" is best described as a cross of "Angel Heart" and "Seven."
"Marco and I have a long and successful history, going back to ‘Igby Goes Down'," said Chris McGurk, Chairman and CEO of Cinedigm. "And, we are thrilled to work with Nic and his team at Voltage to bring these exciting new films to the worldwide marketplace."
"We loved the script of Unraveling and wanted to be involved with Marco on this one and his next movies," said Nicolas Chartier, founder of Voltage Pictures. "Cinedigm is growing very fast and having a US distributor on the films will be great for all our international partners."
In additional news, Weber's directorial debut, "Leashed," was also picked up by Cinedigm for digital distribution in the US and a number of international territories.
"Leashed" is a dark teen thriller featuring Chad Lowe and starring actors Gia Mantegna and Devon Werkheiser. The film premiered at the International Sitges Film Festival in competition.
Django Unchained tacked on another $30.6 million from 6,060 screens in 65 markets. The overseas cume is now $158.2 million. Globally, Quentin Tarantino's latest has $309.2 million in the bank.
Hansel and Gretel: Witch Hunters grabbed another $15.3 million overseas, pushing its total to $62.5 million. The film's global haul is now $97.1 million. Stats from Paramount:
As the highest new opening, Ukraine's estimated opening is at a strong $517k from 109 locales. Estimated ranking is at #1.
Turkey is estimated to have opened with a solid $435k from 158 cinemas as the top non-local title.
Non-PPI opening this weekend in Norway made $367k from 72 locations at #1.
Brazil's 2nd weekend saw $2.75M from 367 cinemas pushing the local cume to $10.3M. The drop from the opening is at only 36% and the film remains at the top spot in the local box office.
Mexico's 2nd weekend is estimated at $2.2M from 570 cinemas to hold on to the top spot at the box office. The cume is now at $7.5M.
Russia made $1.6M in its 3rd weekend from 500 locations. Cume is now at $18.6M.
Colombia added $986k over the 2nd weekend, dropping just 19% and remaining at #1. The cume is now at $2.8M.
Lincoln made $13 million from 3,510 locations in 43 markets for an overseas total of $32.7 million. The Oscar-nominated flick's global cume is now $203.4 million. Stats from Fox, the film's overseas distributor:
France leads the charge with $2.8m from 312 screens, while holdovers Italy ($2.2m, down only 22%), the UK ($2.2m, down only 17%), Germany ($919K, up 15%), Spain ($739K, down only 39%), and Brazil ($715K, down only 31%) show great resolve in a competitive marketplace. The international cume stands tall at $32.7m. The campaign expands into 7 markets next weekend, including Australia and Argentina.
Les Miserables took in $12.2 million from 2,665 locations in 40 territories, pushing its overseas cume to $198.4 million. The global total is now $339.9 million. Stats from Universal:LES MIS opened in 6 territories this weekend including record-breaking openings in Brazil and Thailand. Brazil opened No. 2 with an outstanding $955k at 135 dates and set the record as the biggest musical opening day ever in this market. Thailand opened with a terrific $284k at 33 dates, which makes LES MIS the biggest musical opening weekend ever in this market. Italy opened No. 6 with a fair $1M at 265 dates. We will have opening weekend results from Bulgaria, Slovenia and Uruguay on Monday.
In the U.K. and Ireland, LES MIS is the No. 1 film for the fourth weekend in a row. The weekend estimate is $4.7M (£2.9M) at 551 dates for a 24-day total of $48.2M (£30.2M). It is the biggest Hugh Jackman film ever, the second biggest musical ever (behind MAMMA MIA! £69.2M),and the 5th biggest Working Title film of all time in the U.K. and Ireland.
Japan had another great weekend, grossing $1.7M at 354 dates in week 7 for a 44-day total of $47.6M (¥4.1B). LES MIS just passed THE PHANTOMM OF THE OPERA (¥4.08B) ($40M) to become the highest grossing musical of all time in Japan.
Australia placed No. 7 with $750k at 207 dates in week 6 for a 40-day total of $25M.
Next weekend, we open in Israel, Latvia, Russia, Taiwan and Ukraine. LES MIS has 27 territories still to open.
Life of Pi took in $10.1 million from 5,224 locations in 48 markets, for an overseas total of $443.5 million. The worldwide cume is now $549.6 million.
Flight added $9.2 million from 2,036 locations, giving it an overseas cume of $22.3 million. The global haul is now $115.9 million. Stats from Paramount:
The highest new opening was seen in the UK, where Flight made a solid $2.1M from 387 locations.
Australia grossed a strong $1.8M at 226 locations.
The Netherlands opened with a very good $456k from 41 locations.
Belgium opened with a good $314k at 50 screens.
Italy is estimated at $1.05M on the 2nd weekend from 300 cinemas, pushing the cume to $3.3M.
Non-PPI markets playing Flight this weekend:
Germany's 2nd weekend is estimated at 1.5M from 341 locations (Studio Canal release). Cume at $3.6M.
Spain's 2nd weekend is estimated at 900k from 285 locations (Tripictures release). Cume at $2.6M.
The Impossible grossed $7.3 million, pushing its overseas total of $129.7 million. The global cume is $144.9 million.
The film debuted in Italy at 247 locations and came in at #3 with a weekend gross of $1.3M. It also had a small release in Germany which should bring in roughly $110K off of 74 screens.
Gangster Squad took in $4.7 million from 2,700 locations in 46 markets for an overseas total of $35.4 million. The global total is now $78.5 million.
Jack Reacher added $4.6 million from 2,994 locations in 60 territories, pushing its overseas total to $112.1 million. The global cume is now $190.9 million.
Japan opened with a solid $3.6M from 321 locations and the ranking is at #1 in the market.
The Hobbit: An Unexpected Journey grossesd $4.2 million from 3,600 screens in 59 territories, pushing its overseas cume to $653 million. The global total is now $949.2 million. Key stats from Warner Bros.:
Germany: $86.6m *highest grossing film of 2012 to date
Sweden (MGM): $21.5m
Wreck-It Ralph took in another $4 million overseas, pushing its cume to $193.4 million. The global total is $376.6 million.
The Last Stand grabbed $3.7 million for an overseas cume of $13.2 million. The global total is $15.4 million.
Ted raked in another $3.3 million in Japan, the final overseas territory for the animated flick. The overseas total is now $303.8 million. Globally, Ted is up to $522.7 million.
Mama took in $2.4 million from 716 locations in 8 territories, pushing its overseas total to $5.8 million. Stats from Universal:
Mexico had an outstanding opening with $1.9M at 455 dates. It is No. 2 behind HANSEL AND GRETEL but is the No. 1 film in admissions and has the best screen average in the market. The opening is well ahead of expectations and at the same level as the openings of PARANOMRAL ACTIVITY 1, 2 AND 3. Monday is a holiday in Mexico and so we expect another good day for MAMA. Next weekend, MAMA opens in Spain, India, Indonesia, Peru, Philippines, South Africa and Thailand.