Rolando Rodriguez had
already left the exhibition business when he was offered the top job at Rave
Cinemas. Rodriguez had established himself as a veteran figure in the
exhibition industry throughout a storied career at AMC before taking an
executive role at Walmart. He returned to exhibition and was a key factor in
turning around Rave Cinemas, culminating in the circuit's sale to Cinemark in
May 2013. Rodriguez wasn't out of the exhibition business for long thereafter,
as he was appointed president and CEO of Marcus Theaters that same summer. Now
a year into his tenure at Marcus, BoxOffice catches up with the veteran
exhibition executive to talk more about the business.
You're a veteran in the exhibition business. What made Marcus such an enticing option for you at this point in your career?
My career track really started within the industry. I spent 30 years with AMC and took a side trip with Walmart, where I spent nearly five years. I was recruited to become the president and CEO of Rave Cinemas, which was owned by a private equity group. Their intention was to spin off that circuit within a three- to five-year period of time based on turning the company around and achieving the kind of returns we were looking for. We were fortunate enough to have a great team that was able to do that in a two-and-half-year period of time. I also sit in the NATO Executive Board of Directors, where Steve Marcus also sat for those years I was in charge of Rave, and we got to know each other. The timing for me was perfect, since Bruce Olson, my predecessor in this position, decided to retire after a long and distinguished career right around the time we sold Rave. I was one of the several candidates that Marcus was considering and, through the course of many interviews, I was able to join a well-respected brand in Marcus. It was also intriguing to me that it is a company that isn't just made up of theaters but has a broad view of the food-and-beverage and hospitality industries. That, combined with what I felt was a great company and great people, that's what brought me here.
Now that you've been at the company for a bit, what are some of the main goals you want to achieve moving forward with Marcus?
I joined the company on July 30, 2013, and we set out to build short- and long-term goals. We are making them happen, beginning with amenities like Take 5 and our lounge concept. We've introduced Zaffiro's Express, our branded pizza program, and have expanded it to many of our locations. And this has combined with a very strong remodel program that introduces our large-screen format expansion of Ultra Screen DLX, along with Dream Loungers, which is our branded recliner-seats program. That, coupled with the marketing initiatives we've put in place, including our discounted ticket day on Tuesdays, has really propelled the company into a nice position. Our ultimate goal is to see continued growth, and that will come from new amenities in our circuit, from organic growth, and from potential acquisitions.
You mentioned large-format screens and reclining seats, along with a renewed focus on concessions. Is it safe to say you are currently focused on raising the value-added propositions for your consumers at existing locations?
We've committed to more than $50 million of investment to our existing theaters in those areas. Within any industry, being relevant and forward thinking for the consumer is essential for any growth company. Retail, food and beverage, or entertainment-we need to provide a true price-value relationship with that consumer. For many years as an industry, we concentrated on sound, especially in the 1980s and '90s. Then we combined that great sound with the large-screen format. And after adopting stadium seating, we are now truly matching what people have at home with our reclining seats. That's within the context of providing the best experience at our theaters. And while audiences are at the theater, we want to provide a true total social experience with our lounges where you can enjoy your time before or after the movie. The idea should be how you provide that hardworking family a great three-hour experience instead of a great two-hour experience.
Can you tell us about your experience in adopting a value-pricing program?
We are living through a difficult economic time, and we never want to affect the weekend experience, but we had forgotten about a consumer out there who has been hit very hard by the economy. This consumer has stopped going to the movies, and, frankly, you have entire families that can no longer afford a night at the movies. We picked Tuesdays for a five-dollar admission for that reason, and we also provide free popcorn to members of our loyalty reward program. For a family of four that is a member of our free loyalty program, you now have the ability to afford taking your family to the movies, and you get the popcorn on us. We have a social responsibility to the consumers we had lost in our community, and we wanted to provide them an opportunity to enjoy a great moviegoing experience at our theaters on Tuesdays.
How is the Midwest region different from operating anywhere else in the country?
As you know this is the heart of America-these are hardworking folks who are committed to their families. They obviously don't have all of the other entertainment components that many of the other large cities have. Actually, we do have the Green Bay Packers, where it's like going to church every Sunday. So when folks spend their entertainment dollars, particularly for us in the Midwest, we provide the level of amenities and entertainment components that many of the other large cities have.
Marcus owns about 85 percent of the real estate of its cinemas. What sort of advantage does that provide?
That speaks to the commitment of the Marcus family in its investments. This is a company that has been in existence for 79 years and is truly committed to the theater business. It adds an extra dimension for us; it's close to our heart. We have a commitment to that community and to the company to make sure the theaters are as good as they can be. We are not dictated by equity investors; our commitment as a company is to show we are here for the long term.
What do you enjoy about the Geneva Convention?
I've gotten to know many of the members of NATO of Wisconsin and from other sister states. This is the CinemaCon for exhibitors in the Upper Midwest. All operators and business owners have the opportunity to have NATO provide education and a trade show for us. It's a truly small-town feel for a lot of key exhibitors to participate in a show of this scope. NATO also makes a big commitment to raising money for charities like Variety and Will Rogers through the course of that week.
What are the obstacles facing exhibition in the coming years?
I think there are opportunities for us in the long term; it's making sure film grosses grow and that attendance grows alongside it. Flat or declining attendance is a big cause of concern, and in any healthy business you need to have the growth in revenue and attendance. I think a big part of that is making sure that our price-value relationship is closely aligned with the consumer. It's important that we place a priority on amenities inside our theaters, so consumers can have a great experience inside our cinemas.
by Ken Bacon
Twenty minutes southeast of Boulder, Colo., sits one of the most livable cities in the United States, if Money magazine is to be believed. Louisville is certainly noteworthy. It is the home of SNC Space Systems' Dream Chaser, the low-Earth-orbit vehicle that may be taking astronauts to the International Space Station later this decade. And now it is the home to one of the country's premiere cinema eateries-Cinebarre. And it is out of this world.
Entrepreneur Terrell Braly, in partnership with Regal Entertainment Group, is a grand showman. Texas tall, brash, and gregarious, Braly knows how to throw a party. On July 31, the Cinebarre CEO and chairman opened the doors to a just a few invited guests-over 600, in fact-to the newest in his family of cinema eateries and the second in Colorado. Braly and his crew-many of them family members-transformed the 20-year-old monster of a multiplex, formerly Regal Colony Square Stadium 12, into a cinema showplace in just 90 days.
Chad Rankin, Cinebarre's VP of construction, describes the process: "Total construction project time was under 12 weeks with two weeks being demolition. Any time you remodel a 40,000-plus-square-foot building at such an expeditious rate, you uncover several unforeseen special challenges. By adding a large commercial kitchen and two bars, the remodel takes several skilled people that must be on top of their game. The key is to surround yourself with good people that can take direction on the fly. I've found that managing projects of this scope and short time frame, one must be able to adapt and overcome many daily obstacles in order to stay on schedule. Some challenges are big and some are small, but they all must be treated the same because one little thing can have a domino effect on the entire project."
Rankin worked with Renew Urban Theatre of Charleston, South Carolina, who specialize in cinema eateries. Renew Urban's motto is "Graciousness," and that attitude was certainly exemplified in one of their installers, the charming Jonathan Crump, who was thrilled with the finished result. "Spectacular," he told us while sipping a well-earned CineBrew.
Cinebarre Boulder, as the theater is now called, is the eighth location Braly and his talented squad have opened in recent years. Cinebarre Mountlake Terrace (Wash.) was featured in these pages several years ago when it was named one of BoxOffice's Marquee Theaters. Cinebarre Boulder certainly lives up to that standard.
The black-and-silver-themed venue is lined with classic movie posters enlarged to gargantuan proportions and red-upholstered couches and chairs accompanied by black-and-silver storage trunks that double as coffee tables.
Braly says of his newest store, "We give the civilized, mature person the experience of watching a movie the way it was meant to be: in a full-service dinner-and-movie setting without the distractions of the standard ‘mall' movie theater."
VIP Night guest, Army Wives star Terry Serpico said, "Terrell and the staff at Cinebarre Mount Pleasant (S.C.) opened their doors to Army Wives and gave us a home to screen our season premieres. We'd have a red carpet and press line. A big party. The environment at Cinebarre made it feel old-Hollywood glamorous."
Guest Tuesday Bebbe said, "Cinebarre is our second home. We eat dinner and watch a movie once or twice a week. If it's not playing at Cinebarre, we wait for it to come out on DVD. Love the leather chairs and great food!"
The cinema eatery is a growing concept that more circuits are entertaining. Alamo Drafthouse Cinema, probably the most well-known cinema eatery in the country, was an in-theater dining pioneer. In 2005, Entertainment Weekly called it "The Best Theater in America." The CEO at the time? Terrell Braly. The man knows how to put on a show. And a hell of a party.
Katie Clayton, Cinebarre's director of special events for the East Coast and Signature Events, with Cinebarre VIP NIght guest John Ratzenberger (Cheers, Wall-E). Cinebarre special events nationwide include Monday Night Football, $6.00 Tuesdays, Cry Baby Day, Sons of Anarchy premiere in Mount Pleasant, S.C. (partnering with Harley-Davidson), One Flew Over the Cuckoo's Nest event in Salem, Ore. (where the film was produced), and various smaller fund-raisers and one-time events.
Cinebarre CEO Terrell Braly (center) celebrates with wine consultants Tom Smith and Elizabeth Smith during VIP Night. Founders of Wine News, the couple are working with the Cinebarre team to reimagine the theaters' wine lists. "We culled wines from the world's most distinguished regions," Elizabeth Smith says. "They met one or all of the following criteria: grown in a foremost appellation for the varietal; easy-drinking and accessible; and boasting an outstanding quality-to-value ratio." In addition to being a wine expert and fine art photographer, Tom won a Super Bowl ring with the 1973 Miami Dolphins.
There is nothing a food-service worker loves more than a brand-new kitchen. The Boulder facility is huge, having replaced one of the original auditoriums. Orders come in from either the bar or any of the screening rooms, are then prepared to order, and raced out by food runners who deliver the burgers, pizzas, and snacks to patrons at their seats. Theatergoers may order at any time-before or during the film. The full menu is also available to visitors who choose to just enjoy the bar. On Day One, the kitchen was in full fury as servers, runners, and cooks put their training to the test, as it was also the opening day of the megahit Guardians of the Galaxy.
Offering in-theater dining at a movie theater presents challenges that go well beyond delivering food freshly prepared, tasty, and on time. Cinebarre chose New Zealand-based Vista Entertainment Solutions' suite of software tools to manage its ticketing and food-and-beverage operations. The key package, Vista Cinema, has three modules-Box Office, Concession Sales, and Food & Beverage to help cinemas manage all aspects of theater transactions. Andrew Purdy, Vista's Los Angeles-based consultant, traveled to Boulder to ensure that not only were all systems go, but that staff were thoroughly trained. Vista also offers Veezi for smaller independent theaters.
Cinebarre Boulder's circular bar is the centerpiece of the poster-festooned lobby. In addition to the central bar there is a service bar dedicated to making cocktails for in-theater filmgoers. In addition to General Manager Matty DesMarias, several members of the Mountlake Terrace, Washington, Cinebarre crew traveled to Boulder to help train and prepare the new staff. With VIP Night featuring a hosted bar, the bartenders were tested by fire as the event drew 660 thirsty guests including Cheers! regulars Norm and Cliff (actors George Wendt and John Ratzenberger), who kindly posed for photos with fans.
Cinebarre Boulder's maximum capacity is approximately 860. The 11 auditoriums range in size from 46 to 143 seats. The original stadium seats were removed for the renovation and replaced with new Signature Rockers from Irwin Seating Company. To accommodate dining, every other row of the original seats have been replaced with long dining tables, which has the additional benefit of providing substantial legroom. Lighting in the auditoriums is precisely controlled to ensure not only a great moviegoing experience, but to allow patrons to clearly read the menu, see their drinks, and ensure that the food runners can see where they're going.
The menu features pub fare with flair-chicken fingers are Goldfingers, the club sandwich has been dubbed Fight Club, sliders are Slideways, and the pepperoni pizza is The Italian Job. For the popcorn fan there is Children of the Popcorn, while the tub of corn tossed with fresh rosemary is called, of course, Rosemary's Baby. Fancy a cinnamon roll? Try the Princess Leia, so named for reasons only a Star Wars nerd will understand. In addition to wine and specialty cocktails, the theater also has its own branded beers, CineBrew and CineBeer. And with the Denver-Boulder area renowned for its microbrews, it's no surprise the beer list is top notch.
VP of Creative Affairs Vanessa Rankin has concocted a preshow that is unique to the Cinebarre experience. Filmmakers from around the globe submit short films to Cinebarre's Vimeo page with the very best selected for the preshow. A new preshow is assembled each month and uploaded to Cinebarre's FTP server so each theater can download and ingest into their film servers. Films are between three and seven minutes in length, while the entire preshow is 30 minutes. Since many of the theaters allow children, the selected films must be G or PG. Animation is popular, and many student films have made the cut.
By Daniel Garris
Disney's Guardians of the Galaxy grossed $1.39 million on Tuesday to remain in first place at the daily box office. The blockbuster sci-fi superhero adaptation from Marvel has now led the daily box office for the past eleven days. Guardians of the Galaxy was down 76 percent from Monday's inflated Labor Day performance and down a healthy 34 percent from last Tuesday. The film has grossed a tremendous $282.59 million through 33 days of release. That leaves Guardians of the Galaxy $17.41 million away from becoming the first release of 2014 to reach the $300 million domestic mark.
Paramount's Teenage Mutant Ninja Turtles placed in second with $0.861 million. The successful franchise re-launch fell 77 percent from Monday and 48 percent from last Tuesday. While the film's box office run is slowing down now, Teenage Mutant Ninja Turtles continues to exceed expectations in a very big way with a 26-day take of $167.14 million.
The November Man claimed third place with $0.861 million. Relativity's action thriller starring Pierce Brosnan was down 62 percent from Monday, which represented one of the day's stronger daily percentage holds among wide releases. The November Man has grossed $12.63 million in seven days. That is in line with pre-release expectations and places the film 19.5 percent behind the $15.69 million seven-day start of 2011's The Debt.
Let's Be Cops took fourth place with $0.722 million. Fox's low-budget action comedy was down 65 percent from Monday and down a respectable 45 percent from last Tuesday. Let's Be Cops surpassed the $60 million mark on Tuesday and has grossed a very solid $60.22 million in 21 days.
Warner's If I Stay rounded out the day's top five with $0.711 million. The low-budget drama starring Chloë Grace Moretz was down 71 percent from Monday and down 54 percent from last Tuesday. If I Stay has grossed $33.04 million in twelve days. The film continues to perform well given its modest price tag and is running 21 percent ahead of the $27.21 million twelve-day take of last year's Carrie.
Universal's As Above/So Below landed in sixth on Tuesday with $0.672 million. The low-budget horror film was down 59 percent from Monday, which represented one of the day's stronger daily holds among wide releases. As Above/So Below has grossed $10.96 million in five days. That is on the low end of expectations and places the film 3 percent behind the $11.31 million five-day start of 2011's Apollo 18.
If ever a summer movie season could be described as a mixed bag, it was this one.
Summer 2014's box office haul topped out at an estimated $4.03 billion--down 14 percent from last year's record $4.69 billion. This marks the eighth consecutive year in which summer (defined in this review as May 1 through August 31) crossed the $4 billion threshold. Unfortunately, it was still the lowest since 2006's $3.64 billion.
Another Record August...
The dog days closed on a high note, though: thanks mostly to Guardians of the Galaxy and Teenage Mutant Ninja Turtles, which combined for $438 million, the industry enjoyed its best August on record (not accounting for inflation) with $1.016 billion--the first time August has ever surpassed the billion dollar mark. That bests August 2013's previous record of $930 million.
...But Summer Wasn't Saved
The writing was on the wall after June dipped 16 percent from last year, followed swiftly by July's 29.5 percent year-over-year plunge. In fact, it was the first July to fall short of $1 billion since 2002's $961 million tally. Ultimately, for the first time since 1987, August grossed more than than the preceding July preceding--the only two such occurrences on record. (To be fair, a major component in July's weak turnout was due to Fast & Furious 7's delay following Paul Walker's tragic passing.)
While May itself also lost ground, its $1.01 billion still accounted for the fifth best non-adjusted May and generally strong openers throughout the month. It gets a pass.
The biggest stories of the summer emanated from the birth (or rebirth) of new franchises like Guardians, Turtles, and Godzilla, the revival success of X-Men: Days of Future Past, strong sequel performers in Dawn of the Planet of the Apes and 22 Jump Street, plus standalone hits in Maleficent, Neighbors, The Fault In Our Stars, and Lucy. Under-performers included Transformers: Age of Extinction, The Amazing Spider-Man 2, and arguably the most surprising, How to Train Your Dragon 2 (long considered a favorite to be the season's top earner).
Marvel's Hat Trick
For the third consecutive year, Marvel Studios claimed the highest grossing summer flick as Guardians followed in the footsteps of 2012's Avengers and last year's Iron Man 3.
Interestingly, this marks the first time that an August release "won" its summer. Given the proclivity of sequels to routinely top the charts, Guardians--the only film to claim first place three times this summer--also stands out by representing the season's first champ since 2003's Finding Nemo to feature a cast of characters never before seen on film. Once again, we see how originality still carries great appeal with moviegoers.
The $90 Million Cluster
Box office enthusiasts have taken interest in one curious trend this year: films opening in the $90 million range. Entering 2014, seven films had bowed somewhere $90-99 million throughout the years. Since April alone, we've seen five more (nearly six when counting controversial reports of the latest Transformers' debut).
The Search for $300 Million
Through Labor Day, this was the first summer (and year-to-date overall) without a single $300 million earner since 2000's Mission: Impossible II ($215 million). That said, Guardians' impressive staying power has put it on course to topple that benchmark before the end of its run.
Since the turn of the century, the only other summers to yield just one $300 million performer were 2005 (Star Wars: Episode III - Revenge of the Sith, $380 million) and 2006 (Pirates of the Caribbean: Dead Man's Chest, $423 million).
A Rare Off-Year for Animation
One notable takeaway this year was the lack of animated offerings, and the first absence of Pixar from the summer slate since 2005 (due to The Good Dinosaur's delay, announced nearly one year ago).
Following its predecessor's universal praise four years back, How to Train Your Dragon 2 represented the only tentpole animation this summer (Disney's Planes: Fire and Rescue was expected to perform modestly, as it did). That alone was cause for high expectations ahead of its June release, but once Turtles inevitably passes it on the chart, Dragon 2 will rank in tenth place among summer releases. Prior to 2014, at least one animated film cracked the top five for eight straight summers. 1998's Mulan (ninth place) was the last to rank so low.
Consider Dragon 2's strong reviews (92 percent on Rotten Tomatoes), word of mouth (92 percent Flixster score, "A" CinemaScore), and holding power (a respectable 3.48x multiple from opening weekend, stronger than Monsters University's 3.26 last year). One possible cause of the film's inability to capture a larger audience was its nature as a less comedic story than is typical of mega-grossers like the Shrek, Toy Story, and Despicable Me sequels.
Additionally, cash-strapped parents may still be reconciling their bank accounts after buying so many tickets to Frozen and The LEGO Movie earlier this year, not to mention last year's string of animated hits.
Summer's Sunny Spots
Reviews and audience word of mouth were largely positive for most tentpole releases. The average Rotten Tomatoes critics' and Flixster audience scores didn't vary by much from last summer, but among the top 10, four films scored over 90 percent on both sites this year (Guardians, X-Men, Apes, and Dragon). Last summer, only two films scored over 78 percent with critics (Star Trek Into Darkness - 87 percent, Despicable Me 2 - 74 percent) while Trek claimed the only Flixster score over 90 percent.
Studio bean-counters can rejoice over the fact that there were very few financial bombs along the lines of The Lone Ranger, After Earth, White House Down, R.I.P.D., or Turbo. For example, Tom Cruise's crowd-pleasing Edge of Tomorrow disappointed domestically, but strong word of mouth and overseas returns have strengthened its bottom line. The same applies to the Transformers, Amazing Spider-Man, and Dragon sequels, whose international revenues ensured overall financial prosperity for Paramount, Sony, and Fox, respectively--albeit, not on the level once hoped for regarding the latter two.
There's no questioning that Fox and Disney walk away with the most bragging rights. The latter boasts two of the top three films of summer (Guardians and Maleficent)--not to mention Captain America: The Winter Soldier's fantastic run prior to May. Meanwhile, Fox claimed four of the top twelve grossers--led by Bryan Singer's X-Men return and Matt Reeves' Apes sequel.
On the year, Fox currently has a slight 0.6 percent lead over Disney in market share among all studios.
Impact on Yearly Performance
Despite carrying a 9 percent year-over-year lead into May, 2014 now trails 2013 by just over 5 percent with $7.2 billion--the lowest yearly sum through August 31 since 2008's $6.83 billion.
Adjusting for inflation highlights more unsettling results: all things being equal, this summer was estimated as the least-attended in 22 years (based on dividing total grosses by today's average ticket price of $8.15). The last time summer saw fewer patrons enter cinema doors was 1992, when films like Batman Returns and Lethal Weapon 3 represented the biggest blockbusters.
Looking at year-to-date performance adjusted for inflation, the story doesn't improve much. 2014 has sold an estimated 124.7 million tickets through August--the lowest figure since 1995.
The poor performance following last year's record summer doesn't bode well heading into a questionable autumn release calendar, but there is light up ahead. November and December offer healthy potential with big buzz already driving Christopher Nolan's Interstellar (November 7), the penultimate Hunger Games chapter in Mockingjay Part 1 (November 21), and Peter Jackson's farewell to Middle-earth, The Hobbit: The Battle of the Five Armies (December 17).
For those looking at Summer 2015, it could be a major rebound from this year. Universal gets things started in early April with Fast & Furious 7, followed shortly by May 1's hugely anticipated Avengers: Age of Ultron. Chris Pratt, fresh off LEGO and Guardians, could help drive Jurassic World to some success, while Pixar's Inside Out, Seth MacFarlane's Ted 2, Magic Mike 2, the Minions spin-off, and Marvel's Ant-Man (among others) should further contribute to a stronger June-July box office combo than this year mustered.
All in all, while Summer 2014's box office may not be one for the ages, it can simply be looked upon as the industry's financial ebb between more promising tides.
By Daniel Garris
Disney's Guardians of the Galaxy took $22.91 million over the four-day frame to lead the box office for a second straight weekend. In the process, the blockbuster sci-fi superhero adaptation from Marvel became the highest grossing release of 2014 thus far domestically. Guardians of the Galaxy has grossed a tremendous $281.20 million through 32 days of release and will continue to distance itself from the $259.77 million take of Captain America: The Winter Soldier. Over the four-day frame, Guardians of the Galaxy was up an impressive 29 percent over last weekend's three-day frame. The film grossed $17.08 million over the three-day frame this weekend.
While it didn't have the greatest hold this weekend by Labor Day weekend standards, Paramount's Teenage Mutant Ninja Turtles still held steady in second place over the four-day frame with $15.62 million. The successful franchise re-launch was down 7 percent from last weekend's three-day frame. Teenage Mutant Ninja Turtles continues to exceed expectations in a very big way with a 25-day take of $166.28 million. The film took in $11.92 million over the three-day frame.
Warner's If I Stay claimed third place with a four-day take of $11.77 million. That represented a respectable 25 percent decline from last weekend. If I Stay continues to perform towards the lower end of expectations with $32.33 million in eleven days. The film is performing well given its modest price tag and is running 21.5 percent ahead of the $26.62 million eleven-day take of last year's Carrie. The film grossed $9.31 million over the three-day frame.
Universal's As Above/So Below debuted in fifth place over the four-day frame with $10.28 million. The low-budget horror film opened on the low end of pre-release expectations. As Above/So Below performed similarly to 2011's Apollo 18, which debuted with a $10.71 million 4-day Labor Day weekend take. As Above/So Below received a lackluster C- rating on CinemaScore and will likely be front-loaded going forward due in part to its genre. The film took in $8.63 million over the three-day weekend.
The November Man opened in sixth with a four-day take of $10.11 million. There is a history of new films aimed at adults over-performing during Labor Day weekend, but Relativity's action thriller starring Pierce Brosnan opened in line with expectations. The six-day total for The November Man stands at $11.79 million. That places The November Man 20 percent behind the $14.75 million six-day start of 2011's The Debt. The film received a respectable B+ rating on CinemaScore. The November Man grossed $7.91 million over the three-day weekend.
Let's Be Cops placed in fourth with a four-day gross of $10.37 million. Fox's low-budget action comedy was down a solid 4 percent from last weekend. Let's Be Cops surpassed the $50 million mark this weekend and is now on the verge of reaching the $60 million mark with a 20-day take of $59.49 million. The film took in $8.29 million over the three-day frame.
On the limited front, Cantinflas was off to a solid start with a four-day take of $3.36 million. The biopic from Lionsgate and Pantelion earned a healthy per-location average of $8,791 from 382 locations. Cantinflas grossed $2.66 million over the three-day frame.
Meanwhile, Sony's re-issue of Ghostbusters grossed $2.31 million over the four-day frame from 784 locations. The re-issue of the 1984 blockbuster took in $1.76 million over the three-day weekend.