Special Announcement: The BoxOffice Forums Surpass 1 Million Posts! on September 03, 2013

By Shawn Robbins

In special news on the home front today, the BoxOffice Forums registered our 1 millionth official post on Tuesday, September 3!

Special thanks go out to all the members who continue making the community thrive. We've reached this milestone in less than two years and at the tail end of a summer that generated our highest level of member activity yet. BoxOffice is proud to be the destination where movie fans around the world gather to discuss and debate everything from box office predictions to movie news, reviews, and much more.

With the industry's awards season beginning to heat up, and several holiday blockbusters such as Thor: The Dark WorldThe Hunger Games: Catching Fire, and The Hobbit: The Desolation of Smaug just around the corner, now's the perfect time to join in the conversation, share your opinions, and get to know the many respected members of our community.

Join today, and here's to the next million posts!

PETITION TO WARNER BROTHERS/EXHIBITORS: Please Give Movie Fans A '2001'/'Gravity' Double Feature on September 01, 2013


By Phil Contrino

Movie enthusiasts around the world are eagerly anticipating the release of Gravity on October 4 based on the glowing reviews coming out of film festivals in Venice and Telluride. The Warner Bros. release looks poised to become a serious commercial success as well as a new cinematic landmark.

It's hard to avoid comparisons to Stanley Kubrick's groundbreaking 2001: A Space Odyssey when reading the reviews for Gravity. Hollywood-Elsewhere's Jeff Wells wrote the following after seeing the sci-fi thriller at the Telluride Film Festival: "If Stanley Kubrick had been there last night he would freely admit that 2001: A Space Odyssey is no longer the ultimate, adult-angled, real-tech depiction of what it looks and feels like to orbit the earth. Nifty and super-cool from a pure-eyeball perspective, Gravity is certainly the most essential theatrical experience since Avatar."

All this talk of 2001 spurred me to pop in my Blu-ray copy of the film, but that's not good enough. 2001 is a film that was meant to be viewed on a big screen. If Gravity really deserves to be compared to 2001, then sci-fi buffs around the globe should be treated to a double feature. 

I've started a petition in order build momentum for this idea. If you consider yourself a fan of ground-breaking cinema, then please show your support. 

GLOBAL: 'One Direction: This is Us' Sings its Way to $33.1M Debut; 'Conjuring' and 'Monsters' Hit Milestones; Superman Settles for Second in Japan on September 01, 2013

1d3dstill.jpgOne Direction: This is Us had a strong debut for a concert film. The 1D concert movie opened day-and-date in 53 markets, outgrossing Justin Bieber: Never Say Never by 125% in the same territories. One: Direction This is Us finished the weekend with a $14.5 million overseas tally and $33.1 million global gross.

The U.K. was friendly to its pop darlings with a $5.7 million #1 opening on 650 screens, representing the film's best overseas showing in its first frame. This is Us posted a 16% improvement above the Hannah Montana movie debut and a 3% bump over Never Say Never's lifetime cume in the market.

A region-by-region breakdown provided by Sony paints a clearer picture on the film's success:


  • Denmark: $.590 on 70 screens, #2 in the market (53% above Bieber's final lifetime gross) 
  • Sweden: $.300 on 75 screens, #2 in the market (2.3 times more than the opening of Bieber)
  • Finland: $.160 on 80 screens, #1 in the market (59% above Bieber's final lifetime gross)

Latin America

  • Mexico: $1.5 on 200 screens (55% above Bieber's final lifetime gross)
  • Argentina: $.950 on 90 screens, #2 in the market (103% above Bieber's final lifetime gross)
  • Chile: $.510 on 40 screens, #1 in the market (55% bigger than the opening of Bieber)
  • Colombia: $275 on 50 screens, #2 in the market (15% above Bieber's final lifetime gross)
  • Peru: $.200 on 24 screens (1% bigger than the opening of Bieber)


  • Indonesia: $.140 on 20 screens (2.1 times bigger than Hannah Montana Movie)
  • Malaysia: $.065 on 30 screens

Eastern Europe/Middle East

  • Turkey: $.160 on 43 screens
  • Greece: $.135 on 35 screens (6.7 times above Bieber's final lifetime gross)
  • Russia: $.090 on 90 screens
  • United Arab Emirates: $.155 on 25 screens

The big debut wasn't enough for One Direction to overtake another Sony release in the overseas box office. Elysium came through with a $17.1 million weekend outside of North America after two #1 debuts in top markets.

Elysium opened in first place in South Korea with a strong $5 million bow on 361 screens. It was an 18% improvement over the Oblivion premiere in the market and more than twice the opening gross of director Neill Blomkamp's District 9 in the market. Elysium took first place in its Italian debut as well, reporting a $2 million performance across 452 screens. The Italian victory for the sci-fi film represents a 38% improvement over Oblivion's Italian debut and a 10% raise above the Pacific Rim premiere in the same market.

Elysium posted a number of strong holds over the weekend, including the United Kingdom ($1.9M Weekend / $9.2M Cume), France ($1.5M Weekend / $10.3M Cume), and Australia ($1.2M Weekend / $8.1M Cume). The overseas total for Elysium is $97.7 million. The film's worldwide cume is $176.1 million.

Monsters University became the fourth Disney/Pixar release to cross the $700 million global mark on August 29. The prequel joined an elite list of releases that include Toy Story 3 ($1.063B), Finding Nemo ($922M), and Up ($731M). It became Disney's biggest animated release in China after surpassing Toy Story 3 with a $27.8 million cume in the market. Monsters University has grossed a total of $715.1 million worldwide, with $450.9 million of that figure coming from outside of North America. The top overseas market for the film continues to be Japan with a whopping $87.4 million. The film's last remaining market is South Korea, where it will open on September 12.

The Conjuring crossed the $100 million mark overseas this weekend, reaching an impressive $109.5 million cume after 41 markets combined for $12.1 million. The worldwide total for The Conjuring stands at $243.3 million. The Conjuring backed up last weekend's #1 showing Mexico, where it posted the biggest opening for a horror film of all time, with a 3% drop that accounts for a $4.2 million hold to retain the top spot. The film's Mexican total is $11.2 million. Other top markets for The Conjuring include the U.K. ($15.2M), Russia ($10M), Australia ($7.9M), and Spain ($7.6M).

Man of Steel opened to a strong $3.5 million debut in Japan, but it wasn't enough to bring down the blockbuster run of Miyazaki's The Wind Also Rises from first place. The Wind Also Rises has been a top grosser in Japan, collecting an $82.4 million cume since its July 20 premiere. The Wind Also Rises has already overshadowed the release of Star Trek Into Darkness in the market, which lost the head-to-head battle against the anime release last weekend. Man of Steel is the latest film to fall against The Wind Also Rises, despite a release that spanned across 612 screens. Man of Steel has grossed a total of $367 million overseas and has earned a cume of $657.3 million worldwide.

Despicable Me 2 added another $6.5 million to its growing overseas tally this weekend. The Minions reached an overseas cume of $467.5 million, including a $3.3 million hold in its third frame in Russia ($28.8M Cume) to become the highest animated release of the year in the market. Despicable Me 2 ranks behind Iron Man 3 and Fast 6 as the third biggest film of the year in Russia. Despicable Me 2 will add to its current $823.1 million global total with the addition of eight more territories in the coming months. South Korea is the next major release on September 12.Jurassic Park 3D has become a very profitable endeavor for Universal. The re-release of the Spielberg dinosaur flick has taken in $108.9 million worldwide, thanks in large part to a $47.2 million performance after thirteen days in China. Two weeks in China represent the bulk of the film's $63.5 million overseas gross. Jurassic Park 3D has four more territories left on its calendar.

The Wolverine is slashing its way toward the $250 million overseas mark. It will need a solid performance from Japan, where the film is set, to take its current $232 million overseas total to the new milestone. The Wolverine opens in Japan on September 13. The film has grossed $359.8 million worldwide.

We're the Millers opened in first place in Germany, where it grossed $2.2 million from 470 screens, including previews. The comedy is picking up steam overseas, with the U.K. reporting a $6.3 million cume in its second weekend and Russia reporting an impressive $14.4 million run. We're the Millers opens in Mexico next weekend.

Planes added two top markets to its scaled overseas release this weekend. The Disneytoons film opened in Russia to $2.1 million and took in $1.9 million from its German debut. Planes is currently in release in 25 territories and has grossed a total of $31.2 million outside of North America. The global cume is $105 million. The film is set to open in Lebanon, Singapore, Indonesia, Argentina, Uruguay, and Paraguay next weekend.

Pain and Gain was shelved for a wide overseas roll-out until the end of the packed summer season and has been hitting screens around the world over the last several weeks. Michael Bay's black comedy reached a $20.9 million overseas cume after posting a $1.5 million debut across 393 locations in teh U.K. and a $1.3 million hold in its second weekend in Germany ($4.7M Cume). Pain and Gain opens in Belgium, Denmark, Panama, and Taiwan next weekend.

Pacific Rim is still gaining ground overseas, reaching a $304.4 million total outside of North America that is propelled by a massive $108.6 million cume from China. Pacific Rim has grossed less in North America than China, where it was unable to cross the $100 million mark in the U.S. and Canada until this weekend.

World War Z continues to gain ground overseas. The zombie thriller has now grossed a worldwide total of $532.1 million, with $331.6 million of that figure coming from outside of North America.

A $1.1 million hold in its second weekend in Japan ($6.9M Cume) gave Star Trek Into Darkness a modest boost as it closes out its theatrical run. The sci-fi sequel has taken in a total of $234 million overseas and is reporting a $462.4 million global total.

The Lone Ranger will need a boost from its Chinese release on October 6 if it hopes to reach the $250 million global mark. The critically-panned Western has grossed a total of $150.7 million overseas and is reporting a $239.2 million global cume.

Kick-Ass 2 reached a $23.3 million overseas total from 39 territories. The film opened in five territories this weekend, including disappointing bows in Spain ($311k in 274 locations) and Portugal ($35k in 34 locations). The super-hero sequel has grossed a total of $50.1 million worldwide. Kick-Ass 2 opens in Russia on September 5, with twenty additional territories to follow in the coming weeks.

Percy Jackson: Sea of Monsters continues to do well overseas after finishing the weekend with an $11.4 million tally from 48 markets to take its overseas cume to $82.6 million. The film's global total is $137.5 million.

The Heat reached a $58 million overseas cume to take its global to $215.2 million.



NORTH AMERICA: 4-Day Estimates: 'The Butler' Moves into First with $20.0M; After Leading 3-Day Frame 'One Direction: This Is Us' Slides to Second for the 4-Day with $18.0M; 'Instructions Not Included' A Major Surprise with $10.0M (6th Update) on August 30, 2013


Monday Update: After placing in a close second for the three-day frame with $14.88 million, Lee Daniels' The Butler is estimated to lead the four-day holiday frame with $20.01 million. The four-day take for the awards season hopeful from The Weinstein Company was up a strong 21 percent over last weekend's three-day take. The Butler has grossed $79.28 million through 18 days of release and is now running 13.5 percent ahead of the $69.82 million 18-day take of 42 earlier this year. Thanks to continued strong holding power, it will only be a matter of time before The Butler surpasses the $100 million domestic milestone.

Sony's One Direction: This Is Us continued to display early massive front-loading on Sunday. As a result, the film's three-day take ultimately came in below earlier estimates at $15.8 million. While that was enough to hold onto first place for the three-day frame, the film's four-day estimate of $18.0 million places it in second for the long weekend. The four-day take of This Is Us was 42 percent softer than the $31.27 million four-day haul of 2011's Justin Bieber: Never Say Never and 39 percent stronger than the $12.97 million four-day start of 2009's Jonas Brothers: The 3D Concert Experience. While One Direction: This Is Us opened towards the lower end of expectations this weekend, the film's front-loading towards Friday's performance obviously isn't a good sign going forward.

We're the Millers placed in third this weekend with respective estimated three-day and four-day takes of $12.68 million and $15.93 million. The four-day take for the Warner Bros. comedy was up a terrific 22 percent over last weekend. We're the Millers surpassed the $100 million mark on Friday and has now grossed $112.88 million through 27 days of release.

Lionsgate's Instructions Not Included continued to surprise in a big way on Sunday. The three-day take for the Eugenio Derbez comedy vehicle from Pantelion Films came in at $7.84 million, which exceeded Sunday's studio estimate. The film will finish in fifth for the four-day frame with an estimated $10.0 million. Playing in a modest 347 locations; Instructions Not Included earned a tremendous four-day per-location average of $28,818. Instructions Not Included received an A+ rating on CinemaScore and held up very well throughout the weekend; both of which are strong early signs for the film going forward. Lionsgate will expand the film into additional locations next weekend.

Meanwhile, the weekend's other major releases failed to make much noise. Warner's Getaway opened below its already modest expectations with a tenth place estimated four-day take of $5.53 million (from 2,130 locations). Focus' Closed Circuit grossed an estimated $3.14 million for the four-day frame (from 870 locations), which brings the film's six-day start to a soft $3.65 million. The Weinstein Company's The Grandmaster took in an estimated $3.12 million in four days (from 749 locations), bringing the film's eleven-day total gross to $3.32 million. Respective four-day per-location averages were $2,596 for Getaway, $3,607 for Closed Circuit and $4,168 for The Grandmaster.

This weekend's overall four-day box office total is on course to come in at just under $160 million.  That will easily set a new unadjusted box office record for Labor Day weekend.  The previous unadjusted record holder was Labor Day weekend of 2007 with an overall four-day take of $148.8 million.

Sunday Update: Sony's One Direction: This Is Us led the way this weekend with an estimated $17.0 million over the three-day frame. Sony's four-day estimate for the 3D concert documentary stands at $20.5 million, which places it in a tight race for first over the four-day frame with Lee Daniels' The Butler. Compared to previous concert documentaries, the three-day start of One Direction: This Is Us was 42 percent below the $29.51 million opening weekend take of 2011's Justin Bieber: Never Say Never and 36 percent ahead of the $12.51 million start of 2009's Jonas Brothers: The 3D Concert Experience.

Due to their fan-driven nature, concert documentaries tend to be very front-loaded and One Direction: This Is Us clearly fit into that mold this weekend. After grossing $8.86 million on Friday (which included an estimated $2.7 million from late night Thursday shows), This Is Us fell a massive 54 percent on Saturday to take in $4.04 million and is estimated to increase slightly on Sunday to gross $4.1 million. That places the film's estimated three-day opening weekend to Friday ratio at 1.92 to 1.

This Is Us received a strong A rating on CinemaScore, which indicates that One Direction fans are liking the film in general, but that rating likely won't help the film's long-term prospects much given the extent of the film's early front-loading. The audience breakdown for One Direction: This Is Us skewed heavily towards female moviegoers (87 percent) and moviegoers under 17 (65 percent).

After topping the box office each of the past two weekends, Lee Daniels' The Butler fell one spot to take second place over the three-day frame with an estimated $14.74 million. The awards season hopeful from The Weinstein Company was down a slim 11 percent from last weekend, as the film benefited from continued strong word of mouth and from the Labor Day holiday this weekend. BoxOffice is currently projecting that The Butler will gross $20.0 million for the four-day weekend, which as mentioned, will place it in a tight race for first with One Direction: This Is Us over the four-day frame. With a strong $74.01 million 17-day total through Sunday, The Butler is currently running 7 percent ahead of the $69.01 million 17-day take of 42 earlier this year.

Warner's We're the Millers also continued to hold up nicely this weekend. The break-out comedy starring Jennifer Aniston and Jason Sudeikis was down one spot and only 3 percent from last weekend to place in third with an estimated $12.61 million. In the process, We're the Millers surpassed the $100 million domestic mark this weekend (on Friday, the film's 24th day of release). The 26-day total for We're the Millers stands at an impressive $109.56 million. BoxOffice is estimating that We're the Millers will take in $16.2 million for the four-day weekend.

In a major surprise, Lionsgate's Instructions Not Included delivered the weekend's second largest debut with a fifth place estimated three-day start of $7.5 million. The Eugenio Derbez comedy vehicle from Pantelion Films earned a tremendous three-day per-location average of $21,614 from a modest 347 locations. Instructions Not Included registered the largest opening weekend ever for a Pantelion Films release, as it easily topped the $2.29 million debut of last year's Casa de mi Padre; and furthermore, is already the highest grossing film ever for Pantelion. Lionsgate's four-day estimate for the film is $9.3 million. Instructions Not Included received an A+ rating on CinemaScore and boasts an estimated opening weekend to Friday ratio of 3.90 to 1; both of which are strong early signs for the film going forward.

Warner's Getaway opened below its already modest expectations with a ninth place estimated three-day start of $4.51 million. The action crime film starring Ethan Hawke and Selena Gomez averaged a very soft $2,115 from 2,130 locations. The opening weekend take of Getaway came in below the $4.86 million grossed by Spring Breakers during its first weekend of wide release (in 1,104 locations) earlier this year. BoxOffice is projecting a $5.6 million four-day start for Getaway. The film received a lackluster C+ rating on CinemaScore.

In moderate release, Focus' Closed Circuit and The Weinstein Company's The Grandmaster took in similar three-day grosses of $2.54 million and $2.45 million. While neither film made much noise this weekend, both films were able to claim higher per-location averages for the weekend than Getaway did. BoxOffice is currently projecting respective four-day takes of $3.25 million for Closed Circuit and $3.05 million for The Grandmaster.

In other box office news this weekend, Paramount's World War Z surpassed the $200 million domestic milestone, while Warner's Pacific Rim passed by the $100 million domestic mark.

Full three-day studio weekend estimates can be found here.

Saturday Update: Official studio estimates for Friday are in, and One Direction: This Is Us claimed first place for the day with $8.9 million. That figure includes $2.7 million from Thursday night shows. The film lagged behind Justin Bieber: Never Say Never's $12.4 million opening day in February 2011, but still performed much stronger than the $4.96 million first day take of 2009's Jonas Brothers: The 3D Concert Experience. The One Direction flick's positive critical reception is also carrying over: its Flixster user score has increased to 79 percent (from a mid-60s anticipation level)--indicating positive word of mouth among the limited target audience. Domestically, This Is Us should pull in $21 million through Sunday and $25 million for the four-day weekend. BoxOffice projects a first place finish for both frames.

Lee Daniels' The Butler is projected to take second place for the holiday frame. Down just over 24 percent from last Friday, the word-of-mouth hit drama grabbed $3.62 million yesterday as it heads for $14.5 million over the three-day weekend and $19.5 million for the four-day frame.

Meanwhile, Getaway failed to gain traction in its debut. Audiences sent the thriller to a disappointing $1.42 million on Friday. Despite trying to bring in crowds young and old with Ethan Hawke and Selena Gomez in starring roles, moviegoers are clearly signaling that they're burnt out on action flicks right now. With a low 53 percent Flixster user approval rating, a long run seems to be off the table. BoxOffice projects Getaway will take in $4.4 million through Sunday and $5.4 million by the end of Labor Day.

Closed Circuit added an estimated $750,000 on Friday, pushing its three-day total to $1.26 million. That pic should earn $2.7 million for the three-day weekend and $3.45 million for the four-day.

On to more encouraging news, Lionsgate's Instructions Not Included earns the "surprise of the weekend" award thanks to a strong $1.925 million opening day from just 347 locations. The dramedy, led by popular Mexican comedian Eugenio Derbez, is proving to be a welcomed offering for Latino audiences over the holiday weekend. BoxOffice is projecting an impressive $5.5 million three-day weekend and $6.8 million four-day frame.

The Grandmaster is set to bring in $2.3 million through Sunday and $2.85 million over the four-day weekend. The Weinstein Company's release expanded into 749 theaters yesterday.

Friday Update #2: Sources tell BoxOffice that One Direction: This Is Us looks to be on pace for $18 million or so over the four-day holiday frame based on early Friday grosses. That's a solid start for the concert flick even though it won't match the $29 million tally Justin Bieber: Never Say Never managed over three days during its North American debut. This Is Us could have the last laugh though if it performs well overseas--a healthy haul in the UK is a given based on the band's origins--and ends up topping Never Say Never's $98.6 million global total. 

The Butler is looking like it will be #2. Official numbers are due tomorrow morning from The Weinstein Company.

Newcomers Getaway and Closed Circuit are looking anemic. Even though critics are ripping it shreds, Getaway looks poised to perform better over the four day frame with around $5 million. Closed Circuit should take in $4.3 million or so over the next four days.

Check back tomorrow for official studio numbers and updated projections. 

Friday Update: Sony reports that One Direction: This Is Us snagged $2.7 million from Thursday evening shows starting at 7 p.m. That's an impressive start considering that many teens are now back in school.

More coming soon...

Thursday Update: Fandango reports that One Direction: This Is Us leads daily ticket sales with an impressive 68% market share. To be fair, the teen-skewing flick won't face a whole lot of serious competition from other new films during the extended holiday frame. forecasts that fellow newcomers Closed Circuit and Getaway will come in under $10 million over four days. Closed Circuit posted only $248,704 on Wednesday, a weak start for a film that distributor Focus clearly doesn't have a lot of faith in. It'll be a close race between the boy band doc and Lee Daniels' The Butler for first place. We're the Millers is also still going strong. 

According to a Fandango survey of more than 1,000 One Direction ticket-buyers:

· 98% are female;

· 87% watched One Direction win at the Video Music Awards on MTV;

· 67% claim it's "very important" for them to see the movie in 3D;

· The majority surveyed said Harry Styles is their favorite One Direction member, with Niall Horan a close second.


ANALYSIS: Rock & Reel - One Direction and the Rise of the Concert Film on August 30, 2013

1d3dstill.jpgBy Daniel Loria

’N Sync was at the height of its fame in 2001. The band was coming off of the best-selling success of its album No Strings Attached during a time when record sales still mattered. The accompanying world tour had also been a hit, spawning an Imax version of one of the group’s sold-out shows in Detroit. ’N Sync: Bigger Than Live was released in the giant-screen format in 2001 as a 48-minute concert film. The movie grossed $44,082 in its opening weekend and topped out its theatrical run at $1.8 million. By the end of the decade, ’N Sync would no longer be releasing albums, and the music industry would be turned on its head. Concert movies, however, would be entering a new age of financial viability.

The rise of digital media completely changed the music industry. A byproduct of that transition was the added pressure on recording artists to increase the scope and length of their tours, adding performances to mitigate the losses resulting from the steep drop in album sales. Musicians faced the same challenge that exhibitors have dealt with for generations: how to sustain an industry amid the rise of new home-entertainment technologies. Concerts sought to reconnect the public with the excitement and spectacle of live music. 

The top five highest-grossing concert films of all time have been released over the past six years. The time frame directly aligns with the recession and postrecession era that followed the 2008 financial crash. The economic turmoil left families with a decrease in disposable income as the global economy struggled to reassert itself. A family outing to the closest venue for a big concert suddenly had the potential to become a burdensome expense. High ticket prices, transportation costs, parking, concessions, and merchandise could easily turn a family night out into an evening costing upward of $500.

Post-recession America has provided the perfect circumstances for concert films to find an audience. Families with children too young to attend live concerts and those who find it too expensive to attend the events can now enjoy a similar level of a concert’s excitement and spectacle at a fraction of the cost in their local movie theaters.

This isn't to imply that ticket sales for concerts have dipped since 2008, nor that concert films have in any way begun to supplant live music events. Concert movies have instead become a viable alternative for family entertainment and, for the first time in box office history, a potential source of significant profit for exhibitors, distributors, artists, and audiences.

Pop idols were born as soon as teenagers became a demographic of consumers with enough buying power to bring in profit for any company. If these artists could sell records, the assumption was that they could sell movies as well. The rise of the teenage consumer occurred throughout the 1950s, a period coinciding with the popular emergence of television and during the height of Hollywood’s studio system. This was a period when studios were in the business of making movies with a streamlined efficiency; studios had their own backlots, stables of screenwriters, and an ever-rotating talent pool of actors and directors on exclusive contracts. It didn’t really matter if Elvis could act or not, there was already a team on salary employed by the studio that could mold a project around the star.

These star vehicles saw minor changes as the film industry went through its own transformation over the subsequent years. The generations that followed came with their share of recording artists who attempted a transition to the silver screen. There are too many failures in this category to list, but several success stories have emerged, as in the case of artists like Barbra Streisand, Kris Kristofferson, Cher, Will Smith, and Mark Wahlberg. The most striking recent example comes with ’N Sync’s Justin Timberlake, who has spent the better part of the last decade on acting projects instead of a solo pop career that showed promise in 2006.

If the Spice Girls were formed in today’s media market, one has to wonder if something like Spice World would still get made. Pop stars have turned a corner thanks to the newfound box office viability of concert films; if the public loves to see these artists sing, does that mean they’re just as interested in seeing them act? A great Spice Girls concert can be a fun experience, even within a kitsch context, but a Spice Girls film can’t guarantee a good shelf life beyond a cult appreciation. Today’s concert films cut out the middleman of a screenwriter and rid themselves from the constraints of narrative cinema to give audiences a simpler product: pop stars doing what they do best.

Concert films are equally as enticing for producers and artists themselves. The entire shoot can be incorporated into an existing tour, requiring little extra effort or time from stars. No script development, no creative differences with directors, no time editing around a dramatic performance that doesn’t work on screen. The film’s theatrical release becomes a de facto global tour for recording artists without requiring any additional nights inside of a tour bus. The concert film has therefore become ingrained into a band’s marketing strategy. Morgan Spurlock, the documentary filmmaker of the product-placement satire The Greatest Movie Ever Sold, knows a thing or two about today’s nebulous line between a feature film and a marketing campaign. He is also the director and one of the producers of this summer’s biggest concert movie, One Direction: This Is Us. 

The success of recent music documentaries owes a lot to the rise of reality television as well. Live music had been a staple of network TV for years before the introduction of MTV shifted recording artists to cable television. The pop band explosion of the late ’90s used MTV’s popular after-school talk-show/music-video-countdown “Total Request Live” as a launching pad. The show was filmed at MTV’s Times Square studios with sweeping shots of screaming teenage fans holding homemade signs in support of their teen idols. TRL was cancelled in 2008 as MTV began to focus more on unscripted reality series like The Hills, the successful spin-off to the wildly popular Laguna Beach.

By that time, music performances had moved back to network television thanks to the success of Fox’s American Idol. The show came on as a summer replacement in 2002 and became a national phenomenon. Music performances on network television dominated watercooler chatter around the nation. Fox would continue to bank on this renewed interest in musical performances with Glee in 2009. That show went on to get its very own big-screen concert film in 2011, Glee: The 3D Concert Movie finished a limited release in North America with $11.8 million.

The Disney Channel took a cue from this trend when it premiered Hannah Montana in 2006. The show launched the music career of its star, Miley Cyrus, by focusing on the story of the day-to-day life of a tween pop star. It was only a matter of time before Cyrus became a star in her own right, free from her fictional alter ego. Disney banked on the popularity of the Miley Cyrus/Hannah Montana phenomenon with the 2008 film Hannah Montana & Miley Cyrus: Best of Both Worlds Concert. The movie broke records in limited release, grossing $65.3 million during its North American run. The Cyrus vehicle still holds the highest opening weekend of all time for a concert film with a $31.3 million debut.

Hannah Montana & Miley Cyrus: Best of Both Worlds Concert included an appearance by another band featured in Cyrus’ television show, the Jonas Brothers. The boy band trio would release a concert film of its own the following year, Jonas Brothers: The 3D Concert Experience. The project managed to become one of the most successful films in the genre after grossing $19.1 million in North America.

The success of these Disney releases motivated other studios to seek out similar projects of their own. Michael Jackson’s untimely death prevented the King of Pop from embarking on a comeback world tour. The rehearsal footage was edited into a concert documentary and released by Sony only four months after the singer’s death. This Is It grossed $72 million in North America and became the highest-grossing concert film of all time in the global box office, making $261 million worldwide.

It was only going to be a matter of time before other pop stars joined the act. Justin Bieber: Never Say Never was released in North America in 2011, becoming the highest-grossing concert film of all time domestically with a $73 million total in North America. Paramount distributed the 3D concert film, which went on to finish its theatrical run with a $98.4 million global cume.

The release of One Direction: This Is Us will come as an interesting closing chapter in a turbulent summer for Sony. The company will be hoping that One Direction: This Is Us can become its safest bet of the summer season: the band comes with an established legion of global fans, particularly the types of fans who go to movie theaters with their parents.

It makes sense that both the music and film industries are relying on spectacle to compete against emerging home-entertainment technologies. Exhibitors have been down this road before and are used to tapping into audience trends in their programming. It’s becoming easier to find screenings of live events simulcast in movie screens around the country, bringing a range of events from performances by New York’s Metropolitan Opera to the latest Floyd Mayweather Jr. fight to a theater near you.

Live events have the potential to become an important alternative for exhibitors. Speculation abounds in the cable television industry about a future where cord-cutting becomes commonplace, bringing down the subscriber count in the pay-television business. This provides an interesting opportunity for exhibitors, who could offer live events on a big screen at a fraction of the cost of a cable subscription or pay-per-view package.

While concert movies haven’t reached the blockbuster box office level of studios’ summer tentpoles, they provide the industry the simple alternative to produce a film with built-in audience awareness and a loyal fan base without going anywhere near the inflating budgets of recognizable franchises. The concert film’s box office revival is a testament to the resiliency of the silver screen amidst a changing media landscape.

New technology in the entertainment industry is discarding old business models as fast as it is creating new opportunities. Exhibitors have been able to thrive throughout all the changes in the film industry by consistently innovating and connecting with audiences’ tastes and viewing tendencies. Concert movies could be the first step for the big screen to go live in the near future.

A version of this article originally appeared in the August issue of BoxOffice Magazine.

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