By Daniel Garris
Spectre debuted in first place this weekend with $70.40 million. The latest installment of Sony and MGM's James Bond franchise opened on the low end of its wide ranging expectations. Compared to the most recent opening weekend performances of the James Bond franchise, Spectre opened 20 percent below the $88.36 million start of 2012's Skyfall and just 4 percent ahead of the $67.53 million opening of 2008's Quantum of Solace. However, it should be noted that the opening weekend take of Quantum of Solace stands at $78.91 million when adjusting for ticket price inflation. While Spectre was off to a solid start this weekend, the goodwill with audiences left behind by Skyfall failed to help lead to a break-out debut for Spectre. Mixed critical reviews, especially from critics in North America, also appear to have taken a toll on the film's potential.
Spectre opened with $27.43 million on Friday (which included an estimated $5.25 million from Thursday evening shows), declined 4 percent on Saturday to take in $26.28 million and fell 36.5 percent on Sunday to gross $16.68 million. That placed the film's opening weekend to Friday ratio at 2.57 to 1. In comparison, Skyfall had a stronger ratio of 2.90 to 1 (though the figure is inflated a bit from part of that film's Thursday night previews not being officially counted towards its opening weekend take), while Quantum of Solace had a slightly weaker ratio of 2.50 to 1. Spectre received a healthy A- rating on CinemaScore. The film (and the marketplace in general) could receive an added boost next weekend with not much being expected from next weekend's new wide releases.
The Peanuts Movie placed in second with a $44.21 million start. While the long-awaited 3D computer animated adaptation from Fox and Blue Sky debuted well behind Spectre this weekend, The Peanuts Movie performed more in line with pre-release expectations and is very likely to hold up far better than Spectre going forward. Without adjusting for ticket price inflation, The Peanuts Movie debuted 10 percent below the $49.04 million start of 2012's Wreck-It Ralph and just behind the $44.31 million debut of 2007's Alvin and the Chipmunks. The opening weekend performance of The Peanuts Movie, along with the film's strong critical reception, suggests that we'll be seeing more theatrical Peanuts films in the future.
The Peanuts Movie started out with $12.08 million on Friday (the film didn't have Thursday evening previews), increased a promising 62 percent on Saturday to gross $19.57 million and slid 36 percent on Sunday to take in $12.56 million. That gave the film an opening weekend to Friday ratio of 3.66 to 1. In addition to its strong critical reviews, The Peanuts Movie received a strong A rating on CinemaScore. It will be important for The Peanuts Movie to hold up well over the next couple weeks, especially with Disney's highly anticipated The Good Dinosaur entering the marketplace on Wednesday, November 25th.
After leading the box office four of the past five weekends, fellow Fox release The Martian fell to third this weekend with $9.07 million. The blockbuster Ridley Scott directed 3D sci-fi film starring Matt Damon was down just 22.5 percent from last weekend. That represented an exceptional hold, especially given the new direct competition the film faced from Spectre and that last week's one-week IMAX run for The Martian is now over. The Martian is on the verge of reaching the $200 million domestic mark with an impressive 38-day gross of $196.84 million. That places the film 18 percent ahead of the $166.75 million Interstellar grossed after 38 days of wide release and 15 percent behind the $231.25 million 38-day take of 2013's Gravity.
Goosebumps claimed fourth place with $6.80 million. Sony's 3D horror comedy starring Jack Black was down 31 percent from last weekend. Goosebumps continues to perform in line with expectations with a 24-day gross of $66.28 million. The film is currently running 23 percent ahead of the $53.73 million 24-day take of last year's Alexander and the Terrible, Horrible, No Good, Very Bad Day.
Disney and DreamWorks' Bridge of Spies rounded out the weekend's top five with $5.84 million. The critically acclaimed Steven Spielberg directed thriller starring Tom Hanks continued to hold up nicely, as it was down 30 percent. Bridge of Spies has grossed a healthy $54.72 million in 24 days, which already gives the film a current total gross to opening weekend ratio of 3.56 to 1.
On the platform front, Open Road's Spotlight was off to a nice start with $295,009 from 5 locations in New York, Los Angeles and Boston. That gave the awards season hopeful starring Mark Ruffalo and Michael Keaton a promising per-location average of $59,002 this weekend. In comparison, last year's Birdman had a platform launch of $424,397 from 4 locations (for a per-location average of $106,099). Spotlight will receive a major expansion this coming Friday and is scheduled to go into moderate release on November 20th.
Elsewhere in platform release, fellow awards season hopeful Brooklyn took in $187,281 from 5 locations in New York and Los Angeles. That gave the critically acclaimed film starring Saoirse Ronan and Domhnall Gleeson a per-location average of $37,456 for the frame. Since its debut on Wednesday, Brooklyn has grossed $243,670 in five days of release. Brooklyn will expand into more locations this coming Friday and will continue to expand into additional locations throughout November.
"2015 has been a difficult year for Brazilians because of economic and political crises. For exhibition, however, it's been a very good year-one of the few industries that isn't in crisis," says Marcelo Lima, CEO of Tonks, a company specializing in exhibitor websites in Brazil and publisher of Exhibitor magazine, Brazil's leading exhibition trade publication. Lima specifically highlights Universal's terrific year in helping exhibition survive Brazil's economic recession, with films like Minions ($38.4M), Jurassic World ($29M), Furious 7 ($46.5M), and Fifty Shades of Grey ($30.7M) ranking among the year's biggest hits.
Brazil has also benefitted from several domestic hits in recent years to anchor their growing film industry. The first half of the year saw the runaway success of romantic comedy Loucas Pra Casar ($17M), while the second semester saw local title Vai Que Cola top the box office against fellow opener The Martian.
ANCINE, Brazil's national film board, expected the country to reach 3,000 screens by the end of the first half of 2015, a benchmark that was delayed because of the country's financial crisis. "Brazil depends on shopping malls in order to open new cinemas, and with the economic crisis we've had many shopping malls postponed," explains Lima, adding that the country should nevertheless reach the figure before the end of the year. Lima considers this more of an opportunity than a setback, "This is a chance to think outside the box. Once you don't have the chance to open a new theater in a shopping mall, and you still have money in your pocket because of the success we've had in recent years, this might create the necessary environment to start seeing stand-alone cinemas."
ExpoCine, the exhibition convention organized by Lima in São Paulo, will celebrate its latest edition November 17-19. Lima expects this year's edition to be at least three times bigger than last year's, with the three-day event featuring nine industry-related panels, immersive sound demonstrations from Barco Auro and Dolby Atmos, studio presentations using the latest laser projection technology, and a trade show with twice as many booths as it featured last year.
Among the panels and seminars, Lima cites a session on premium large format as one of the most talked about ahead of the event. "We're going to spend the entire first morning of ExpoCine talking about premium large format: box office, upcoming titles, and associated costs. In my opinion, it's the future here in Brazil: bigger screens with 4k projectors, more 4D and immersive experiences. I think the best cinemas here will have around five screens, two VIP auditoriums, and one premium large format."
ExpoCine is already primed for further growth in 2017, with the likely addition of a fourth day of programming catering exclusively to the Brazilian market to complement the three days of LatAm-focused sessions. It's a reflection of the Brazilian exhibition market's sustained potential. Fandango recently closed a deal to acquire online ticketing provider Ingresso.com, marking the company's first foray outside of North America. Exhibition in Brazil continues to be dominated by Cinemark and Cinépolis, but Lima also sees more opportunities ahead for smaller, regional outfits from Brazil in the coming years by concentrating in smaller cities that remain under-screened. "They have the space to grow, and I believe they are going to have good business for the next 10 years," he says.
The big news from Mexico continues to occur overseas. 2015 will be looked back upon as a key year for the international expansion of Cinépolis; the Mexican exhibitor extended its reach in the United States while looking to surpass 400 screens in India by 2017 and strengthening its reach in Central and South America. The company's biggest headline, however, was the acquisition of Spain's Cines Yelmo, marking the company's arrival in Europe.
Back in domestic territory, the Mexican box office enjoyed another strong year led primarily by family-focused titles like Minions ($45.7M) and Inside Out ($31.7M) and cross-quadrant fare like Furious 7 ($51.4M) and Avengers: Age of Ultron ($51.4M).
In September, the Cinépolis Acoxpa Mexico City location became the first Latin American cinema to offer the immersive Barco Escape format with the release of Fox's Maze Runner: The Scorch Trials. It might very well prove to be more than just a simple expansion for Barco Escape; Mexico has proven itself to be a pioneer of several of today's trends in U.S. exhibition, with amenities such as 4D, luxury seating, and cinema dining already being firmly established in the market. As we've seen with several other immersive formats, audiences best respond to innovations inside cinemas when they deliver with the product on screen. In this context, introducing Barco Escape into the region with a film like Fox's Maze Runner sequel, which was crafted specifically with this format in mind, might prove to be a driving force in the expansion of the immersive-screen concept across Latin America.
It's an up year across the board for territories covered by Ultracine, the Argentina-based box office data tracking company that has emerged as one of the leading sources for exhibition news in Spanish-speaking South America. Ultracine currently provides coverage for Argentina, Bolivia, Chile, Paraguay, and Peru and is working to expand to Brazil and Mexico in 2016. The company saw various admissions records shattered this year since it began collecting data in 1997, in large part thanks to the success of UIP, the distribution outfit representing films from Universal, Paramount, and others, depending on the country. "The only other company that was able to claim a significant portion of the market share was Disney, with hits like Inside Out and Avengers: Age of Ultron," reports Ultracine Director of Content Gabriel Giandinoto.
Minions was a force to contend with across South America, breaking admissions records in Argentina (4.94M) and Chile (2.1M) while registering as the top grosser so far this year in Uruguay and the second biggest film of the year in Paraguay. Fellow UIP release Furious 7 claims the top spot in Paraguay while Avengers: Age of Ultron takes the same honor in Bolivia. The Hollywood dominance wasn't unanimous, however, with a domestic title, Asu Mare 2, coming in as the biggest film of the year in Peru by reaching 2.7 million admissions.
The big news of the year on the exhibition front comes from the continued expansion of regional players Cinemark and Cinépolis. "They are competing at a continental level," stresses Giandinoto, highlighting the sale of Hoyts locations in both Argentina and Chile. The Argentine government finally approved the deal this year, giving Cinemark control of around 45 percent of the market. "A similar situation is developing in Chile," continues Giandinoto. "Cinépolis's acquisition of Hoyts locations in the country will increase its presence to around 40 percent of the market."
The growth in Latin America is reflected in the success of Ultracine's annual exhibition convention, Vista, which is preparing to celebrate its sixth edition in Buenos Aires on November 24 and 25 of this year. The event, traditionally held in May, will be moved permanently to November beginning in 2016. "Having the event scheduled between CinemaCon and Cannes required executives to spend too much time away from the office and made it difficult for people wanting to make the trip down south," explains Giandinoto. "Moving the event to November solves that problem and will allow studios to showcase films for the holiday season and their slates for the following year. It will also create an exciting synergy with our friends at ExpoCine in São Paulo."
By Alex Edghill
Monday Morning Update: The Hunger Games: Mockingjay - Part 2 led all films in terms of new likes over the past week on Facebook, rising 114,148 likes to pad its already hefty total of 22 million+. The culmination of the franchise, it is no doubt hoping to go out with a bang, matching the levels the first film managed to reach of $150 million plus on opening weekend. Unfortunately, it has remained largely in the shadow of Star Wars leading up to its release and this is one of the few weeks where it has managed to shine. Still, 22 million likes are the second most of any film opening in the next ~6 months (after Kung Fu Panda) and I wouldn't be betting against Katniss to pull out an impressive opening bow.
Creed punched its way to second place on the week with 111,457 new likes, bringing its impressive tally to 392,244. With a core demographic that will skew older males social media buzz is usually very slim but this has been a promising run for the film. The Rocky franchise no doubt helps it greatly but when you consider that the first Expendables and Bullet To The Head both had under 250k likes before release Creed's numbers look that much better. The last Rocky film opened to $12 million back in 2006 which this should have no problems passing. We are predicting $21 million for Creed.
Krampus continues to impress on social media, rising a further 109k to just over 367k likes overall. Its on its way to becoming one of the most liked horrors on Facebook for 2015 which is no small task. By comparison, The Visit had only 274k likes a month before its release earlier this year.
Facebook Top 5 Movies by Like Increase for the last week Ending Sunday November 8th
|1||11/20/15||The Hunger Games: Mockingjay - Part 2||22,367,311||22,253,163||114,148||0.51%|
|4||01/29/16||Kung Fu Panda 3||22,681,916||22,601,492||80,424||0.36%|
|5||12/18/15||Star Wars: The Force Awakens||14,818,117||14,739,005||79,112||0.54%|
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Jonathan Papish @ChinaBoxOffice
Spectre came in again at #1 at the international box office, this weekend targeting $117.8 million from 77 total markets. The film has grossed $198.2 million overseas after two weekends of release and $271.2 million worldwide. New openings include Germany ($20.1M) where Spectre had the biggest Saturday of all-time, Italy ($5.7M), Russia ($5.8M, 43% ahead of Skyfall), Spain ($3.3M), Switzerland ($4.1M), Latin America ($12.4M), Mexico ($4.5M), Brazil ($2.9M), SE Asia ($16.0M), Taiwan ($2.6M), Hong Kong ($2.4M), Malaysia ($2.3M), and Singapore ($1.8M).
Top holdover markets include UK/Ireland (-29% for $21.3M/$100.2M cume), Netherlands (-10% for $3.3M/$8.4M cume), Denmark ($2.7M/$8.2M cume), Sweden ($2.2M/$7.0M cume), Finland ($1.4M/$4.9M cume), and Norway ($1.1M/$5.3M cume). Spectre opens Friday in China.
Maze Runner: The Scorch Trials opened on Wednesday in China and has grossed $21.4 million in 5 days. Its weekend take of $14.3 million was good enough for 2nd behind local language rom com Ex Files 2. Scorch’s opening was 160% ahead of Maze Runner 1 and 154% ahead of Hunger Games: Catching Fire. The film has grossed $218.5 million overseas and $298.3 million globally.
Hotel Transylvania 2 delivered $15.0 million in 80 total markets. The international cume has now reached $242.9 million and the worldwide total is $404.2 million.
Everest added an additional $13.1 million from 46 overseas markets this weekend, bringing the international total to $148.1 million and the worldwide total to $190.9 million. Universal’s action film opened in China and Japan this weekend, its final two territories. China opened Tuesday and has grossed a disappointing $11.6 million in 6 days, while Japan debuted with a 3-day $1.4 million cume, on par with Captain Phillips.
The Martian scored an additional $9.3 million from 50 overseas markets, raising its cume to $261.4 million overseas and $458.5 million worldwide. France retained its top spot this weekend with $2.5 million for a $16.4 million cume. The Martian will touch down in China on November 25 and in Japan sometime in February.
Paranormal Activity: The Ghost Dimension scared up $6.9 million from 46 markets this weekend. The international cume is now $50.8 million, 31% above the preview Paranormal installment, and the global total is $67.08 million.
The Peanuts Movie opened in 11 markets this weekend including China and grossed $4.6 million. Combined with NA’s opening, Peanuts debuted with $49.6 million worldwide. China was the top grosser with a muted $3.1 million from 2,000 screens. Peanuts will expand to most of its major overseas markets in December.
Bridge of Spies found $3.1 million from 25 overseas markets this weekend, lifting its international total to $17 million and its global total to $71.9 million. Steven Spielberg’s Cold War thriller opened in South Korea with $1.0 million from 425 screens.
The Intern earned $2.8 million from 63 markets this weekend, bringing the international cume to $108.6 million and the global total to $180.0 million. Spain dropped just 16% in its second weekend, grossing $590K for a $2.1 million cume. The Intern’s top 5 markets are South Korea ($24.0M), Japan ($11.9M), Taiwan ($7.5M), Australia ($6.2M), and Mexico ($5.7M).
Pan found $2.8 million over the weekend from 56 overseas territories. The Warner Bros’ under-performer has grossed $81.1 million overseas and $113.5 million worldwide.
Crimson Peak is slowing down at the international box office, eking out just $2.5 million from 64 territories. Guillermo Del Toro’s gothic thriller has now earned $39.7 million overseas and $69.6 million worldwide. Peru opened with an estimate $93K from 56 screens. South Korea (November 26) and Japan (January 23) are the final territories to open.
Films that earned less than $2 million overseas this weekend + local language films (Weekend Total/Overseas Total/Global Total)
Ant-Man - $1.0M/$337.9M/$517.425M
Inside Out - N/A/$494.3M/$850.215M
Scouts Guide to the Zombie Apocalypse: $1.2M/$2.3M/$5.5M
The Walk - $1.0M/$31.2M/$41.2M