Monday Afternoon Update (1:40 p.m. PT): Paramount is reporting a $128.1 million domestic haul for Iron Man 2 during its opening frame, and a $194.2 million 10-day international cume.

Sunday Morning Update (8:30 a.m. PT): Paramount is estimating $133.6 million for Iron Man 2 this weekend, which gives it the fifth highest unadjusted opening of all time.

Saturday Morning Update (8:10 a.m. PT): Paramount is reporting that Iron Man 2 made an estimated $52.4 million on Friday. The films international total now stands at an estimated $200 million. The sequel also boasts an A from CinemaScore.

Saturday Morning Update (7:30 a.m. PT): Deadline Hollywood is projecting a $130 million opening weekend for Iron Man 2. Check back soon for's official estimate.

Friday Morning Update: While Iron Man 2 didn't even come close to matching the $26.23 record-setting midnight haul of The Twilight Saga: New Moon or the $18.4 million haul of The Dark Knight, its $7.5 million take is still very impressive. IM2 doesn't have the same kind of rabid fan base as those films, but its weekend haul has a good shot at landing somewhere in the middle of New Moon's $142 million and Dark Knight's $158 million.


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Burbank, CA - 3D company MasterImage 3D, LLC has expanded its operations with the opening today of its European office. Located in the UK's legendary Pinewood Studios, the new office serves the fast-growing number of theaters adopting MasterImage's 3D digital cinema systems across Europe and will help drive adoption of its auto-stereoscopic 3D display systems. Cinema technology veterans Brian Kercher, newly named managing director of 3D cinema, MasterImage 3D Europe, and Andrew Lee, director of sales engineering, are leading the company's European operations.

MasterImage provides 3D solutions for cinemas, flat panel displays for televisions and mobile devices, and cameras. In the past six months MasterImage has doubled its theatrical market share, with more than 1,600 systems installed worldwide (over 500 of them in Europe). All six major Hollywood studios, along with independent distributors, support the MasterImage format for their 3D features. In 2009 the company also commercialized the world's first glasses-free 3D mobile device, the Hitachi Wooo.

"When I encountered MasterImage's technology I was struck by the opportunity," said Kercher. "The company had an incredibly strong offering and a significant opportunity for growth in Europe. The quality of the MasterImage 3D presentation is unrivaled, and it has a cost of ownership that cannot be matched by 3D technology that uses expensive glasses or an endless ‘seat tax' business model. Plus, MasterImage works through local integrators that cinemas already know and trust. With our full support and service organization now based in Europe together with our local integration partners, MasterImage is well positioned to bring beautiful 3D digital images to audiences in every corner of the region."

Kercher joins MasterImage from Eastman Kodak, where he was general manager of the company's digital cinema business. In his fifteen-year tenure with Kodak Kercher held executive and sales roles, most recently developing the company's digital cinema business in EMEAR. Kercher also developed new market customer bases for Quantel and Hi-Q Systems, and has been a member of the Board of Directors of Cinesite Europe since 2004.

Andrew Lee heads technical operations of MasterImage 3D Europe. He has been with the company since 2009 and was most recently vice president of cinema technology. Lee relocates to the UK from Toronto. A twenty year veteran of the 3D motion picture presentation industry, Lee built his expertise at IMAX, where he spent fourteen years developing 3D glasses and 3D camera and presentation technology. He is recognized as an industry expert in 3D screen technology and manufacturing techniques. Lee has also held senior level R&D roles at MDI and Franklin Designs International.

Said MasterImage CEO Younghoon Lee, "We have been quietly developing and delivering 3D solutions since 2004 for an emerging 3D market, to the point where we are now providing the highest quality 3D experience from cinemas to cell phones. With Brian's and Andrew's experience and leadership, our European operation will help us to meet the demands of our growing customer base and deliver 3D images to a worldwide market hungry for 3D content and the means to view it."



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anthonyhopkins.pngSource: THR's Heat Vision Blog

Anthony Hopkins is in final negotiations to play the role of Pharotu for director Chuck Russell's (The Scorpion King) Arabian Nights. Liam Hemsworth is also starring. The role will give Hopkins another opportunity to play a villain.

Arabian Nights won't be the first time that Hopkins and Hemsworth will be seen together. They'll be sharing the screen in 2011's Thor.

Hopkins has Woody Allen's You Will Meet a Tall Dark Stranger set to open this year as well as The Rite for director Mikael Håfström.


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The second week of Summer rolls around with 3 new wide release movies: Just Wright, Letters To Juliet, and Robin Hood.

upcoming051410.jpgJust Wright had a very impressive 2,817 tweets for last week. By comparison, Why Did I Get Married Too had 4,485 tweets on its lead-up frame, and Death At A Funeral had 1,605. Of its 2,817 tweets, 29.78% were positive, and only 5.15% negative. Its ratio is going to be pretty high since its search string was simply "Just Wright" thanks to its unique name and also thanks to the meagre theatre count of 1,800+. Also, while Death At A Funeral was also a unique name it was also not targetted almost 100% at young women and was in much more theaters, two things which have proved to be kryptonite for low ratios. This should drive its ratio to something in the range of 1,000 - 1,200. With a tweet total next week that is likely to be ~4,500 - 5,000 it should be in line for a low double digit opening. One last thing to note is I know this expansion from 2,817 tweets to my estimate of 4,500 - 5,000 for next week seems low but both of my comparison films were at a 3.0 multiplier or less. Actually, Why Did I Get Married Too had a multiplier of only 1.32.

Letters to Juliet also had a rock solid week, coming in with 2,417 tweets. By comparison, Dear John had 2,599, and The Last Song had 5,644. Its tweet-ratings were also very positive, coming in at 23% positive, and only 3.56% negative (the lowest yet that I've seen for a movie in its leadup week). Like Just Wright, the movie is blessed with a unique name which made grabbing a large proportion of its tweets possible with a simple string of "Letters to Juliet". Dear John had a ratio of 884, even with a pretty convoluted search string of ""dear john" movie OR tatum OR Hallstrom OR Hallström OR trailer OR screening OR poster OR see OR watch." However,  It did have the added draw of Channing Tatum who is the darling of many young women in the Twitter demographic. One thing to bear in mind is that the film had sneak peeks this weekend which really drove up its Thursday number as people were buzzing about it. In fact, its Thursday number was 1,173 which was almost half its week total. All things considered, I would expect a ratio here in ballpark of 900 - 1,000. It is looking to score around 4,500 - 5,000 tweets next week which should put it in low to mid double digits.

Lastly, Russell Crowe returns to the screen with Ridley Scott in Robin Hood. It had 2,574 tweets last week with a 26%/11.59% positive to negative rating. By comparison, 2012 had 4,544 tweets its week before release, Avatar had 8,036 and The Book Of Eli had 1,450. There definitely has been much more negative buzz circulating the film than the other two but that's pretty normal for such a high profile film, especially depicting a character which has been played countless times before.This should come in with a much lower ratio than the other two, likely in the 700 - 800 range. Its tweet total should hit 10,000 which should allow for a weekend in the upper $30's to lower $40's.  

Check back Monday night for analysis of the Monday tweet totals. Follow @AlexBOXOFFICE on Twitter for additional updates.

Twitter tracking history. (For 2009's ratio history please check here.)

alltweets050710.jpgThe ratio is the number of tweets per $1 million of Friday Box Office gross. A film with 1,000 tweets and a $10 million Friday would therefore have a ratio of 100. In general, films that appeal to very young or older audiences have lower ratios since those audiences are not big users of Twitter. By comparison, films that appeal to younger audiences (18-35) have much higher ratios since those audiences are much more active users of Twitter.

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