By Daniel Garris

Spectre took in $5.32 million on Monday to continue to lead the daily box office. The latest installment of Sony and MGM's James Bond franchise was down 68 percent from Sunday's performance. In comparison, 2012's Skyfall fell 53 percent on its first Monday to take in $11.33 million (which was boosted by Veterans Day being observed that day), while Quantum of Solace was down 72 percent to gross $4.13 million. Spectre has grossed a solid, but unspectacular $75.72 million in four days. That places the film a significant 26 percent behind the $101.89 million four-day start of Skyfall and just 6 percent ahead of the $71.66 million four-day take of Quantum of Solace.

The Peanuts Movie placed in second with $1.73 million. The 3D computer animated adaptation from Fox and Blue Sky declined 86 percent from Sunday. The sharp daily percentage decline indicates that The Peanuts Movie is skewing heavily towards family audiences. The Peanuts Movie has grossed $45.94 million in four days, which is in line with pre-release expectations. The film is currently running 12 percent behind the $52.00 million four-day take of 2012's Wreck-It Ralph and a slim 2 percent behind the $46.95 million four-day start of 2007's Alvin and the Chipmunks.

Fellow Fox release The Martian claimed third place with $0.617 million. The blockbuster Ridley Scott directed 3D sci-fi film starring Matt Damon was down 72 percent from Sunday and down 46 percent from last Monday. The Martian has grossed an impressive $197.46 million in 39 days, which leaves the film just $2.54 million away from reaching the $200 million domestic milestone. The film is running 18 percent ahead of the $167.28 million last year's Interstellar grossed after 39 days of wide release and 15 percent behind the $232.48 million 39-day take of 2013's Gravity.

Disney and DreamWorks' Bridge of Spies took fourth place with $0.476 million. The critically acclaimed Steven Spielberg directed thriller starring Tom Hanks was down 65 percent from Sunday and down 38 percent from last Monday. Bridge of Spies has grossed a healthy $55.20 million in 25 days, which already gives the film a current total gross to opening weekend ratio of 3.59 to 1.

On the platform front, Open Road's Spotlight took in $35,108 for the day, while Fox Searchlight's Brooklyn took in $23,256. Both awards seasons hopefuls are currently playing in 5 locations, which gave Spotlight and Brooklyn respective daily per-location averages of $7,022 and $4,651. Spotlight has grossed $330,117 in four days, while Brooklyn has taken in $266,926 in six days. Both films will expand into additional locations this coming Friday.

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Capitola Upscale Venue soon to feature full menu and local wines Lounge.JPG

Silicon Valley based CineLux Theatres is expanding its Capitola venue with the addition of five screens, a redesigned spacious lobby featuring a CineLux Cafe & Lounge and exterior façade improvements highlighted by a prominent 50' tall architectural tower. Construction commenced in January when CineLux's 41st Avenue Cinema expanded into an adjacent retail space formally occupied by a large book store. Rob Henry, the project's architect, stated that the high ceilings and expansive size of the book store provided a logical path for the project. The CineLux Capitola Café & Lounge will be completed in early winter 2015 and will feature eight auditoriums, a relocated lobby with a mezzanine level, a bar and lounge area and a grand exterior design including a public mural painted by local artists.

Similar to CineLux's Cafe and Lounge in nearby Scotts Valley, the new luxury venue in Capitola will showcase local wines produced in the Santa CruzMountains, local craft beers, freshly prepared meals and desserts. Each auditorium will feature stadium seating with spacious VIP seats, pristine digital projection and state-of-the- art sound systems. An impressionistic starry night theme will enhance the walls of each auditorium. The expansion and remodel will be complete in early 2016.

"Our goal is to redefine going to the movies in Santa Cruz County. We are creating a comfortable lounge where movie-goers can relax before and after their film. We believe that our Café & Lounge concept is the perfect complement to traditional movie-going and we can't wait to introduce it to the local community of Capitola," said Paul Gunsky, President of CineLux Theatres.

Benjamin Ow of Ow Family Properties, which owns and manages the Kings Plaza Shopping Center, is delighted to see the cinema's expansion and exterior improvements coincide with the addition of a new neighborhood eatery by the restaurateurs of West End Tap which opens in November directly across from CineLux. Moreover, he is excited that the new CineLux Capitola Café and Lounge will be building on the success of the CineLux Scotts Valley Café and Lounge and solidifying CineLux's status as the provider of the region's premier upscale theatre experience.


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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.

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By Daniel Loria



"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, 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."      

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