By Alex Edghill

Friday Morning Update: Last week saw relatively few new wide release trailers, with the main top liners being The Divergent Series: Allegiant. Despite its lofty pedigree (and indeed that of its genre) the trailer didn't warrant even a 10k tweet day and since its release a week ago it has attracted a skimpy ~26k new likes on Facebook.

The first two installments of the series performed very similarly, raking in around $300 million internationally. While it was no Hunger Games it still turned a tidy profit and its two part finale (as has become customary for young adult adaptations) seemed to be assured of riches. Then the last two installments of Hunger Games spiralled downwards and were the worst performing entries in that series and the second installment of Maze Runner also underwhelming despite a big marketing push. With buzz being far from spectacular for Allegiant one can't help but wonder if the young-adult action genre is waning in its appeal, either that or suffering from over-saturation.

The best comparison here in terms of social media buzz would be the last film in the series Insurgent which opened in March of last year. Its last trailer before TV spots were made abundant dropped on February 10th 2015 and secured almost 42k tweets, with 30k new Facebook likes following in the week after. In other words its Twitter numbers were far superior while its Facebook numbers were roughly ~15% better than Allegiant.

I really have a hard time seeing this even making it to the same levels (~$50 million opening) of the two in the series given this downturn in both the demand for young-adult films by moviegoers and in its own buzz levels. Unless something changes dramatically here and the film secures rave reviews (not likely given the Rotten Tomato scores of the first two of 40% and 29% respectively) it might be lucky to have a $40 million opening.

Twitter Top 10 Movies for the week of January 22nd to January 28th

Date Movie Tweets Rank Change
2/12/16 Deadpool 276,445 1 (+1) 12.90%
8/05/16 Suicide Squad 130,867 2 (-1) -75.75%
5/27/16 X-Men: Apocalypse 85,449 3 (-) 8.65%
3/25/16 Batman v Superman: Dawn of Justice 56,106 4 (+5) 73.83%
2/12/16 Zoolander 2 48,645 5 (-) -6.30%
1/29/16 Kung Fu Panda 3 43,381 6 (+1) 7.63%
5/06/16 Captain America: Civil War 36,958 7 (-1) -17.22%
3/04/16 Zootopia 26,062 8 (+7) 89.54%
3/18/16 The Divergent Series: Allegiant 21,074 9 (+11) 141.84%
6/03/16 Teenage Mutant Ninja Turtles: Out of the Shadows 18,543 10 (+9) 78.56%

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Please check the methodology page for information about our Twitter project or here for historic data.

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Beacons to be installed in 300 theaters and nearly 2,500 movie screens to provide proximity-based advertising and data for movie fan engagement campaigns

GARDEN CITY, N.Y., Jan. 28, 2016 (GLOBE NEWSWIRE) -- Mobiquity Networks, a wholly owned subsidiary of Mobiquity Technologies, Inc. (OTCQB:MOBQ), the largest network of retail mall-based mobile advertising beacons in the United States, announced today that it is collaborating with Screenvision to install beacons in 300 theater complexes to form a movie theater advertising and data network to engage consumers with brands. This deal marks one of the first wide-scale deployments of beacons inside movie theaters.

The growth of technology in modern society has presented a plentitude of opportunities for theater owners, movie studios and brands to augment the movie theater experience with interactive games, targeted pre/post-show ads, and other campaigns that can be delivered to mobile devices. The collaboration between Mobiquity Networks and Screenvision will bring beacons to both the lobby areas and individual theaters, and will also leverage Mobiquity Networks' existing beacon networks in 475+ premier US shopping malls. Mobiquity will provide the campaign management platform to administer activity across the network.

Mobiquity and Screenvision will work together to share data-driven business intelligence with advertisers and exhibitors.

The initial beacon installation will include 300 theater venues and nearly 2,500 screens. The movie theater-based beacon networks will work both independently and in conjunction with Mobiquity Networks' retail mall-based beacon network.

Screenvision is a leader in innovative cinema advertising, with a national network extending across approximately 2,300 theatres and 14,200 screens.

"Over the past few months, Mobiquity Networks has formed a number of strategic partnerships that have enabled us to accelerate the growth of our mobile engagement network, and we are thrilled to announce this expansion in the entertainment sector," said Sean Trepeta, President of Mobiquity Networks. "Screenvision's strong reputation and expansive footprint make them a perfect partner. This collaboration will usher in an entirely new channel for movie-theater advertisers to reach their biggest fans."

In addition to its advertising capabilities, the movie-theater based network can provide data on moviegoer profiles, including frequency of visits and use of apps within Mobiquity's publisher network. This data has the potential to provide attribution for moviegoing resulting from film campaigns delivered via apps. Theater owners can utilize the network to improve and expand the theater-visit experience, while movie studios and related brands will be able to utilize the network to deliver location-based mobile campaigns directly to moviegoers.

"We saw a great opportunity to leverage proximity-based technologies to further amplify the unrivaled impact of the 40 foot screen. Beacons will help extend that impact for brands and connect them to the consumer journey outside the theater," said John McCauley, Chief Strategic Development Officer, Screenvision. "Mobiquity Networks has built considerable scale with a growing app publisher network, and is known for its commitment to protecting the consumer experience. They are an industry leader and we're proud to collaborate with them as part of our market place solutions."

Mobiquity Networks powers the largest shopping mallā€based beacon advertising network in the U.S., with a reach of over 400 million monthly shopping visits. The company's beacon technology enables location and context-driven campaigns in the common areas of malls and provides advertisers with the opportunity to deliver targeted marketing messages to shoppers at precisely the right place and time - just as they are deciding which retailers to visit and what brands to buy.


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latejanmidweek2.jpgFox reports today that The Revenant retained first place on Wednesday with $1.58 million, down just 29 percent from last week. That brings the 12-time Oscar nominated epic to a domestic tally of $124.3 million thus far as it continues to playing strongly on the heels of awards circuit success and buzz around Leonardo DiCaprio's leading performance.

Star Wars: The Force Awakens added another $1.325 million yesterday, off just 27 percent from the same day last week. That brings the all-time domestic record holder's running total up to a staggering $883.3 million through 41 days of release.

Dirty Grandpa rounded out the top three on Wednesday with $0.96 million. That gives the comedy a six-day total of $14.3 million -- notably ahead of the pace of That Awkward Moment, but still a relatively modest tally thus far.

Falling just outside the top five yesterday, The Boy posted $0.606 million in sixth place. The film has earned $13.0 million through six days of release.

Meanwhile, The 5th Wave added $0.602 million yesterday for a new six-day total of $12.6 million. Unfortunately, the young adult adaptation continues to perform below expectations.


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PORTLAND, Ore., Jan. 27, 2016 /PRNewswire/ - Rentrak (NASDAQ: RENT), the leader in precisely measuring movies and TV everywhere, today announced it has acquired Hollywood Software, Inc. (HSI), a Los Angeles-based company that develops enterprise software for managing key elements of the digital movie distribution and exhibition industries.

Rentrak's acquisition of HSI advances its mission to provide highly valuable, never-before-seen analytic tools to the motion picture industry. By combining Rentrak's movie and television intelligence-including Video on Demand viewing information-with Hollywood Software's studio and theater planning systems, this partnership will give movie studios an enhanced scope of a film's success and revenue streams by providing a more comprehensive understanding of a film's total viewership over its lifespan.

"Rentrak's acquisition of Hollywood Software advances our commitment to the movie industry by continuing to provide products that enable studios and theaters to drive movie attendance and provide an enhanced movie-going experience," said Ron Giambra, president of Rentrak's worldwide movie measurement business.

"I am excited to join the Rentrak team to help develop new systems that optimize the talents of both market-leading companies," said Hollywood Software's David Gajda.

Hollywood Software's Theatrical Distribution System (TDS) is installed in more than 30 studios in the US and Canada including 20th Century Fox, Universal Pictures and Lionsgate. Its Digital Cinema Theatre Management System (TCC) product is currently used to manage more than 15,000 screens worldwide.

Rentrak's global footprint in 64 countries across five continents will provide the optimal platform to expand Hollywood Software's products and services to the rest of the world.

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By Daniel Garris

Fox's The Revenant took in $2.00 million on Tuesday to continue to lead the daily box office. The Alejandro González Iñárritu directed western starring Leonardo DiCaprio was up 36 percent over Monday and down a solid 36 percent from last Tuesday. The Revenant has grossed an impressive $122.68 million through 19 days of wide release (and an additional two weeks of platform release). The film is currently running 25 percent ahead of the $97.86 million 19-day gross of 2010's Shutter Island.

Disney's Star Wars: The Force Awakens held steady in second place with $1.57 million. The seventh chapter of the Star Wars franchise increased 22 percent over Monday and decreased a very solid 34 percent from last Tuesday. Star Wars: The Force Awakens continues to pad its total as the highest grossing film of all-time domestically with $881.98 million through 40 days of release. That leaves the film just $18.02 million away from becoming the first ever the reach the $900 million domestic mark.

Dirty Grandpa was up one spot from Monday to move into third place on Tuesday with $1.31 million. The R-rated comedy from Lionsgate starring Robert De Niro and Zac Efron was up a healthy 42 percent over Monday. Dirty Grandpa has grossed $13.34 million in five days of release. That is towards the lower end of expectations and places the film 32 percent behind the $19.62 million five-day start of 2013's Last Vegas (which increased 41 percent on its first Tuesday to gross $1.92 million).

Ride Along 2 was down one spot from Monday to fall to fourth with $1.19 million. Universal's PG-13 rated comedy sequel starring Ice Cube and Kevin Hart was up 23 percent over Monday and down a sharp 48 percent from last Tuesday. Thanks in part to poor holding power thus far, Ride Along 2 is performing below expectations with a twelve-day take of $60.76 million. That places the film 22.5 percent behind the $78.44 million twelve-day gross of 2014's Ride Along.

13 Hours: The Secret Soldiers of Benghazi rounded out Tuesday's top five with $1.15 million. The Michael Bay directed action thriller from Paramount increased 23 percent from Monday and decreased a solid 38 percent from last Tuesday. 13 Hours has grossed $34.81 million in twelve days, which is a bit below expectations and places the film 26 percent behind the $47.28 million twelve-day take of 2012's Act of Valor.

Sony's The 5th Wave and STX Entertainment's The Boy claimed sixth and seventh place with respective daily grosses of $0.937 million and $0.897 million. The two films were separated by a slim $39,941 for the day. The 5th Wave increased 29 percent over Monday, while The Boy was up by 25 percent. Respective five-day starts stand at $12.40 million for The Boy and at $11.99 million for The 5th Wave. Both films are performing towards the lower end of expectations and both films are likely limiting the potential of one another as a result of the overlap between their audiences.

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