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Friday Update #2: Sources tell BoxOffice that Home and Get Hard are both off to strong starts.

Home will easily win the weekend with a total that could end up between $45 million-$50 million based on early Friday results. That would mark a huge win for DreamWorks following the disappointing performance of How to Train Your Dragon 2 and Penguins of Madagascar last year.

Get Hard is headed for a $35 million debut. Kevin Hart continues to be a solid earner, while Will Ferrell receives a much-needed boost.

Check back tomorrow for official studio numbers and updated projections.

Friday Update #1: Warner Bros. reports that Get Hard started with $1.8 million from early shows last night. That easily tops the $800,000 Thursday night of The Wedding Ringer back in January, as well as Ride Along's $1.06 million last year. The Will Ferrell-Kevin Hart comedy team-up will have to fend off poor reviews, but this indicates a strong opening weekend ahead.

Also opening this weekend is Fox/DreamWorks' Home, although no early figures had been reported at the time of publishing.

Check back for further updates today and throughout the weekend.

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By Daniel Garris

Lionsgate's The Divergent Series: Insurgent took in $2.56 million on Thursday to lead the daily box office for a seventh consecutive day. The second installment of the young adult series starring Shailene Woodley is widely expected to fall out of first place this weekend with both Fox's Home and Warner's Get Hard entering the marketplace. Insurgent was down just 1 percent from Wednesday, which represented a very solid daily hold, especially given that Home and Get Hard both had healthy debuts on Thursday evening. Insurgent was the week's top film with a seven-day start of $64.32 million. That was just below pre-release expectations and was 6.5 percent below the $68.76 million seven-day take of last year's Divergent.

Cinderella also held up well on Thursday with a close second place take of $2.24 million. Disney's blockbuster fairy tale adaptation was up 1 percent over Wednesday and down 50 percent from last Thursday. Cinderella placed in second place for the week with $44.96 million. That represented a sizable, but understandable 49 percent decline from the film's opening week performance. Cinderella has grossed a strong $132.51 million in two weeks. That places the film 8 percent behind the $144.52 million 14-day take of last year's Maleficent.

The Second Best Exotic Marigold Hotel placed in third with $0.394 million. The ensemble comedy from Fox Searchlight was down 6 percent from Wednesday and down 39 percent from last Thursday. The Second Best Exotic Marigold Hotel placed in sixth for the week with $5.27 million. The film was down 37 percent from the previous frame and has grossed a solid $25.95 million in three weeks of release.

Warner's Run All Night followed closely behind in fourth with $0.386 million. The Liam Neeson led action thriller fell a sizable 15 percent from Wednesday and 49 percent from last Thursday. Run All Night placed in third for the week with $7.01 million. That was down 52 percent from last week and brings the film's two-week total to a lackluster $21.62 million.

Fellow action thriller The Gunman rounded out its first week of release with a sixth place take of $0.327 million. The Sean Penn led film from Open Road was down a sharp 17 percent from Wednesday. Both The Gunman and Run All Night clearly took sizable hits on Thursday from the Thursday evening start of Get Hard. The Gunman took fourth place for the week with a soft seven-day start of $6.76 million.

Do You Believe? landed in seventh place for the day with $0.299 million. The faith-based drama from Pure Flix was up 1 percent over Wednesday. Do You Believe? placed in seventh for the week with a softer than expected seven-day start of $4.90 million. The film will hope to hold up well going forward with aid from the upcoming Easter holiday.

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An Interview with:

Joe Spurling, Co-Founder, Director

Richie Power, Co-Founder, Director

Paul Lynch, Co-Founder, CTO

Showtime Analytics is launching this year. Can you tell us what was behind the creation of the company and what role it plays in big data for the cinema industry?

Joe Spurling: Richie, Paul, and I have worked for over 15 years each as management consultants in the areas of analytics, software development, and performance improvement. We have been fortunate to work across a breadth of industries with big brands here in Europe, the U.S., and Canada where we get the opportunity to understand from a data perspective the best practices, emerging trends, and methodologies that work best for clients.

I myself happen to have a family connection in the exhibition industry, whereby my father and grandfather run small independent cinemas in Ireland. In early 2014 at a family gathering, I got asked the typical question of "What exactly is it that you do?" and upon explanation of how data analytics can reduce costs, increase sales, and improve customer experience, it became apparent to me that this was an alien concept to what is, essentially, a data-rich exhibition sector. From there, Showtime Analytics was born with the goal of supporting the sector to unlock value from data.

Can you tell us more about your data-consultancy services and guided-analytics platform for cinemas?

Richie Power: At Showtime we recognize that as a client you will be at a different stage of maturity depending on your company size and exposure to analytics; however, irrespective of your starting point, the analytics market is changing at an enormous pace, and for any company it will be a struggle to keep up with the latest best practice or new innovative products.

It is simply not realistic to expect individuals or teams to have all the requisite skills to build out a high-functioning analytics practice, when these can be used in an on-demand capacity or capability basis.

Showtime Analytics brings in big data external factors; can you tell us what some of them are and why they are so important in a system like yours?

Paul Lynch: There are two important aspects to the question. Firstly, why are external data sources important? Irrespective of the industry we work in, nearly every conversation starts with the perceived client need for big data; more often than not, someone mentions social media as being the "killer requirement," without really knowing why or what use this information has.

When designing our analytics data model, we looked at a variety of data sources to bring into our structure, ranging from movie-critics' reviews, release dates, weather patterns, local events calendars, customer demographics, and, of course, social media.

These are all interesting data points in their own right, but ultimately in isolation to each other provide only silos of information as opposed to real insights. To achieve insight from external data sources, we believe that the killer proposition is to link these sources with transaction data from sources like point of sale, ultimately providing the context for insights: impact of campaign X was 10 percent more successful in ticket sales based on the time of day we targeted.

Can the Showtime Analytics services be customized to cater specifically to a range of exhibitors-from single screens to multiplex chains?

Richie Power: To be honest, this has always been a guiding principle for us at Showtime. Our experience of the wider analytics-software market is that it is both exploitative and a class-based system, in the respect that if you are large enough with perceived budget to spend, then the costs gets higher, and if you are a small company, you are limited to what you can do in terms of capability by being priced out of the market. Our solution is what we are calling a mass user-consumption model, whereby you sign up on a per-site basis, which caters to both the small and very large organization.

 

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cinemacon.png"THE HUNGER GAMES: MOCKINGJAY - PART 2" DIRECTED BY LAWRENCE TO BE RELEASED ON NOVEMBER 20, 2015

WASHINGTON D.C. (March 26, 2015) - Francis Lawrence will receive the "CinemaCon® Director of the Year Award" it was announced today by Mitch Neuhauser, Managing Director of CinemaCon. CinemaCon, the official convention of The National Association of Theatre Owners (NATO), will be held April 20 - 23, 2015, at Caesars Palace in Las Vegas. Lawrence will be presented with this special honor at the "CinemaCon Big Screen Achievement Awards" ceremony to take place on Thursday, April 23, in the evening at The Colosseum at Caesars Palace. The Coca-Cola Company, the official presenting sponsor of CinemaCon, will host the final night gala awards program.

"Since making his feature film debut ten years ago, Francis Lawrence has mesmerized moviegoing audiences with his own unique and inventive style," noted Neuhauser. "A true visionary, Lawrence is sure to captivate audiences next fall when ‘The Hunger Games: Mockingjay - Part 2,' the eagerly anticipated finale of the box-office franchise, hits our theaters. We couldn't think of a more deserving director and are thrilled to be honoring him with the ‘CinemaCon® Director of the Year Award.'"

Lawrence's work can be seen this fall in "The Hunger Games: Mockingjay - Part 2," which is set to be released by LIONSGATE, on November 20, 2015. The blockbuster Hunger Games franchise has taken audiences by storm around the world, grossing more than $2.2 billion at the global box office. The Hunger Games: Mockingjay - Part 2 now brings the franchise to its powerful fourth chapter in which Katniss Everdeen (Jennifer Lawrence) now fully realizes the stakes are no longer just for survival -- they are for the future.

With the nation of Panem in a full scale war, Katniss confronts President Snow (Donald Sutherland) in the final showdown. Teamed with a group of her closest friends - including Gale (Liam Hemsworth), Finnick (Sam Claflin), and Peeta (Josh Hutcherson) - Katniss goes off on a mission with the unit from District 13 as they risk their lives to stage an assassination attempt on President Snow who has become increasingly obsessed with destroying her. The mortal traps, enemies, and moral choices that await Katniss will challenge her more than any arena she faced in The Hunger Games.

A director and producer of film, music videos, and television, Lawrence made his feature film debut in 2005 with "Constantine," following that up with the hit movie, "I Am Legend" in 2007 and " "Water for Elephants," in 2011. Lawrence most recently directed the last two installments of the hugely popular Hunger Games franchise, "The Hunger Games: Mockingjay - Part 1" and "The Hunger Games: Catching Fire."

On the small screen Lawrence served as director and executive producer on the pilot and several episodes of the acclaimed series "Kings" and directed the pilot for FOX's "Touch" which he continued on as executive producer for both seasons of the show. He is also a noted music video director, having won a GRAMMY®, Latin Grammy and multiple VMA awards. In addition Lawrence has also directed commercials for many high profile clients including The Gap, Calvin Klein, Tommy Hilfiger, Coca-Cola, Pepsi, L'Oreal, Bacardi, McDonald's, Disneyland, Oldsmobile, Covergirl, and Maybelline.

About CinemaCon

CinemaCon will attract upwards of 5,000 motion picture professionals from all facets of the industry -from exhibition and distribution, to the equipment and concession areas - all on hand to celebrate the movie-going experience and the cinema industry. From exclusive Hollywood product presentations highlighting a slate of upcoming films, to must-see premiere feature screenings, to the biggest stars, producers and directors, CinemaCon will help jumpstart the excitement and buzz that surrounds the summer season at the box office.

CinemaCon is delighted to have both the International Cinema Technology Association (ICTA) and National Association of Concessionaires (NAC) as its tradeshow partners. CinemaCon is also delighted to have as its official presenting sponsor The Coca-Cola Company, one of the industry's greatest, highly regarded and respected partners in the world of the movies.

About NATO

The National Association of Theatre Owners (NATO) is the largest exhibition trade organization in the world, representing more than 32,000 movie screens in all 50 states, and additional cinemas in 81 countries worldwide. NATO's membership includes the largest cinema chains in the world and hundreds of independent theatre owners, too.

Additional information on CinemaCon can be found at www.cinemacon.com.

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mar20wknd.pngLionsgate reports that The Divergent Series: Insurgent claimed first place again on Wednesday with $2.58 million. That puts its six-day domestic total at $61.76 million, 6 percent off the pace of last year's Divergent.

Disney's Cinderella easily held onto second place with another $2.22 million yesterday, off 51 percent from last week. Their latest fairy tale remake has grossed an impressive $130.3 million through 13 days of release.

Run All Night took third yesterday with $0.46 million, down 44 percent from last week. The Liam Neeson thriller has totaled $21.2 million through 13 days.

Continuing to display strong legs, Kingsman: The Secret Service held fourth place on Wednesday as it eased 34 percent to $0.43 million. The graphic novel pic's total stands at $116.0 million.

Filling out the top five, The Second Best Exotic Marigold Hotel bagged $0.42 million yesterday as it eased 35 percent from last week. The sequel's total is now $25.56 million.

Meanwhile, Do You Believe? took in $0.297 million in eighth place. The faith-based film's six-day haul is $4.6 million, 62 percent behind where God's Not Dead stood.

 

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