Sunday, November 19, 2017
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The Boss Baby

Guardians of the Galaxy Vol 2 Box Office Preview: Guardians of the Galaxy Vol. 2 to come out on top

MARVEL STUDIOS
 The only new wide release opening this weekend is The Guardians of the Galaxy Vol 2., the first of three Marvel films on the 2017 release calendar. Given fan’s building excitement, and the fact that its nearest competition is The Fate of the Furious, which has been speeding into the top spot the past three weeks, Star-Lord (Peter Quill), Gamora, and the gang should handily land at No. 1 this week.

But here’s how the rest of the Top 10 could play out over the May 5-7 period:

1. The Guardians of the Galaxy Vol. 2 – $150 million+ 

Having already earned more than $160 million overseas, and with the film opening in 4300+ locations in North America, the Guardians of the Galaxy sequel is positioned to do quite well, if not cross the $150 million mark — especially given how much better it’s been doing compared to its predecessor in international markets. Though, that may have a lot to do with the fact that not as many movie-goers were familiar with the ragtag gang when they first made their way to theaters in 2014. But seeing how well the previous film performed ($773 million worldwide, adjusted for inflation), not to mention how recent Marvel sequels Avengers: Age of Ultron and Captain America: Civil War performed in their opening weekends ($191 million, and $179 million, respectively), GoTG V2 should pull in just as impressive figures.

The second film is set three months after the first one and sees Star-Lord finally meet his father, Ego (Kurt Russell), while on the run from the Sovereign, an alien race angered by one of the Guardians’ actions. James Gunn once again serves as director, with Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, and Karen Gillan reprising their roles as Peter Quill, Gamora, Rocket Raccoon, Baby Groot, Drax, and Nebula, respectively.

 2. The Fate of the Furious – $9.5 million

Having crossed the $1 billion mark worldwide and going into its fourth week, F8 is set to slow down, placing No. 2 at the box office this weekend. But while the film’s popularity (it received an A CinemaScore) has given it some legs, its performance has repeatedly mirrored not its direct predecessor Furious 7, but Fast & Furious 6, which means this week’s haul will drop by at least 45 percent, bringing this week’s earnings into the single digits.

3. How to be a Latin Lover – $8.4 million

After pulling in $12 million from 1,118 locations last weekend, the Panthelion — a Lionsgate and Televisa joint venture — romantic comedy will be widening its release by 85 more locations. The movie, which stars Salma Hayek, Eugenio Derbez, Rob Lowe, Raquel Welch, and Kristin Bell, proved to be a sleeper hit, like Derbez’ last film Instructions Not Included, which earned $99 million worldwide at the end of its run. Based on that, expect Latin Lover to see a more steady 30 percent drop in domestic box office sales, for an earning of $8.4 million.

4. The Boss Baby – $6.7 million

Just six weeks old, this animated feature still has long legs as it continually proves to be a family favorite (bringing in an A- on CinemaScore). Expect another 25 percent dip as it moves beyond the $150 million mark in the domestic box office.

5. The Circle – $5 million

After getting largely negative reviews from both critics and the audience (a D+ on CinemaScore), the STX Entertainment film should see a 50 percent drop in the domestic box office, despite starring Beauty and the Beast‘s Emma Watson, Star Wars‘ John Boyega, and Sully’s Tom Hanks, all of whom have proved to be big openers.

Elsewhere, Beauty and the Beast’s popularity continues to reign as the Disney live-action version of the 1991 animated classic nears $500 million at the domestic box office. In addition, last week’s big hit Baahubali 2: The Conclusion, will likely see a 60 percent drop off — much like predecessor Baahubali: The Beginning — from last week’s 420-location $10 million opening, for a $4 million haul this week.

In terms of specialty box office releases, The Weinstein Company’s 3 Generationsopens this weekend. The drama sees Elle Fanning play a transgender teen seeking his mother’s (Naomi Watts) permission to start taking hormone treatments so he can begin his transition. Susan Sarandon also stars in the now PG-13 rated film, which should bring in $300,000 in its first week.

ff8 2 Weekend Box Office: The Promise, Unforgettable Crash; Fate of the Furious Hits $980M

Courtesy of Universal Pictures.
‘The Fate of the Furious’

‘Unforgettable’ marks a career worst for Katherine Heigl in opening to $4.8M, while Christian Bale-starrer ‘The Promise’ debuts to a paltry $4.1 million after costing $100 million to make.

Universal’s The Fate of the Furious left the competition in the dust at the North American box office, grossing $38.7 million in its second weekend for a 10-day domestic total $163.6 million and $908.4 million globally.

‘Furious 8’ Tops $900 Million Worldwide as Disney’s ‘Born in China’ Bests All Newcomers

Fate of the Furious is doing massive business overseas, where it earned another $163.4 million for a foreign total of $744.8 million — led by China with an astounding $318 million.

Back in the U.S., The Boss Baby placed No. 3 with $12.3 million for a domestic cume of $137 million, followed by Beauty and the Beast with $10 million for a global total of $1.1 billion.

Among the fresh crop of offerings, it was nothing short of a car crash, save for Disney’s nature documentary Born in China. The doc earned $5.1 million from 1,508 theaters to place No. 4 and come in ahead of the other new films.

Warner Bros.’ female-centric thriller Unforgettable, starring Katherine Heigl, debuted to a paltry $4.8 million from 2,417 locations, marking a career worst for Heigl for a nationwide opening. “It just didn’t resonate with our intended audience,” said Warner Bros. domestic distribution chief Jeff Goldstein.

Helmed by veteran producer Denise Di Novi in her feature directorial debut, Unforgettable, placing No. 7, stars Heigl as a jilted woman whose jealousy of her ex-husband’s new wife turns pathological. Rosario Dawson and Geoff Stults also star.

If there’s any solace, it is that the film cost $12 million to make.

The same can’t be said for the Armenian genocide drama The Promise, directed by Terry George and starring Christian Bale alongside Oscar Isaac. The big-budget movie opened to $4.1 million from 2,251 theaters after costing a hefty $100 million to produce. The Promise was fully financed by the late Kirk Kerkorian, who was of Armenian descent.

Open Road is handling The Promise domestically. The filmmakers say the movie has succeeded in raising awareness about the Armenian genocide regardless of its box-office performance, and that a $20 million donation will help create the The Promise Institute for Human Rights at UCLA School of Law.

The other two new films, action-comedy Free Fire and sci-fi thriller Phoenix Forgotten, had smaller footprints then their brethren but still disappointed.

Phoenix Forgotten, coming in No. 11 with $2 million from 1,592 cinemas, tells the story of three teenagers who disappear after trying to solve the mystery behind the 1997 UFO phenomenon knows as the Phoenix Lights. Ridley Scott, Wes Ball, Courtney Solomon and Mark Canton produced the movie, with Cinelou distributing.

British helmer Ben Wheatley’s Free Fire, a send-up of vintage action movies, grossed $1 million from 1,070 theaters for indie distributor A24. The pic, placing No. 18, stars Brie Larson, Sharlto Copley, Armie Hammer, Cillian Murphy and Jack Reynor.

Among other specialty fare, Fox Searchlight’s Gifted hit 10 crossed $10 million after earning another $4.5 million from 1,986 theaters.

James Grey’s The Lost City of Z expanded into a total of 614 theaters in its second weekend, earning $2.1 million to place No. 10.

ounding out the top ten is Bleecker Street’s expanded release of The Lost City of Z. After opening in four theaters last weekend the film expanded to 641 locations and brought in an estimated $2.1 million for a strong, $3,497 per theater average.

Finishing just outside the top ten is Cinelou’s Phoenix Forgotten, which opened in 1,592 theaters with an estimated $2 million and just behind it is Universal’s Get Out, which brought in an estimated $1.7 million to start its ninth week in release as the domestic cume for the $4.5 million budgeted feature has now topped $170 million.

Much further down the list we find A24’s new release Free Fire, which failed to capture audience attention, finishing with an estimated $1.03 million from 1,070 theaters.

In limited release, IFC’s Citizen Jane opened in two theaters in New York, bringing in an estimated $33,760 ($16,880 PTA) and will open in Los Angeles next week, followed by a rollout into the top fifteen markets throughout May. Additionally, The Orchard’s Jeremiah Tower also debuted in two theaters, bringing in an estimated $24,068 ($12,034 PTA).

Overall, the weekend was down 40% compared to last week as the top twelve couldn’t combine for more than $100 million for only the second time this year.

Next weekend sees the release of STX’s The Circle starring Tom Hanks and Emma Watson, Pantelion’s How to be a Latin Lover starring Eugenio Derbez and the next potential Blumhouse breakout feature, Sleight, a sci-fi actioner starring Jacob Latimore that played at the 2016 Sundance Film Festival.

the promise unforgettable Box Office: Fate of the Furious Crossing $900M; Promise, Unforgettable Bomb

Left, courtesy of Open Road Films, right, courtesy of Warner Bros.
‘The Promise,’ ‘Unforgettable’

Holdover ‘The Fate of the Furious’ continues to rule the road as new offerings ‘Phoenix Forgotten’ and ‘Free Fire’ also sink; the only new film to hold its own is Disney nature doc ‘Born in China.’

It is bombs away at the Friday box office, where four out of five new films are badly struggling, according to early returns.

Universal holdover The Fate of the Furious easily remains in the driver’s seat as it races past the $900 million mark globally. The eighth outing in the action franchise grossed $11.2 million Friday from 4,329 theaters for a projected $35 million weekend, putting it’s domestic total at $160.4 million.

Overseas, Fate will finish up the weekend with more than $750 million in foreign ticket sales — including $327 million in China alone — for a global haul north of $900 million.

Among the weekend’s new movies, Warner Bros.’ female-centric thriller Unforgettable, starring Katherine Heigl, grossed $1.7 million Friday from 2,417 locations for a forgettable $4 million-$5 million debut. If it comes in on the lower end, it could mark the lowest start of Heigl’s career in terms of a major studio title.

Helmed by veteran producer Denise Di Novi in her feature directorial debut, Unforgettable stars Heigl as a jilted woman whose jealousy of her ex-husband’s new wife turns pathological. Rosario Dawson and Geoff Stults also star in the film, which cost a modest $12 million to make.

While Unforgettable‘s financial exposure is limited, the same can’t be said for director Terry George’s Armenian genocide drama The Promise, starring Christian Bale and Oscar Isaac. The $100 million movie is projected to earn $4 million-$4.5 million from 2,251 million theaters for the weekend.

The Promise was fully financed by the late Kirk Kerkorian , who was of Armenian descent. Produced by his Survival Pictures, It is the first major U.S. film to address the massacre of Armenians during the waning days of the Ottoman Empire. Open Road is handling The Promise domestically.

Disney’s nature documentary Born in China — the one new offering that’s holding its own — could beat The Promise with $4.5 million from 1,508 theaters.

The forecast is likewise grim for the two other new films opening this weekend, action-comedy Free Fire and sci-fi thriller Phoenix Forgotten.

Phoenix Forgotten, expected to open south of $2 million from 1,592 cinemas, tells the story of three teenagers who disappear after trying to solve the mystery behind the 1997 UFO phenomenon knows as the Phoenix Lights. Ridley Scott, Wes Ball, Courtney Solomon and Mark Canton produced the movie, with Cinelou distributing.

British helmer Ben Wheatley’s Free Fire, a send-up of vintage action movies, is projected to open in the $1 million range from 1,070 theaters for indie distributor A24. The pic stars Brie Larson, Sharlto Copley, Armie Hammer, Cillian Murphy and Jack Reynor.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • The Fate of the Furious (4,329 theaters) – $35.7 M
  • The Boss Baby (3,697 theaters) – $9.7 M
  • Beauty and the Beast (3,242 theaters) – $8.4 M
  • Unforgettable (2,417 theaters) – $8.2 M
  • Born in China (1,508 theaters) – $5.8 M
  • Smurfs: The Lost Village (2,737 theaters) – $3.9 M
  • Gifted (1,986 theaters) – $3.8 M
  • Going in Style (3,038 theaters) – $3.8 M
  • The Promise (2,251 theaters) – $3.2 M
  • The Lost City of Z (614 theaters) – $2.1 M

ff8 1 Box Office: Fate of the Furious Nabs $100.2M in U.S. for Record $532.5M Global Start

Courtesy of Universal Pictures.
‘The Fate of the Furious’

Thanks to an all-time best China launch of $190 million, the eighth installment in the popular franchise surpassed the previous worldwide record launch of ‘Star Wars: The Force Awakens.’

Universal’s Fast and the Furious franchise is showing no signs of running out of gas on the world stage.

The Fate of the Furious, directed by F. Gary Gray, raced to an estimated $532.5 million global debut over Easter weekend, including $100.2 million domestically and a $432.2 million overseas.

If those estimates hold when final numbers are tallied early Monday, Furious 8 will eclipse Star Wars: The Force Awakens ($529 million) to boast the biggest worldwide opening of all time. Either way, it is assured of scoring the top international launch of all time, surpassing fellow Universal title Jurassic World ($316.7 million).

Furious 8 had the advantage of opening day-and-date in China, where it earned a massive $190 million, the biggest three-day bow in history. Overall, the tentpole debuted at No. 1 in all 63 foreign markets, and it did more business than any previous installment in 32 of those.

In North America, Furious 8 scored the second-biggest launch of the franchise behind Furious 7‘s $147 million. Furious 7 (2015) was the final film in the series to star Paul Walker, who died in a tragic car crash in November 2013. Globally, Furious 7 launched to $397.7 million (it didn’t open in China until a week later).

“This franchise is showing no sign of wear and tear,” said Universal international distribution chief Duncan Clark.

Added Universal domestic distribution president Nick Carpou: “Considering this is the second-highest opening of eight films speaks to the fact that people continue to be interested in the storyline.”

Long heralded for its diverse cast, Furious 8 played to audiences of all ethnicities and nabbed an A CinemaScore. Domestically, Caucasians made up 41 percent of the audience, followed by Hispanics (26 percent), African-Americans (21) percent, Asians (11 percent) and Native American/Other (3 percent), according to comScore’s exit polling service PostTrack. The pic skewed male at 58 percent, far more than the last film at 51 percent.

Highlights for the film’s international debut begin with the fact it was the #1 film in all 60+ territories where it opened, among which it was the largest opening in 17 of those territories: Argentina, China, Colombia, Egypt, Indonesia, Israel, Lebanon, Malaysia, Middle East, Pakistan, Panama, Peru, Portugal, South Africa, U.A.E., Venezuela and Vietnam. The largest of all of this weekend’s openings is the estimated $190 million the film brought in from China, which is the largest three-day opening weekend of all-time in China and, of course, the biggest Hollywood opening of all-time. Top grossing territories include:

  • China – $190 million
  • Mexico – $17.8 million
  • U.K. and Ireland – $17 million
  • Russia – $14.1 million
  • Germany – $13.6 million
  • Brazil – $12.8 million
  • France – $10.5 million
  • Korea – $10.5 million
  • India – $10.4 million
  • Taiwan – $9.7 million
  • Australia – $9.6 million
  • Middle East Combined – $9.3 million
  • Indonesia – $9 million
  • Argentina – $8.3 million
  • Malaysia – $6.8 million
  • Italy – $6.7 million
  • Spain – $6.1 million
  • Colombia – $5 million
  • Thailand – $4.7 million
  • Panama – $4.6 million

The Fate of the Furious has five more territories where it is set to open including today in the Philippines followed by an April 20 opening in Serbia, April 21 in Poland and Romania and an April 28 opening in Japan.

Gray is making his franchise debut after helming Straight Outta Compton for Universal. Fate of the Furious once again stars Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Elsa Pataky and Kurt Russell. Newcomers include Charlize Theron, Helen Mirren and Scott Eastwood. The story follows a villainous superhacker (Theron) who turns Diesel’s character against his crew.

The Fast and Furious movies have collectively grossed more than $3.9 billion globally. Furious 7 was far and away the biggest earner and the only installment to cross $1 billion on its way to finishing its worldwide run with $1.516 billion.

Fate of the Furious certainly spooked the competition; no other film opened against it nationwide.

At the specialty box office, The Lost City of Z did nicely for Amazon Studios and Bleecker Street, opening to $112,633 from four theaters in New York and Los Angeles for a location average of $28,158. The period adventure film, directed by James Gray and produced by Brad Pitt’s Plan B, stars Charlie Hunnam, Robert Pattinson and Sienna Miller.

Another limited offering was the animated film Spark: A Space Tail, which debuted to a miserable $100,000 from 365 theaters for Open Road and the filmmakers.

Back in the top 10, Fox and DreamWorks Animation’s The Boss Baby placed No. 2 with $15.5 million for a domestic cume of $116.5 million and worldwide haul of $287.6 million. (Fox also celebrated Logan passing the $600 million mark globally over the weekend.) Disney’s Beauty and the Beast held at No. 3 with $13.5 million for a domestic total of $454.7 million and $1.043 billion worldwide.

Sony’s Smurfs: The Lost Village continued to remain obscured, falling a steep 51 percent in its second weekend to $6.5 million for $24.7 million in North America and $94.7 million globally. New Line and Village Roadshow’s Going in Style has grossed almost as much domestically as Smurfs, earning $6.4 million in its second outing for a domestic total of $23.4 million and $35.1 million worldwide.

Outside the top five, Fox Searchlight’s expansion of Gifted didn’t exactly light the box office on fire as it played in 1,146 theaters (+1,090) and brought in an estimated $3 million ($2,618 PTA). Gifted will continue to expand to around ~1,600 theaters next weekend.

Also, for the seventh weekend in a row (a.k.a. every subsequent weekend since its release eight weeks ago), Universal and Blumhouse’s Get Out had the smallest drop within the top ten. This weekend it dipped just 28% for an estimated $2.9 million as its domestic cume now stands at $167.5 million.

A few other weekend highlights include Kong: Skull Island, which brought in an estimated $2.67 million and has now surpassed $160 million domestically and Logan, which brought in an estimated $1.9 million and has now topped $220 million domestically.

In limited release, Roadside’s Tommy’s Honour opened on 167 screens where it brought in an estimated $218,920 ($1,310 PTA). Bleecker Street’s release of The Lost City of Z brought in an estimated $112,633 from four theaters ($28,158 PTA), narrowly topping Open Road’s Spark: A Space Tail even though Open Road’s animated feature opened in 361 more theaters where it could only manage an estimated $112,352 ($308 PTA).

Also, Sony Classics’ Norman: The Moderate Rise and Tragic Fall of a New York Fixer opened with an estimated $103,664 ($20,733 PTA); Chasing Trane: The John Coltrane Documentary from Abramorama opened with an estimated $15,880 from one theater; GKIDs’ My Entire High School Sinking Into the Sea opened with an estimated $15,215 from three theaters ($5,072 PTA); Cohen Media’s Heal the Living debuted with an estimated $3,176 from two theaters ($1,588 PTA); and FilmRise’s Finding Oscar opened with an estimated $3,000 from one location.

Next weekend sees the release of five new films including the Warner Bros. thriller Unforgettable along with Open Road’s The Promise, Phoenix Forgotten from Cinelou, Free Fire from A24 and, finally, Disneynature’s Born in China.

The Fate of the Furious Smurfs 3 and Going in Style Debut as Moviegoers Await Fast and Furious 8

Nothing major to report from last night’s Thursday preview screenings, which were led by New Line’s Going in Style, which brought in $600,000 from previews that began at 5PM. Sony’s Smurfs: The Lost Village also held 5PM preview screenings in 2,731 theaters where it brought in $375,000. Comparisons for both performances are tough to come by as the films used in our weekend preview either didn’t hold Thursday previews or we don’t have the results in our database.

We will be back tomorrow morning with a look at Friday estimates. You can read our weekend preview below.

WEEKEND PREVIEW: We’ve already seen some strong performances at the box office this year all of which have contributed to the yearly domestic box office topping $3 billion in ticket sales faster than it ever has before. Last weekend, The Boss Baby became the fifth release of 2017 to top $50 million at the weekend box office and while this weekend won’t see similar returns for the week’s new wide releases, it’s the relative calm before the storm as Universal’s The Fate of the Furious debuts next weekend, sure to become the year’s second $100+ million opener. As for this weekend, the top twelve may struggle to reach $120 million collectively as both Smurfs: The Lost Village and Going in Style are looking at relatively soft openings while Pure Flix’s The Case for Christ should find a spot in the lower half of the weekend top ten.

At the top of the box office it’s looking like another close one between Fox and DreamWorks Animation’s The Boss Baby and Disney’s Beauty and the Beast, the latter of which is entering its fourth weekend in release after recently crossing $400 million domestically and has now made over $910 million worldwide. Both films are likely to lose a little bit of their audience to the release of Smurfs: The Lost Village as the three family features must find a way to share a common audience, but we’re expecting both to drop no more than 46% this weekend. As for the forecast, we’re looking for Boss Baby to repeat at number one by a narrow margin, bringing in just over $27 million for the three-day with Beauty and the Beast estimated to bring in around $25.4 million.

As for Smurfs: The Lost Village, as opposed it its predecessors, this is a fully animated Smurfs feature. The 2011 live-action/animated hybrid debuted to $35.6 million and eventually grossed $142.6 million domestically while the sequel could only open with $17.5 million in 2013 before finishing its domestic run with $71 million. Those first two films, however, saw three-quarters of their worldwide grosses come from international markets, which is clearly the play once again with The Lost Village as it has already debuted overseas, opening in 38 markets with over $15 million last weekend. This third feature also saved on production costs, carrying a budget around $60 million, well below that of the previous two films, both of which carried budgets over $100 million.

Looking at this weekend’s domestic opening, The Lost Village is likely to perform as expected, a bit below the $17.5 million opening for The Smurfs 2, bringing in around $16 million or so from 3,610 theaters. Should this forecast hold, an overall domestic performance below $50 million could be likely.

Fourth place should go to Paramount’s Ghost in the Shell, which debuted with a very soft, $18.6 million last weekend. The film has since found itself a topic of conversation over the course of the week, and it’s the kind of conversation that’s unlikely to help its carryover prospects. Look for this one to drop over 50% this weekend as we’re forecasting an $8.6 million sophomore session.

Rounding out the top five is the week’s second new wide release, New Line’s comedy remake Going in Style starring Alan Arkin, Michael Caine and Morgan Freeman. The film is debuting in 3,061 theaters and industry expectation is for an $8 million opening for the film, which is reported to carry a $25 million budget. Attempting to find titles for comparison isn’t easy, though IMDb page view data shows it tracking well behind titles such as Last Vegas and playing closest to The Big Wedding, which opened with $7.6 million back in April 2013.

The week’s third new wide release finds Pure Flix’s faith-based feature The Case for Christ debuting in approximately 1,175 theaters this weekend as well as holding a special, Fathom event this evening on approximately 450 screens, which should help with its “weekend” haul. Industry expectations carry a rather wide range, anticipating an opening anywhere from $3-6 million, but to narrow that down a bit, IMDb page view data shows the film’s performance pacing closely to the studio’s 2015 release Woodlawn, which opened with $4 million from 1,553 theaters. Granted, the difference in theater counts is worth taking into account, but the title alone should help in getting more of the targeted audience into theaters and the Fathom premiere should definitely help with the weekend’s prospects. Overall, we’re forecasting an opening around $4.3 million, which could find it finishing around eighth place for the weekend.

Just outside the top ten, Focus is adding 265 theaters to their release of The Zookeeper’s Wife, which finished in the tenth slot last weekend with $3.2 million from 541 theaters. This weekend we’re expecting the film to hardly budge if not improve slightly, bringing in around $3.1 million.

Elsewhere, FUNimation will finally bring the overseas box office juggernaut Your Name to 303 North American theaters this weekend. The film has already brought in over $328 million internationally, of which over 65% came from Japan where it holds court as the country’s second largest domestic release ever behind Spirited Away, grossing over $214 million since hitting theaters last August.

Additional limited releases included Fox Searchlight’s Gifted, which will open in 56 theaters; Well Go’s Mine debuting in 26 locations; STX will release Their Finest in four theaters; Neon will release Anne Hathaway‘s Colossal into four theaters; and IFC is opening Graduation at two locations.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • The Boss Baby (3,829 theaters) – $27.0 M
  • Beauty and the Beast (3,969 theaters) – $25.4 M
  • Smurfs: The Lost Village (3,610 theaters) – $16.0 M
  • Ghost in the Shell (3,440 theaters) – $8.6 M
  • Going in Style (3,061 theaters) – $7.2 M
  • Power Rangers (2,978 theaters) – $6.8 M
  • Kong: Skull Island (2,753 theaters) – $5.1 M
  • The Case for Christ (1,175 theaters) – $4.3 M
  • Get Out (1,794 theaters) – $4.3 M
  • Logan (1,949 theaters) – $4.0 M

bossbaby 1 Box office: Boss Baby to pad resume with second week on top

DREAMWORKS 

Will April showers bring box office power to this week’s flock of new releases? From reigning champion The Boss Baby to specialty stunners like Colossal and Your Name, moviegoers have plenty to choose from at movie theaters big and small this weekend. Which film will rule them all? Find out in EW’s April 7-9 box office preview below.

1. The Boss Baby – $26 million 

Defying industry expectations, audiences hired The Boss Baby with an accompanying salary of $50.2 million last weekend; with little competition in the way of animated titles (its closest adversary, Smurfs: The Lost Village, is the third installment in a waning big screen franchise), the film — which features the voices of Alec Baldwin, Steve Buscemi, and Lisa Kudrow — should reclaim the top spot on the domestic chart as it crawls closer to becoming 2017’s eighth film to cross the $100 million mark in North America alone.

2. Beauty and the Beast – $24 million 

There’s no denying Beauty and the Beast had a fantastic run at the top of the box office. After tallying a whopping $174.8 million during its first three days in theaters, the film held steady with $90 million over its sophomore frame, finally relinquishing the peak position to The Boss Baby‘s stellar haul last week. All good things must come to an end, and Beauty and the Beast is cooling as it preps for a fourth go-round with audiences. Anticipate the Bill Condon-helmed production to add a further $20 million-$25 million to its growing $910.8 million worldwide total through Sunday.

 3. Smurfs: The Lost Village – $15 million 

Disappointing reviews aside, Smurfs: The Lost Village has a lot riding on its shoulders as it opens at 3,602 theaters. It’s the third big-screen feature in the beloved cartoon franchise’s history, and its predecessors have left behind two pairs of large shoes to fill. 2011’s The Smurfs bagged $563 million worldwide, with the follow-up amassing $347.5 million two years later. Its chances of reaching that deep into audience pockets are slim, as anticipation for the $60 million production feels remarkably low-key compared to the buzz generated by the prior iterations. Still, an opening in the $14 million-$17 million range would be promising and could spell success for the family title if worldwide grosses surge as well.

4. Going in Style – $8.5 million 

Morgan Freeman, Michael Caine, and Alan Arkin are giving mature audiences plenty to look forward to this weekend, as their crime comedy Going in Style enters approximately 3,000 theaters Friday. The Zach Braff-directed picture was written by Hidden Figures filmmaker Theodore Melfi, but don’t expect this film’s grosses to approach even half of what the best picture nominee made at the top of the year. The studio heist flick is pacing for an opening in the $7 million-$10 million range, but similar Freeman-starring titles — like 2013’s Last Vegas ($16.3 million opening) and 2007’s The Bucket List ($19.4 million opening) — have posted higher returns in the past. If older audiences turn out over time (as they tend to do), Going in Style should have no trouble making back its modest low-20s budget — and then some.

5. Ghost in the Shell – $7 million

 Yes, Paramount’s Japanese animation adaptation didn’t open to the lofty numbers box office prognosticators had initially anticipated, but there’s still hope for the Scarlett Johansson-fronted blockbuster to do decent business overseas in the weeks ahead. Its domestic performance, however, will take a hit this weekend, as special effects-heavy actioners tend to be a bit more front-loaded than their fellow wide releases; 2006’s Ultraviolet dipped 60 percent from week one to week two, Johansson’s own Lucy tumbled 58.4 percent from its $43.9 million bow back in 2014, and this year’s Power Rangers reboot took a 64.8 percent hit just under seven days ago, so expect Ghost in the Shell to follow suit.

Outside the top five, Anne Hathaway leads the brilliant dark comedy/monster movie mashup Colossal to four theaters, reaping glowing critical reviews for the Nacho Vigalondo-directed gem in the process.

Additionally, look for the Mike Vogel/Erika Christensen faith-based drama The Case for Christ to post so-so numbers at around 1,175 sites, while Chris Evans’ Gifted should hit its target at 56 theaters between Friday and Sunday.

Elsewhere, one of Japan’s biggest movies of all time, the manga adaptation Your Name, finally makes a stateside entrance this weekend at just over 300 locations. The film, which was submitted for Oscar consideration in the animation category, has grossed an astonishing $328.7 million worldwide to date, and there’s bound to be a niche audience that will elevate that total even further as Your Name makes its North American debut.

boss baby 1 The Boss Baby (2017) Movie Review
The Boss Baby (2017)

Are your children asking how babies get made? Would you prefer to never answer them, ever? Then forestall the inevitable and ruin your kids’ weekend with The Boss Baby, an unsettling talking-infant farce that doubles as an unsettling Pop Capitalist saga for the age of the corporate citizen. As the opening credits play over Irvin Berlin’s “Cheek to Cheek,” we’re up above the clouds, where babies roll off an assembly line, like cheap toys and bland animated features. Most of the babies pinball down an industrial chute to Earth, where they’ll presumably join a happy family and start watching Minions. But a select few lucky babies are selected for “management.” They get a suit, a briefcase, a cubicle, a title.

They go to work for BabyCorp, a company that has successfully quantified all the available love in the world, with a design aesthetic that equally suggests the midcentury banality of The Man in the Grey Flannel Suit and the late-century banality of Dilbert. At BabyCorp, employees dream of a corner office, with a big window and a tall desk, no family to distract them, no life to bother living.

If you’ll allow me to write something I already regret thinking: The Boss Baby mythology is surprisingly complicated. Especially considering that the film starts quiet and suburban, following the imaginative adventures of young Tim Templeton. He’s seven years old, and the only-child apple of his parents’ eyes. In fantasy sequences illustrated like old-fashioned picture books, he battles giant blue gorillas, rescues his parents from sharks, flies through space. There are no smartphones or video games, so perhaps we are in the past. An older Tim provides Wonder Years-ian narration: “Back then, you relied on your imagination.” (Old Narrating Tim is Tobey Maguire, suggesting that Boss Baby is a Labor Day prequel; Young Tim is voiced by Miles Christopher Bakshi, giving a remarkably sensitive performance amidst unmemorable celebrity voices.)

Tim’s life is happy, and immediately disrupted. His parents introduce him to a new member of the family. For Tim’s parents, this new baby is merely as impossible as any other endlessly requiring infant. He keeps them up all night; he ruins every dinner; he takes all their attention away. “Parental Misery” is a popular concept in our time — how many bookshelves hold Get the F— To Sleep — and the nifty-seeming idea of The Boss Baby seems to be how it shifts that misery into Tim’s formerly privileged perspective. He was the beloved only child; now, he is the forgotten elder child. But Tim discovers that this new arrival isn’t just a typical annoying baby brother. He’s a walking, talking, plotting boss baby (named, well, Boss Baby) with the voice of Alec Baldwin in full slithery-syrup elitist mode.

“It’s time,” the Boss Baby tells his big brother, “to make way for the next generation.” The Boss Baby grabs Tim’s humble Lamb doll and crushes it with an imitation Optimus Prime. He hosts a playdate and turns his baby brethren into a slobbering attack squad. He’s a cool know-it-all who likes double espressos and spicy tuna rolls. The film presents itself, for a few intriguing moments, as a war between two brothers and two generations, a kinder-gentler boy who loves imagination and a brutally disruptive hip young thing. Boss Baby is a DreamWorks movie, which means that kinetic energy is generally prized over visual coherence. In the movie’s suburbs, all the grass looks like AstroTurf and some of the faces look like they never got past beta testing. But there’s an extended backyard action sequence that hits the madcap heights of classic old Looney Tunes. Someone throws a baby through a window; it’s funny, I swear!

But then the Boss Baby takes Tim on an exposition-heavy tour of Boss Baby mythology — think The Ancient One and Dr. Strange and the multiverse, except more complicated. Suffice it to say, the Boss Babies up in the sky are concerned that people on Earth are starting to love puppies more than babies, and if they love puppies too much then they won’t want anymore babies. It’s confusing nonsense, and to explain it, the movie literally trots out a gigantic pie graph on a big screen. One thinks of General Turgidson in Dr. Strangelove, desperate and dumb, explaining the need for immediate apocalypse by screaming, “Look at the big board!”

It all becomes very algorithmic. There’s a bad guy with a tangled history, and everyone is in jeopardy, and there’s a trip to Las Vegas, and I hope someone out there still likes Elvis Jokes because Boss Baby is secretly the Elvis Joking-est movie ever. It feels like the kind of movie you make when different bosses demand different things. Although the movie’s nominally set in some idea of the past, there’s a toy wizard who quotes Gandalf from Lord of the Rings, and a heist scene that directly homages Raiders of the Lost Ark, and Mary Poppins jokes. There’s a whole scene where the Boss Baby and Tim ride in First Class, where the joke is how great it is to ride in First Class. “No one can afford it,” says the Boss Baby, “That’s what makes it so wonderful.”

Let’s be clear: The Boss Baby is a terrible, horrendous, totally miserable little creature. The film wants him to be lovable, a kid-friendly Jack Donaghy, but it’s more like somebody made an animated caper out of the further adventures of Jordan Belfort. Which I guess is its own weird kind of triumph. (The Wolf of Wall Street was easy to hate mid-Obama, and now it feels like the modern American Creation Myth.) But there’s a real sourness to The Boss Baby, enough to make even the most cynical little kid spit up. At one point, the Boss Baby bites a little girl on the arm, and she cries out; he throws dollar bills in her face, and she shrieks with joy. Let me sum up half the gags in this miserable movie: “Hahaha, money!”

Like many DreamWorks movies, The Boss Baby‘s most imaginative moments are the random asides. Tim’s fantasy sequences are illustrated with zesty abstraction. The villain’s backstory is explained via an elaborate 2D/3D picture-book montage. There’s a brief dream sequence where the Boss Baby and Tim race toward each other in the middle of the desert. They’re rendered as elderly children, brandishing walkers as weapons and with white beards blistering in the wind, and when they collide, a nuclear blast goes off.

Marla Frazee’s original Boss Baby picture book was, essentially, a book of lovely tangents built on a simple concept: That a newborn is precisely as all-powerful as your boss, and only slightly less uncaring. It’s the kind of “children’s book” that seems specifically designed for parents, but there’s an underlying sweetness, a light whimsy appealing for all ages.

It’s not surprising that the film adaptation tosses all that whimsy out the door. Sixteen years ago, DreamWorks released Shrek, one of the most influential films of the new millennium. Shrek was the fifth-and-a-half animated feature by DreamWorks — after the okay Antz, the great Chicken Run, forgotten 2D efforts Prince of Egypt and The Road to El Dorado, and not forgetting the partially animated Small Soldiers, a weirdo gem that deserves mention alongside Starship Troopers as an anticipatory military-industrial parody. Shrek was also the full flowering of something DreamWorks co-founder and animation honcho Jeffrey Katzenberg had dreamed of: A film that could parody Disney and steal Disney’s lunch money, with equal appeal for kids and parents and the too-cool-for-school teenagers in between.

As recounted in Nicole LaPorte’s brilliant inside-Hollywood treatise The Men Who Would Be King, Katzenberg’s main note during Shrek‘s tormented years-long production process was that it had to be “edgy.” That’s a hazy word with no real definition — you could argue that defining something as “edgy” is an insult disguised as a compliment, a way of saying that it’s almost interesting — but Shrek perfected the DreamWorks style of snarky sweetness. It ripped apart fairy tales but also honored them; it didn’t believe in beauties, but it demanded a happy ending for all beasts.

Shrek also turned DreamWorks into an animation empire, ending Disney’s stranglehold on cartoons and opening the door to our modern talking-digital-animal Renaissance. That had to feel good for Katzenberg, whose forced departure from Disney led to a decade-defining lawsuit. Shrek won the first-ever Best Animated Feature Academy Award. (In what I have to believe was further shade, the main character in DreamWorks’ Shark Tale is named “Oscar.”) DreamWorks’ output since then has been prolific, and mixed. There has been brilliance, and untold disappointing sequels, and some intriguing oddities, and whatever Rise of the Guardians was. But you can see the DreamWorks style everywhere: In the cynical-saccharine Modern Family, in the Marvel Cinematic Universe’s rendering of Tony Stark as a smirkingly wealthy tycoon who jokes about superheroes but inevitably is just another superhero, and most of all in the last decade of Disney films, which trended more referential and self-aware either in competition or from osmosis. (Maui in Moana is a DreamWorks character invading a Disney adventure; Cars is a DreamWorks franchise, you’ll never convince me otherwise.)

Katzenberg himself left DreamWorks Animation last year. When the credits roll on The Boss Baby, you’ll see his name at the top of the “Special Thanks” list, if you stick around long enough. It’s hazy to attribute authorship to a studio boss — hazy to attribute a term like “authorship” to anything that feels so market-tested, boardroom-approved, and Elvis-joke’d — but I wonder if this is his final statement. For as much as the film wants us to laugh at the Boss Baby, we’re really meant to laugh with him, and learn from him. He hates kid stuff but loves memos. When his older brother reads him the story of Hansel and Gretel, the Boss Baby declares: “The story is about cannibalism and burning people alive? No wonder kids are so messed up!”

That’s a line that goes right back to Shrek‘s knowingly self-aware — yet never particularly challenging — take on fairy tales. It’s that tone of a teenager looking back at the stories he used to love, and deciding they were totally weird, and thinking “I’m too grown up for that dumb stuff now!” and then going to see Transformers 5. The joy of DreamWorks Animation at its best — and the opposite of joy, by Shrek Forever After — is how it modeled a new kind of kid-friendly adult storytelling that never had to move past that initial moment of awareness: A mock-cynical sincerity that circles culture endlessly backward through the primal fairy tales, stories that once appealed to children, now gilded with just enough “edge.”

In the best case scenario, this could create something like Kung Fu Panda, a marvelous adventure deconstructing the normal hero’s journey on the way to building a sweetly post-modern hero’s journey.

But there are worst case scenarios, instances where empty cynicism dissolves into sour snark, where the pretense at self-awareness becomes its own retrograde stupidity. Consider the cultural devolution from something like Wicked — a lacerating female-first deconstruction of an old children’s story — to Oz, The Great and Powerful, the story of a money-obsessed con man with a heart of gold who gets the good girl by vanquishing all the bad girls. Consider the whole quotemarky “It’s just a joke!” tone of online discourse, the rise of smirking insincerity as a political mode and an intellectual dialectic.

And then there’s The Boss Baby, merely mediocre yet disturbingly familiar, for we are all Boss Babies now.

boss baby ver7 The Boss Baby (2017) Movie Review

boss baby Box office report: The Boss Baby dethrones Beauty and the Beast

DREAMWORKS ANIMATION

After two straight weeks of putting in the work to see Disney’s Beauty and the Beast, audiences have hired a replacement box office champion in Fox’s The Boss Baby.

The animated family comedy dethrones the reigning champion, posting an estimated $49 million — a figure nearly $20 million higher than industry expectations initially projected — over its first three days in theaters.

Featuring the voices of Alec Baldwin, Lisa Kudrow, Jimmy Kimmel, Steve Buscemi, and Tobey Maguire, the film follows a suit-wearing infant who teams with his older brother to foil an evil CEO’s nefarious plot. Though it failed to drum up much excitement from movie critics, The Boss Baby notched an impressive A- grade on CinemaScore from polled moviegoers, who drove the film to a $12,987 per-screen average from 3,773 locations — the highest of the week.

According to the industry tracking analysts at comScore, The Boss Baby‘s Friday grosses also helped solidify March 2017’s record as the month’s best performer ever, tallying over $1 billion in ticket sales for the first time in history. Around $1.171 billion worth of audiences went to see movies on domestic screens between March 1-31 — an uptick of 23.4 percent from the previous record of $949.1 million posted in 2016.

Falling to No. 2 across its third week in wide release, Disney’s Bill Condon-directed adaptation of Beauty and the Beast adds a healthy estimated $47.5 million to its growing total, which sits at $395.5 million domestically to date. With a further $67 million pouring in from overseas audiences, Beauty and the Beast has made an astounding $876 million worldwide, cementing it as the year’s top-earning picture both in North America and internationally.

Debuting at No. 3 with a muted $19 million is Paramount’s take on the popular Japanese animation series Ghost in the Shell. The $110 million blockbuster features Scarlett Johannson as an anti-cyberterrorism cyborg. Playing at 3,440 sites, the film averaged a so-so $5,523 and a B-grade on CinemaScore. While its domestic numbers aren’t spectacular, films like this are designed to perform much better overseas, so it can’t be labeled a flop just yet; the female-fronted actioner Resident Evil: The Final Chapter made a paltry $26.8 million stateside in January, though its worldwide total has continued to climb past the $300 million mark well into spring. Ghost in the Shell currently occupies approximately 78 percent of its planned international footprint, so expect it to earn a great deal beyond the $40.1 million it earned from foreign countries this weekend.

Holdovers occupy the remaining slots in the top five, including Power Rangers — which dips a harsh 64 percent to $14.5 million over its second outing — and Kong: Skull Island. The King Kong franchise entry sheds 40 percent of its audience for a fourth weekend total of $8.8 million, bringing its North American haul to $147.8 million thus far.the zookeepers wife Box office report: The Boss Baby dethrones Beauty and the Beast

ANNE MARIE FOX

Rounding out the top 10 is Focus’ Niki Caro-directed historical drama The Zookeeper’s Wife, starring two-time Oscar nominee Jessica Chastain as Antonina Zabinski, a Polish zookeeper who saved hundreds of people and animals during the German invasion in WWII-era Warsaw. Overperforming from Friday through Sunday, the film took an estimated $3.3 million from 541 theaters, averaging a healthy $6,191 per location. The decision has prompted Focus to roll out plans to expand the film to more theaters faster than initially anticipated.

“We’re very happy with our opening weekend, having a more limited title open in the top 10 is a great accomplishment!” Focus Features’ head of distribution, Lisa Bunnell, said of Zookeeper‘s performance via statement. “The film played extremely well with our core audience — exit polls were huge with over 90 percent of the audience rating the film in the top two boxes — as a result we’ve decided to expand faster than originally planned. Adult audiences are looking for films with a great story and strong performances and The Zookeeper’s Wife delivers.”

Per comScore, overall box office is up around 5 percent from the same frame last year. Check out the March 31 – April 2 weekend box office estimates below.

1 – The Boss Baby – $49 million
2 – Beauty and the Beast – $47.5 million
3 – Ghost in the Shell – $19 million
4 – Power Rangers – $14.5 million
5 – Kong: Skull Island – $8.8 million
6 – Logan – $6.2 million
7 – Get Out – $5.8 million
8 – Life – $5.6 million
9 – CHIPS – $4 million
10 – The Zookeeper’s Wife – $3.3 million

boss baby 2017 Box Office: Boss Baby Demands Attention With Bossy $49M, No. 1 Opening

Courtesy of DreamWorks Animation
‘The Boss Baby’
‘Ghost in the Shell’ bows to an underwhelming $19 million.

DreamWorks Animation’s The Boss Baby proved to be the boss, all right. The Fox release grabbed an estimated $49 million over its debut weekend, unseating Disney’s Beauty and the Beast to take the top spot at the domestic box office.

Boss Baby just managed to edge out Beauty, which collected another $47.5 million during its third weekend as it domestic gross rose to $395.5 million.

The news wasn’t so upbeat for the weekend’s other new wide release, Paramount’s futuristic thriller Ghost in the Shell, starring Scarlett Johansson. Based on a Japanese manga, the film, which became the poster child for whitewashing when Johansson was cast in the central role of a cyber-soldier, grossed an underwhelming $19 million as it settled into the third spot in the rankings.

Boss Baby, which opened in 3,773 theaters, performed well above expectations that had pegged the movie as doing $30 million-plus for the three days. The PG-rated, CG-animated movie stars Alec Baldwin, who voices the character of a business-minded bossy baby who is on a secret mission to ensure babies get more love than puppies. The film is based on the 2010 children’s book written and illustrated by Marla Frazee. Tom McGrath directed the pic, which has a voice cast including Steve Buscemi, Jimmy Kimmel, Lisa Kudrow, Miles Christopher Bakshi and Tobey Maguire.

Boss Baby earned an A- CinemaScore, with moviegoers under 25 giving it a solid A. Families made up 67 percent of its audience, and it played to a diverse crowd — 53 percent of the audience was white; 19 percent Hispanic; 14 percent African-American and 9 percent Asian.

Internationally, Boss Baby has taken in $59 million to date, bringing its worldwide total to $108 million.

On the domestic front, it was the best opening for a DreamWorks movie since 2015’s friendly-alien picture Home, which bowed to $52 million and went on to pull in $177.4 million domestically and $386 million globally.

Ghost proved to be a shadow of Johansson’s last solo acting outing, Lucy, which debuted to $43.9 million in 2014. Helmed by Rupert Sanders, the new film was adapted from the Japanese manga by Shirow Masamune and also stars “Beat” Takeshi Kitano, Michael Carmen Pitt, Pilou Asbæk, Chin Han and Juliette Binoche.

The PG-13 sci-fi film cost $110 million and was produced by Paramount, DreamWorks and Reliance Entertainment. It also opened in more than 50 international markets over the weekend, where it collected $40.1 million for a global tally of $59.1 million. Ghost is set to open in Japan and China on Friday.

The pic appealed to an older, male audience, with men comprising 61 percent of opening-weekend ticketbuyers and 76 percent of the audience being over the age of 25.

Bowing on a more limited basis as it debuted in 541 theaters, Focus’ World War II drama The Zookeeper’s Wife found a receptive audience, attracting $3.3 million for a per-theater average of $6,191 and securing a foothold in the top 10 with a tenth-place showing. The PG-13-rated period film, which attracted an older, female audience, stars Jessica Chastain and was directed by Niki Caro and revolves around how the keepers of the Warsaw Zoo saved the lives of both humans and animals.  It will expand into additional theaters on Friday.

Among holdovers, Lionsgate’s Power Rangers dropped by 65 percent in its second weekend, grossing $14.5 million to bring its domestic total to $65.1 million as it took the fourth spot.

In its fourth weekend, Warner Bros. and Legendary’s Kong: Skull Island ranked fifth as it took in $8.8 million, bringing its domestic tally to $147.8 million.

Fox’s Logan checked in at sixth place with $6.2 million and a domestic cume of $211.9 million, while in seventh place Universal’s Get Out claimed another $5.8 million as its domestic tally grew to $156.9 million.

The results weren’t encouraging for two other holdovers. In its second week, Sony’s Life managed just $5.6 million for a domestic cume of $22.4 million, and Warners’ CHIPS managed just $4.1 million for a total of $14.4 million.

Elsewhere, in limited release China Lion’s The Devotion of Suspect X brought in an estimated $330k from 43 theaters ($7,674 PTA); Arrow Films’ re-release of Donnie Darko brought in $53,200 from 21 theaters; and Janus Films’ release of David Lynch: The Art of Life brought in $12,126 from one theater.

Next weekend sees the release of New Line’s Going in Style in 3,000+ theaters, Sony’s Smurfs: The Lost Village will debut in ~3,400 theaters and Pure Flix will release The Case for Christ in ~1,100 theaters. In limited release Fox Searchlight will be releasing Gifted in ~50 theaters and STX will release Their Finest at just four locations.

boss baby ver7 The Boss Baby (2017) Movie TrailerThe Boss Baby (2017) Movie Trailer

Watch the Trailer of this Movie:

THE BOSS BABY is a hilariously universal story about how a new baby’s arrival impacts a family, told from the point of view of a delightfully unreliable narrator, a wildly imaginative 7 year old named Tim. With a sly, heart-filled message about the importance of family, DreamWorks’ THE BOSS BABY is an authentic and broadly appealing original comedy for all ages.

THE BOSS BABY Trailer
A Movie directed by Tom McGrath
Cast : Alec Baldwin, Lisa Kudrow, Steve Buscemi
Release Date : 31 March 2017
Genre : Animation, Comedy, Family

THE BOSS BABY Trailer 2
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