Conversely, Sony's Charlie's Angels crashed and burned in its domestic opening with an estimated $8.6 million, becoming the third high-profile reboot or sequel in a row to bomb after Terminator: Dark Fate two weeks ago and Doctor Sleep last weekend.
Directed by James Mangold, Ford v Ferrari — earning a coveted A+ CinemaScore and glowing reviews — is a much-needed win for the Fox film label and new owner Disney following a string of misses this year. The movie's promising debut is also a victory for adult-skewing, original event pics.
Starring Christian Bale and Matt Damon, Ford v Ferrari tells the real-life story of the two men who, in 1966, helped Henry Ford II and his Ford Motor Co. become the first American company to win Le Mans, the world's most prestigious race. Chernin Entertainment produced.
Ford v Ferrari has major Oscar ambitions, and cost $97 million to produce before marketing. Nearly 80 percent of ticket buyers were over the age of 25, including 55 percent over the age of 35, according to PostTrak. Males made of 62 percent of the audience.
Directed by Elizabeth Banks, Charlie's Angels wasn't able to win over younger females, its target audience, in a major way. Worse, the definite recommend on PostTrak was a dismal 47 percent. The film, starring Kirsten Stewart, Naomi Scott and Ella Balinska as globe-trotting spies, opens 16 years after the big-screen sequel Charlie's Angels: Full Throttle debuted to $37 million, not adjusted for inflation.
Sony's financial exposure is minimized, with China's Perfect World and other partners putting up 50 percent of the movie's $50 million-plus production budget. Charlie's Angels earned a B+ CinemaScore from audiences after receiving mediocre reviews.
Overseas, Charlie's Angels limped to $19.3 million from its first 26 markets, including a third-place finish in China with $7.7 million, for global start of $27.9 million.
Domestically, Charlie's Angels came in third behind Ford v. Ferrari and holdover Midway, which declined 51 percent in its second outing to $8.8 million for a domestic total of $35.1 million.
Paramount's Playing With Fire placed fourth with $8.55 million for a 10-day domestic total of $25.5 million and $30 million globally the family friendly pic could come in ahead of Charlie's Angels once final weekend numbers are tallied.
Universal's rom-com Last Christmas slipped 41 percent in its sophomore outing to $6.7 million for a domestic total of $22.6 million. Overseas, it took in $8.6 million for a foreign tally of $13 million and $35.6 million worldwide.
Bill Condon's The Good Liar, starring Ian McKellen and Helen Mirren, also underwhelmed in its nationwide debut, grossing an estimated $5.65 million and becoming the latest Warners release to underperform outside of Joker and It: Chapter Two.
Condon's thriller all but tied with Joker for No. 7 the order will be decided Monday when final weekend numbers are released. Overseas, The Good Liar has earned $3.9 million so far for $9.6 million globally.
Joker finished its seventh weekend with a mammoth $1.017 billion in worldwide ticket sales after joining the billion dollar club on Friday. The pic is expected to throw off $600 million or more in profit for Warners, Village Roadshow and Bron.
Disney's Maleficent: Mistress of Evil placed No. 9 domestically with $5.2 million for a global cume through Sunday of $458.9 million, including an impressive $352.9 million internationally.
Focus Features' Harriet rounded out the top 10 in North America with $4.8 million for a domestic total of $31.9 million.
At the speciy box office, writer-director Trey Edward Shults' critically acclaimed Waves reported an opening weekend location average of $36,140 from four theaters in New York and Los Angeles.
Elizabeth Banks’ and Kristen Stewart’s attempt to revive the Charlie’s Angels franchise struck out in a big way for Sony Pictures this weekend, as the third Charlie’s Angels film - and the first since 2003’s Full Throttle - tanked at the box office, scoring only $8.6 million, well below even the modest $12-$14 million expectations. The good news is that it was made for a relatively modest $48 million. The bad news is that it’s also faring poorly overseas.
It’s hard to say exactly what went wrong with Charlie’s Angels. Reviews were decent 59 percent on Rotten Tomatoes, with Kristen Stewart’s comedic turn being singled out by most critics, and the B+ Cinemascore was OK, as well. Maybe there just wasn’t much interest in the old IP? Twenty years ago, when Drew Barrymore’s Charlie’s Angels scored a $40 million opening, the IP was only two decades removed from the TV series. Younger audiences now, however, have almost no frame of reference in fact, there’s a Michael Keaton joke in the 2019 film to this effect. Or maybe there wasn’t enough star power surrounding Stewart? The 2000 film had Drew Barrymore, but also Lucy Liu, Bill Murray, and Cameron Diaz at the peak of their respective careers, while Naomi Scott and Ella Balinska are not exactly household names. In either respect, it’s a major disappointment for Sony and for Elizabeth Banks, who directed the film and had a starring role.
There was much better news for the weekend’s top film, Ford v. Ferrari, the Christian Bale and Matt Damon film based on a true story, which raced to a tidy $31 million opening. That is impressive, but may not sound that impressive considering the $100 million price tag. However, with great reviews 92 percent on Rotten Tomatoes and a perfect A+ Cinemascore, it’s the kind of crowd-pleasing movie with a specific target audience - Dads! - likely to continue raking in solid business through the Thanksgiving holiday and well into awards season.
Fox's FORD V FERRARI is taking a victory lap as it easily earned the checkered flag with $31M in its first box office race.
Adult audiences can stand proud today. Or sit. Especially in one of those comfy kick-back theater chairs.
— Exhibitor Relations Co. @ERCboxoffice November 17, 2019
This is particularly good news for the marketplace as a whole, because it illustrates that non-Disney films targeted at adults can still perform well at the box office, although it often seems that this has to be proven over and over again, because movies like Ford often feel like the exception to the rule. To wit: Helen Mirren and Ian McKellan’s The Good Liar also opened this weekend, but looks like it will only bank around $5.6 million. Considering the $10 million price tag and its prospects overseas, that may not be a terrible figure, even if it only gives the film an eighth place finish at this weekend’s box office.
The rest of the weekend’s entries were all holdovers. Midway actually took the two-spot, edging out Charlie’s Angels by earning $8.75 million and $35 million to date. The family film Playing with Fire dropped to $8.5 million and $25 million overall. Last Christmas is not having a good run up to the holidays, falling 42 percent to $6.6 million and $22 million overall. Doctor Sleep, however, was the most precipitous fall this weekend, dropping 59 percent to $6.1 and $25 million overall, the same overall gross as Playing with Fire.
At the bottom of this weekend’s top ten list is Joker with $5.6 million and $322 million overall. Worldwide, the film also surpassed the $1 billion mark. Maleficent: Mistress of Evil took the nine spot with $4.8 million and $105 million overall, and with $4.5 million, Harriet has now earned $31.7 million. Notably absent from the top ten in just its third week? Terminator: Dark Fate, which earned just $4.3 million and is already being shuffled out of theaters with only $56 million to date.
Next weekend will see the release of Frozen II, which will likely wipe everything else off the map with a $100 million opening, or more. Also making a play for Thanksgiving receipts the following weekend will be Tom Hanks’ crowdpleaser, A Beautiful Day in the Neighborhood and Chadwick Boseman’s 21 Bridges.
Against all odds, Warner Bros. and Todd Phillips' R-rated Joker is about to join the billion dollar club at the worldwide box office. Its global grosses through Thursday stand at $999.1 million.
The subversive, R-rated superhero pic starring Joaquin Phoenix is also destined to generate profits of $600 million for Warners and partners Village Roadshow and Bron. The two partners each have a 25 percent stake in the film.
The movie's phenomenal run at the box office has exceeded all expectations, particularly in the U.S., where there were security concerns leading into the film's release. Domestically, it has grossed nearly $340 million, while it has cleared $820 million overseas.
Joker will be the fourth DC title to cross $1 billion, behind Aquaman $1.15 billion, The Dark Knight Rises $1.084 billion and The Dark Knight $1.005 billion, not adjusted for inflation.
And overall, it is becoming the 13th live-action comic book pic to collect $1 billion or more, even though it isn't billed as a traditional "superhero" movie. Marvel Studios/Disney titles command eight spots on the list that doesn't include Spider-Man: Far From Home, which was produced by Marvel for Sony.
Joker had already passed up Deadpool $783 million to become the top-grossing R-rated pic of all time, not adjusted for inflation. Deadpool 2's earnings were roughly $738 million before a PG-13 cut of the 2018 film brought the movie's total grosses to $785 million.
Jokerwill become the sixth Warners film to lay claim to the billion-dollar milestone. In addition to Aquaman and the two Dark Knight pics, the other titles are the final Harry Potter movie $1.34 billion and The Hobbit: An Unexpected Journey $1.02 billion, not adjusted for inflation. That number grows to seven if counting New Line's 2003 effort Lord of the Rings:The Return of the King$1.13 billion. New Line was a sister company at the time, prior to merging with Warner Bros. in 2008.
In terms of other DC titles in the post-Christopher Nolan era, Man of Steel topped out at $668 million globally, followed by Batman v Superman: Dawn of Justice $873.6 million, Suicide Squad $746.8 million, Wonder Woman $821.8 million and Justice League $657.9 million.
Warner Bros/Village Roadshow/Bron Studios' Joker is dancing across the $1B global box office mark today, becoming the first R-rated movie ever to the milestone.
It is Warner Bros.’ 7th film to cross $1 billion behind Harry Potter and the Deathly Hallows Part 2 $1.34B, Aquaman $1.148B, Lord of the Rings: Return of the King $1.12B, Dark Knight Rises $1.08B, Hobbit: The Unexpected Journey $1.01B, and Dark Knight $1B. Among Warner Bros.-DC titles, Joker is the 4th to clear the billion mark. A few weeks ago, Joker flew past The Matrix Reloaded and Deadpool 2 as the highest grossing R-rated pic of all-time.
In a stunning turn, the Todd Phillips-directed origins story joins The Dark Knight and Pirates Of The Caribbean 2: Dead Man's Chest as films to reach such a figure without the benefit of a China release during their original runs. The global cume through Thursday is $999.1M global with $317M stateside through yesterday.
Joker may be a DC character, but he's been an absolute marvel since world premiering at the Venice Film Festival in late August. The Joaquin Phoenix-starrer was greeted by huzzahs on the Lido and went on to scoop the event's top prize Golden Lion.
From there, Joker played the Toronto and New York Film Festivals, among others, and began overseas rollout on October 2 with domestic going two days later. At open, the movie smashed October records domestically, internationally and globally, taking the mantle from last year's Venom. The overseas launch was $152.2M with a domestic opening record of $96.2M for $248.2M global.
Domestically, there had been early concern over theater safety given the films dark themes, though fortunately there were no major incidents. Also causing hand-wringing was that the movie could be frontloaded by fanboys and perhaps not perform like a superhero pic since it doesn't fit the genre to which we've become accustomed. Ultimately, Joker was so in the zeitgeist, aided in part by its mass coverage coming out of Venice, that audiences turned out and continued to do so the Bronx stairs that Arthur Fleck as Joker dances down have become a tourist attraction. Many say that Warner Bros. Studio marketing boss Blair Rich was very instrumental in believing and seeing how to sell Joker very early on before Phillips even shot a frame. High praise for Warner Domestic Distribution boss Jeff Goldstein for continually tapping the first weekend of October and expanding the marketplace, a place where Warners at point held the opening weekend record for the month with Gravity. Overall, Warner Bros. execs put their all in making Joker happen.
Holds have been astonishing and on October 25, Joker became the top-grossing R-rated movie ever worldwide, overtaking Deadpool. In early November, it became the first R-rated title to cross $900M global.
The fact that Joker has achieved such s without China is another example of just how global the box office can be. This has been a year during which a handful of titles, though released in the Middle Kingdom, would still have gotten to $1B without it - think: Avengers: Endgame, Toy Story 4 and The Lion King. Even Aladdin would have gotten this close sans China.
Joker is an original reinvention of the familiar mythology and a unique standalone story that introduces Phoenix as Fleck, a man struggling to find his way in Gotham's fractured society. A clown-for-hire by day, he aspires to be a stand-up comic at night, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty, Arthur makes one bad decision that brings about a chain reaction of escalating events.
The decision to world premiere a comic book at the Venice Film Festival was a bold risk by Warner Bros. Money-wise, it has certainly paid off see here for Deadline’s dive into potential profits from a few weeks ago, a number that will be well north of a half billion.
Next will be to see how Joker fares during awards season. Venice has increasingly become a key launchpad — three of the last five Best Picture Oscar winners began their career on the Lido — and Warner Bros has had good luck from there in the past. Phoenix seems poised for a Best Actor nomination, and, as Pete Hammond has reported, the movie is making an impact with Academy members.
James Mangold's Ford v Ferrarifrom 20th Century Fox/Chernin Entertainment put $2.1 million in the tank from Thursday box office previews that began at 6 PM. Projections expect the pic being released by Disney to exceed $20M this weekend, maybe even as high as $30M.
Great exits for the Christian Bale-Matt Damon movie last night: 4 1/2 stars on Screen Engine/Comscore's PostTrak and a 60% definite recommend and an 87% positive score. Leading demos were males over 25 56%, 88% grade, females over 25 26%, 84% positive, males under 25 11%, 86% positive and females under 25 8%, 93% grade.
Ford v. Ferrari is booked at 3,528 locations including 350 Imax screens, 650 branded Premium Large Format screens, and 330 D-Box/4D/ScreenX enhanced locations. Ford v Ferrarihas a 91% certified fresh rating on Rotten Tomatoes, which will encourage non-frequent moviegoers to flock.
Sony's Charlie's Angelsstarted showtimes early at 4:30 PM at 2,968 sites, earning only $900,000. The reboot from filmmaker-actress Elizabeth Banks is expected to come in between $10M-$12M this weekend. Over in China, the third pic in the Sony series was second at the Friday box office behind local pic Somewhere Winter,making $2.9M that includes previews to the latter's $4.1M. Pic received low exits last night from the few who turned out, with 3 stars, 46% definite recommend and a 69% positive. Females over 25 led 33%, 63% grade, males over 25 30%, 70% grade, females under 25 29%, 78% grade and males under 25 8%, 60% grade followed. The first two Charlie's Angelsmovies, directed by McG and starring Drew Barrymore, Cameron Diaz and Lucy Liu, respectively earned an A- and B+ CinemaScore. Banks' Charlie's Angelsis 58% Rotten.
Charlie's Angels,starring Kristen Stewart in her first popcorn movie since arguably 2012's Twilight Saga: Breaking Dawn Part 2she starred in a ton of prestigious indies and the low-grossing American Ultrain between, opens in 27 markets this weekend with the majors being China, Russia, Brazil, Australia/NZ also opening in Eastern Europe, Middle East and Southeast Asia. Pic is expected to open to around $20M offshore.
New Line has the Bill Condon-directed Helen Mirren-Ian McKellen thriller The Good Liar, which did not hold previews last night. Pic is booked at 2,439 locations. Opening is looking like the low-single digits. The pic has a 61% fresh Rotten Tomatoes score.
Among regular pics in release at the domestic box office this frame, Lionsgate/AGC Studios' Midwayled the week with $26.3M after a $1.3M Thursday, off 11% from Wednesday. Universal's Last Christmaswas second yesterday with $800K, -1%, but third for the week with an estimated $15.8M. Warner Bros' Doctor Sleep is still dreary with a $775K Thursday, -12% for a first week of $18.8M. Paramount/Skydance Media/Fox's Terminator: Dark Fateranked fourth with $620K, -15%, a second week of $14.9M and and awful $52.5M two-week cume. Focus Features' Harrietsaw $605K, even with Wednesday, a $10.9M second week and 14-day running tally of $27.1M.
It's kind of funny when Jon Bernthal first shows up in Ford v Ferrari because it's one of those movie moments where we see Bernthal and our first reaction is, “Oh hey, Bernthal, cool.” Then when he's introduced to the other characters, “This is Lee Iacocca,” it's another funny moment because then your reaction is, “Oh, Lee Iacocca!” You know, one of those movie moments where we know Iacocca later becomes famous, but all these characters don't realize that and just think he's another corporate stooge. But we know they are dealing with someone special, who helps engineer Ford Motor Company's attempt to boost sales by beating Ferrari at 24 Hours of Le Mans.
The first thing I learned about Bernthal in this interview is that he's the type who will just call you directly, which is unusual in that it didn't involve some sort of publicist to connect the two of us. And the second part is Bernthal introduces himself in a way that makes no assumptions that anyone knows who he is — going as far to explain who he is and the movie he's calling to talk about. Bernthal also looks back at his time as The Punisher, and isn't particularly coy about his desire to keep playing him. He gives us a preview of playing Tony Soprano's father in the upcoming The Many Saints of Newark.
Also, we'd be remiss if we didn't bring up the lasting endearment of The Accountant, a movie Bernthal says people still come up to him and ask about a sequel.
Jon Bernthal: Mike, how you doing, man? It's Jon Bernthal, calling from the Ford v Ferrari movie.
Oh, hey ... it's always weird when there's no publicist in between.
I know, man. I know, I like to cut right to the source, brother. No, I'm actually just getting out of the junket, but I'm trying to race up to my little boy's basketball games. So they said I could do this in the car.
So, when I was a little kid, Lee Iacocca might have been the most famous person I remember who I had no idea what he did. That guy was everywhere.
Totally. And his face and the name was everywhere, sort of like, we were inundated. You're right, as a kid, you have no idea who he is. I have some sort of recollection of him being extremely friendly and wise and calm, but very powerful, and relatable. And you know, the movie focuses on a time in his life when he's young and ambitious and hopeful, and very much a fish out of water at that company — the son of immigrants in a very blue blood company.
I love when Lee is introduced to us, the audience. It's one of those, oh, here's this incredibly famous public figure but the other characters don't know him yet moments.
And I think what's so interesting is, you meet Lee Iacocca, and he is offered literally no respect by his peers. The chips were stacked against him and he was an unstoppable force, and he did it with grace and he did it with dignity. He was not your typical, again, sort of blue blood, country club guy that was the sort of standard in Ford upper management.
So you read his book?
That's a whole other thing. When I was a little kid, every adult was reading that book.
It was two books of that era, right? It was Iacocca and it was the Art of the Deal.
And Yeager. I remember Chuck Yeager had a big book at the time, too.
Totally! Yeah, my dad had that one too.
I love that this movie is as much about dealing with corporate bureaucracy as it is winning a car race.
And I think the stakes are just as high, as you said, in the board room, as in the living room of the Ken Miles home, and in what's going in Carroll Shelby's garage as they are on the race track. There's so much at stake for the human beings. And I think, look, you could have just made this a car racing movie. But I think that investment really lies with the fact that you're just so invested in the characters and you know how much they have at stake in every moment of this movie.
Is it surprising to you people still talk about The Accountant? I think about it a lot.
Yeah, look, I think Gavin O'Connor is a really, really, really special filmmaker.
But it's a weird movie. I think that's why it's sticking around.
Yeah, I mean, when you think about it — when you just think about the logline of that movie — it's nuts, you know?
It is, yes.
But you know what the thing about it is: the people who made it really, really cared. It was a really, really cool script with a great filmmaker. Ben Affleck is incredible in the film. But I think, also, it's dealing with like issues of brotherhood, fathers and sons, autism, sort of special needs learning and this sort of like the uncharted territory of autism. How new and fresh that is, and the capabilities of some of these folks that are so intriguing. So it really does hit upon them, and it's an awesome action move too. So I guess that's a long-ass answer to a short-ass question.
That movie deserves a long answer.
A lot of people do still talk to me about The Accountant, and it is a movie that really has a huge impact and people ask me all the time if we're going to make another one.
It's fascinating that people still love that movie and want more Accountant. That's great.
Yeah, me too. Me, too.
I know you have to talk about The Punisher in every interview. But I do enjoy how when you're asked if you want to keep playing him it's not a coy answer.
Yeah, man, look, you know how it is. We know nothing about that process, and I welcome that. I love playing Frank. I love the Frank fan base. I love how much he means to people in the military community and the law enforcement community, the comic book fans are the best fans in the world. I care about the guy in my heart. So I was super grateful for the opportunity. And I think, like I said, to me, it's really not about whether you do it or not, it's just really getting it right and doing the version of him that does it justice. And, of course, I'll always care about Frank with everything I got.
People really liked you in that role.
Look, right now, we have sort of this generation of literally the best among us, the special forces community of guys that are being used at an incredibly high rate. You know, those numbers of deployments and operations are staggering. Again, I can't begin to tell you how much respect and love I have for that community and the folks in that community that have sort of welcomed me in. So I think that the Frank Castle story really hits home right now, and I think that's a giant part of it as well.
So you're playing Johnny Boy Soprano in The Many Saints of Newark. I'm very excited this is happening, but I have no idea what to expect. Does that make sense?
Yeah, man. Look, obviously, I'm not going to say anything.
Tell me the ending.
[Laughs] Yeah, man, I'm not going to do that. Yeah, look, it's David Chase. I was coming up as an acting student when The Sopranos was on the air as my favorite show of all time. Revisiting the show and going back and watching it again was really one of the joys of my life in the last year. I suggest everybody do it. It holds up where I think it to be the best show ever made.
Yeah, I rewatched it again recently. And I agree.
I think that it's a huge honor. It's a huge honor to work with David Chase. It's a huge honor to be a part of it. And yeah, I'm really excited about it.
Did you ever meet James Gandolfini?
I did not. But I am tremendously close with Michael Gandolfini and I have the utmost respect for him, and to be sort of a part of the journey that he's on — playing the same role that his father played, really beautifully, and I'm honored to be a part of it and I love that kid with all my heart.
I met him randomly once at a bar here in New York in 2006. He was the nicest guy.
I've heard that. Man, I've heard that from a lot of people.