As Oscar contender “Ford v Ferrari” 20th Century Fox opened well to adults around the country, A24 launched its own claim for awards consideration for speciy family drama “Waves,” starring Emmy-winner Sterling K. Brown. Of course, the point is to get audiences interested so the film can build.
Amazon opened CIA drama “The Report,” starring Adam Driver and Annette Bening, across the country two weeks ahead of its Prime access–and like Netflix, will no longer report grosses. This only makes more work for the box-office analysts who try to gauge how films like Netflix’s “The Irishman” and “Marriage Story” are performing in limited release.
The two best-reviewed films of the week, the Senegalese Oscar entry and Cannes prize-winner “Atlantics” and the French animated “I Lost My Body,” were released in a few theaters ahead of their Netflix debuts, with zero indication of their performance.
Trey Edward Shults’ acclaimed Florida family drama, with strong festival response and excellent reviews, debuted at four top New York/Los Angeles theaters to decent results. Though not backed by movie stars or a high-concept hook, “Waves” started decently for what should be a respectable word-of-mouth run. Though not close to the level of A24’s somewhat similar “Moonlight” which had an initial PTA of over $100,000 which opened in a less competitive time frame, “Waves” still compares well to other films that went on to success. For example, “Green Book” last year in these two cities managed a PTA of around $25,000 –later growing into a major success based on audience appeal. And this has much better reviews.
What comes next: The timing of the release shows A24’s faith in its future, including awards chances, especially for TV star Brown. This will expand slowly, with the expectation of a strong presence over Christmas and the intense nomination and awards period.
The ReportAmazon – Metacritic: 67; Festivals include: Sundance, Telluride, Toronto 2019
$est. 150,000 in 84 theaters; PTA: $est. 1,785
Amazon has now joined Netflix in not reporting grosses ahead of short-term streaming of their limited releases. Scott Z. Burns’ political expose opened in major markets across the country. Like Netflix, these showings seem to be designed for reviews and press exposure more than gross. The response, so far as we can determine, are under the usual Netflix performance.
What comes next: Expect Amazon to have more releases like this along the Netflix model.
Everybody’s Everything Gunpowder & Sky – Metacritic: 71; Festivals include: South by Southwest 2019
$61,281 in 29 theaters; PTA: $2,113; Cumulative: $455,807
After strong limited event showings, mostly last Tuesday, this documentary on emo rapper Lil Peep transitioned to regular dates. These were more modest with some individual dates - particularly in Los Angeles - showing strength.
What comes next: This will return to some of its initial theaters next weekend.
This British historical drama set in India is an unusual entry for speciy distributor Roadside Attractions. The primarily English-language film was placed in 276 theaters, where it showed little sign of life.
What comes next: This looks to have a limited theatrical future.
$est. 3,000 in 1 theaters; PTA: $est. 3,000; Cumulative: $9,523
In the spirit of Debra Granik and other independent directors, Annabelle Attanasio set her debut in a non-urban setting Montana for a family drama. Following some initial strong festival platforming, it opened at New York’s prime Film Forum on a small screen. Its best days were during the week it opened on Wednesday with director appearances with a decent five day figure.
$210,617 in 17 theaters +13; PTA: $12,389; Cumulative: $584,713
Coming off a stellar initial four-theater platform including Q & A sessions, the big-city expansion of Shia LaBeouf’s personal film yielded decent if not spectacular results. The star-writer’s appeal could bring crossover business ahead, but for now Amazon is going with a slower rollout into the top 15 markets. A much wider national break will follow.
$est. 140,000 in est. 16 theaters +11; PTA: $est. 8,750; Cumulative: $est. 360,000
Again, this is an educated attempt to estimate Noah Baumbach film’s gross in initial theaters ahead of its Netflix showings. The family drama expanded in New York and Los Angeles outlying areas along with some new cities. So far it’s not doing as well as “The Irishman” or “Roma.”
$14,000 in 8 theaters +6; PTA: $1,750; Cumulative: $41,975
Laura Greenfield’s documentary about the iconic Imelda Marcos added new cities to a lesser result than its initial New York dates.
Ongoing/expanding Grosses over $50,000
Harriet Focus Week 3
$4,780,000 in 2,011 theaters +25; Cumulative: $31,900,000
Landing again in the Top Ten, this biopic continues to show strength. It has broadened well. And its ultimate $45-50 million domestic total will rank far higher than many studio dramas this fall that cost much more and went even wider.
$2,818,000 in 995 theaters +197; Cumulative: $13,597,000
Taika Waititi’s film continues its strong initial runs with selective new dates. These are good results, but as we continue to compare with the spring release of “Grand Budapest Hotel,” an earlier Fox Searchlight awards success, “Jojo” isn’t at the same level. On its earlier fourth weekend, Wes Anderson’s film in 977 theaters grossed almost $9 million. So far “Jojo” is more high-end specialized release than breakout/crossover title.
Parasite Neon Week 6
$1,935,000 in 620 theaters +17; Cumulative: $14,493,000
A very decent hold for “Parasite,” which has only dropped about a quarter despite little change in theater totals. That’s even more impressive for a subtitled release. An over $3,000 PTA for this many theaters, including mainstream, continues to show something special is happening.
$1,250,000 est. in 175 theaters +153; Cumulative: $est. 2,400,000
Just as the networks try to project election winners with sample precincts plus some background in electoral math, we are continuing to estimate how Martin Scorsese’s film is performing among the independent theaters willing to play it. The number of theaters is an estimate. Netflix’s ticket sales website lists all theaters currently booked which have showtimes at last count, about 212 cities, perhaps 250 theaters, with some yet to open.
Our guesstimate reflects the limited number of shows, in many theaters with limited seats without the core two-week run at the Belasco Theatre in New York, which is done. Our PTA of over $7,000 could be on the low side and could be off by some degree either direction, but reflects our finding that unlike the initial dates, fewer shows were sold out.
Still, for a film facing audience resistance both from its no-intermission 209 minute length and streaming availability in under two weeks, this is drawing real interest. The possible total, when all is counted, will be somewhere over $4 million. These runs function as previews for the main streaming event. Of course, we won’t get verified numbers of how many views it gets later.
$391,770 in 290 theaters -393; Cumulative: $9,790,000
It’s black and white, it’s claustrophobic and intense, it’s a festival and critics fave, but with its cast clearly boosting its appeal, A24 has managed to pull off a wider than typical release for a film like this: it could get to $10 million domestic.
$214,221 in 226 theaters -40; Cumulative: $3,085,000
Lost in the break out/crossover success for “Parasite” is the fact that Pedro Almodovar’s latest would otherwise be seen as the standout specialized subtitled film of the season. In recent years, similar films that reached this level usually did so with the boost of year-end awards attention. SPC will try to keep this in the spotlight in the weeks ahead.
The Kevin Smith traveling roadshow continues with top-end price personal appearance events in Chattanooga and Atlanta as gross boosters for this clearly smart if work intensive strategy.
No Safe Places Atlas Week 4
$115,000 in 55 theaters +17; Cumulative: $359,000
The latest right-wing polemic documentary to find an audience, this view of speech victimization expanded to the Los Angeles area and elsewhere with some continued interest. The overall decent number was enhanced by a $30,000 event screenings gross in an AMC Burbank California theater.
Judy Roadside Attractions Week 8
$87,725 in 123 theaters -123; Cumulative: $23,716,000
Roadside got “Judy” out ahead of the pack of awards releases and got rewarded with a gross that is at the high end of expectations, and all before any actual nominations or wins occurred.
Elsewhere, Bill Condon's 'The Good Liar' opens to an even worse $5.6 million, while 'Joker' passes up 'The Dark Knight' to finish Sunday with $1.017 billion in global ticket sales.
Ford v Ferrari easily ran Charlie's Angels and the rest of the competition off the road at the weekend box office, grossing a better-than-expected $31 million in North America for 20th Century Fox and Disney. Overseas, it debuted to $21.4 million for a global start of $52.4 million.
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.
Warner Bros.' Stephen King adaptation Doctor Sleep, a sequel to The Shining, tumbled a steep 56 percent in its second weekend to $6.2 million for a domestic cume of $25 million and $53.8 million globally.
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.
The Good Liar was dinged by tepid reviews and a B CinemaScore. It also had to compete with Ford v Ferrari for older moviegoers.
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 specialty 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.
The final scenes have been filmed and the cast has shared their goodbyes from the set of Fuller House.
Candace Cameron Bure, who played D.J. Tanner-Fuller on the Netflix spinoff, documented the show's final day of production Friday on her Instagram Story.
“This is it. Our last tape day of our last show of Fuller House,” said Cameron Bure. “I'm feeling happy and a little sick to my stomach and I'm not at tears yet, but I know I will be.”
The actress played D.J. on original series Full House and for five seasons on the reboot. On Friday she got emotional while giving fans a look at the stage where Fuller House was filmed.
In another Instagram post Saturday morning, Cameron Bure captioned a scene from the show: “ Fuller House. Final bow.”
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Several other members of the cast, including Jodie Sweetin, who co-starred as Stephanie Tanner, also documented the day.
“This couch. This show. This family. I will miss this with all my heart,” Sweetin captioned a photo from the set.
Bob Saget, known to fans of the series as Danny Tanner, also took to Instagram and shared a photo of his co-stars embracing.
“After the final ever episode of the 5th season of Fuller House, this photo that Candace sent me sums it all up,” Saget wrote next to a picture of the cast members embracing.
“So proud of the incredible work, love, and deep friendship of Candace, Jodie, and Andrea who made Fuller House such a special show for so many. Here's to five wonderful years full of love and laughter, and more love. These are three incredible and talented women. I love them all so much,” he added.
Fuller House premiered in 2016. As previously reported, season 5 of the multi-camera comedy began production in May.
Both Full House and Fuller House were created by Jeff Franklin who served as executive producer/showrunner on the first three seasons of the boot.
As film aggregator Distribber and its corporate parent, GoDigital Inc., veered toward financial collapse, it continued collecting royalty payments from platforms like iTunes, Amazon, and Netflix. For filmmakers, collecting those royalties is another matter: Restructuring firm GlassRatner, which is overseeing the firm’s liquidation, offers no assurance whether or when filmmakers can expect to be paid what they’re owed.
However, there is one clear exception: Netflix. The streamer is working directly with filmmakers to account for payments that Netflix sent to GoDigital and were not passed on to the filmmakers. That means Netflix plans to pay out those royalties twice — this time, directly to the filmmakers — according to a person familiar with the situation.
“Although we have not reached an agreement with GoDigital for the assignment of your license agreement, we are now moving forward with the process of getting paperwork in place in order to begin releasing payments to you,” reads an email that Netflix sent to affected filmmakers in October. It also requests that filmmakers forward supporting documents, including a tally of all outstanding payments.
Most Distribber and GoDigital filmmakers placed their films on transactional platforms like Amazon and iTunes, with the aggregator acting as a middleman that handles encoding, quality control, and serves as a royalty clearinghouse. However, since the platforms take a cut from the rental or purchase of each film, they have broader standards for acceptance. Netflix worked with GoDigital less frequently since the streamer doesn’t have an open-submission strategy. It accepts a more select number of films in exchange for flat-rate royalties over a set period.
One self-financed filmmaker said he’s owed three quarterly payments from GoDigital totaling between $40,000 and $50,000. Most comes from the flat rate paid by Netflix each quarter. He said he’s counting on those funds to compensate people who worked on his project and recoup his investment, he said.
GlassRatner managing director Seth Freeman has suggested that filmmakers might have better luck looking to the platforms for their payments. “There may be a legal argument that since the film was exploited on their platform and they received payment, the platform is responsible to pay the film owner,” he told Variety. “Absent any legal duty, the reality is that the platforms need the content and the amounts needed to take care of the unpaid licensing fees is tiny for them, but still important to the film owners. From a PR and goodwill standpoint, the platforms would greatly benefit.”
While Netflix’s action could certainly generate goodwill, it can only help a small portion of the GoDigital clients now waiting for their royalties. According to a website set up by GlassRatner to offer information about the liquidation process, all GoDigital content has been removed from Amazon, while Netflix “is prepared to enter into a direct license” with former GoDigital filmmakers.
As for Apple, however, GlassRatner “has had a couple conversations with iTunes Apple and it does not appear they share the same sense of urgency in facilitating a transition of GoDigital’s account that avoids having to remove content from iTunes Apple and the time and expense of relaunching it.”
As the site notes, “[GlassRatner] is continuing to have conversations with certain platforms on how to implement a smooth transition that would avoid removing films already on their platforms. This is not progressing as quickly as [GlassRatner] desires.”
Last month, an attorney representing Distribber filmmaker Jevona Watson told IndieWire that Distribber’s failure calls for criminal investigation, saying the company’s failure to pay filmmakers what they’re owed amounts to theft.
Netflix has assembled the core cast for Brand New Cherry Flavor, an eight-episode horror-thriller revenge series it had been quietly putting together for the past few months.
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Rosa Salazar Alita: Battle Angel, Undone leads the cast of the drama, based on the cult horror novel by Todd Grimson and produced by Netflix and UCP.
Catherine Keener Kidding, Get Out, Eric Lange Escape at Dannemora, Unbelievable and two co-stars of departing series — Marvel's Agents of Shield's Jeff Ward and The Good Place's Manny Jacinto — co-star in the series, written by Nick Antosca The Act, Channel Zero and Lenore Zion Billions, Channel Zero.
Brand New Cherry Favor is the story of Lisa Nova Salazar, an aspiring film director in the sun-drenched but seamy world of 1990 Los Angeles who embarks on a mind-altering journey — from the streets of Beverly Hills to the forests of Brazil — of supernatural revenge.
Antosca executive produces through his production banner Eat the Cat alongside Zion. Arkasha Stevenson, who helmed the third season of Syfy's anthology series Channel Zero, will direct the first episode. The project stems from Antosca's overall deal at UCP where she co-created and served as co-showrunner on the studio's Hulu limited series The Act, and created and showran Channel Zero.
In addition to her title role in Alita: Battle Angel and her starring role on the series Undone, Salazar also was recently seen in The Kindergarten Teacher and Netflix hit Birdbox. She is repped by Paradigm and Jackoway Austen.
Oscar nominee Keener, who has one-year deal for Brand New Cherry Flavor, co-stars on the Showtime series Kidding and was recently seen in the Amazon anthology series Modern Love. She is repped by Gersh.
Lange, coming off notable roles in praised limited series Escape From Dannemora, Netflix's Unbelievable and a major arc on the final season of The Man In the High Castle, will next be seen in the HBO limited series Perry Mason. He is repped by Domain and Trademark Talent.
Ward, who plays Deke Shaw on ABC's Marvel's Agents Of S.H.I.E.L.D., starred on the second season of Antosca's Channel Zero. He is repped by Paradigm and Morris Yorn.
Jacinto, who plays Jason Mendoza on NBC's The Good Place, will next be seen in Top Gun: Maverick. He is with CAA and Principals Talent Management.