.widget.ContactForm { display: none; }

Thursday, January 23, 2020

Multicines Opens the First 4K RGB Laser Cinema in Ecuador with Christie

Ecuador’s first cinema equipped with 4K RGB laser projection has opened in the Condado de Quito shopping mall. The integrator CES+ (Cinema Equipment & Supplies) recently installed a Christie CP4330-RGB projector with RealLaser™ illumination in the MCX Multicines Xtreme theater.

The new theater, part of the Multicines exhibition chain, has 257 premium seats, a 15-meter screen and Dolby Atmos sound. “With this new theater we wanted to replicate the quality of image and sound that film directors and producers aspire to convey in their movies,” said Gonzalo López, general manager of Multicines. “The fact we have introduced the first 4K RGB laser cinema theater in Ecuador reinforces our reputation as leaders in technological innovation, which is part and parcel of Multicines’ DNA.”

López added, “We wanted to offer our customers the highest standards of quality in brightness, color and contrast, and this is the best projector available in the market.”

Multicines’ general manager also noted “the economical operating costs of the projector with its low energy consumption and maintenance, which help to safeguard our company’s bottom line.”

Diego López, Christie general manager for NOLA and the Andes Region, said, “We are delighted that Multicines chose Christie to equip the only 4K RGB laser cinema theater in Ecuador. And we are really pleased to see how, when it comes to opening new cinemas, more and more exhibition companies in Latin America are opting for Christie RealLaser illumination technology, which is available for various sized theaters and screen formats.”

When Multicines began operating in Ecuador in 1996, it pioneered the use of new technology and multi-theater complexes in the country. It currently has 54 screens in different cities around the country, many of them equipped with Christie cinema projectors.

The Christie CP4330-RGB pure laser cinema projector is equipped with CineLife electronics and RealLaser illumination, and offers up to 50,000 hours of performance in a typical cinema theatre under optimal conditions.

The post Multicines Opens the First 4K RGB Laser Cinema in Ecuador with Christie appeared first on Boxoffice.



from Boxoffice

Wednesday, January 22, 2020

Weekend Box Office Forecast: Bad Boys for Life to Lead Again as The Gentlemen and The Turning Debut

The calm after the holiday storm will begin to set in this weekend, but there’s still good news for a box office market that’s currently up 5 percent year-to-date versus last year thanks in large part to breakout weekends from Bad Boys for Life and 1917 over the past two frames.

This weekend, two wide openers and one moderate release enter the fray. STX and director Guy Ritchie’s The Gentlemen will aim to rally fans of the director with his return to the hard-R, adult-driven crime comedy that shaped his early career with films like Snatch and Lock, Stock, and Two Smoking Barrels. The film has already earned $18.4 million overseas (including $10.4 million in the United Kingdom and $7.2 million in Australia), a healthy start for a film that only cost the studio $7 million to distribute.

We expect The Gentlemen will cater strictly to an older male audience, and while it may not generate quite the same excitement in North America as its UK home base, positive reviews indicate the film is on track for a healthy debut stateside. Opening in 2,000 locations could hinder it from debuting in the realm of past male-driven January films like Den of Thieves or Ritchie’s own The Man from UNCLE, but an opening in our expected range would be a generally positive result for the title.

Universal offers up another debut for a third straight week with The Turning, a PG-13 horror film catering to young female audiences. As always, original horror titles in this vein are notoriously challenging to forecast — with examples ranging from last-minute breakouts to box office duds. Currently, our models are trending in between the performances of recent genre pics Underwater and The Grudge.

Again, as a low-budget film, The Turning doesn’t need to reach extreme heights, but it does face the slight challenge of representing the third horror entry to already release in the young new year. On the plus side, none of those really stood out among the target crowd.

Roadside Attractions will also release The Last Full Measure this weekend, though the studio has only confirmed it will be a “moderate” release and an estimated location count was not made available at the time of this report. A wide enough debut could land it a debut in the top ten if it draws strong attention from military families and blue collar regions outside major cities.

As for the aforementioned Bad Boys for Life and 1917, look for the former to easily hold onto the top spot in its second weekend. The latter war epic will likely be in close proximity to Dolittle for the second and third spots. While there’s a comedown naturally expected from last weekend’s holiday-boosted performances, the positive news is that a lack of NFL playoffs this weekend may help ease many of those declines.

Opening Weekend Ranges

  • The Gentlemen ($8 – 13 million)
  • The Turning ($8 – 13 million)

Top 10 vs. Last Year

Boxoffice projects this weekend’s top ten films will increase approximately 27 to 32 percent from the same weekend last year, which was also one week after MLK Day. That frame saw The Kid Who Would Be King and Serenity debut as part of an overall $73.8 million top ten aggregate.

Weekend Forecast

Film Distributor 3-Day Weekend Forecast Projected Domestic Total through Sunday, January 26 % Change from Last Wknd
Bad Boys for Life Sony / Columbia $25,200,000 $107,700,000 -60%
Dolittle Universal $13,300,000 $44,400,000 -39%
1917 Universal $12,700,000 $99,700,000 -42%
The Turning Universal $10,800,000 $10,800,000 NEW
The Gentlemen STX $10,200,000 $10,200,000 NEW
Jumanji: The Next Level Sony / Columbia $6,700,000 $282,300,000 -31%
Star Wars: The Rise of Skywalker Disney / Lucasfilm $4,900,000 $501,100,000 -41%
Just Mercy Warner Bros. $4,300,000 $27,100,000 -26%
Little Women (2019) Sony / Columbia $4,100,000 $92,100,000 -35%
Knives Out Lionsgate $3,200,000 $151,700,000 -25%

Forecasts subject to change as location counts are finalized before Friday

The chart above excludes releases and potential expansions from limited and platform films

Contact us for information about subscribing to Boxoffice’s suite of forecasting and data services

The post Weekend Box Office Forecast: <em>Bad Boys for Life</em> to Lead Again as <em>The Gentlemen</em> and <em>The Turning</em> Debut appeared first on Boxoffice.



from Boxoffice

Parasite to Screen at Los Angeles’ Ace Hotel with Live Score

PRESS RELEASE

Neon is proud to present Bong Joon Ho’s six-time Oscar nominated film Parasite to audiences in a one of a kind experience on Sunday, January 26th at The Theater at the Ace Hotel. Parasite‘s composer, Jung Jaeil, will conduct the Hollywood Chamber Orchestra as they play the film’s score alongside a screening. Bong Joon Ho will introduce the film, which most became the first foreign language film to collect the SAG ensemble honor.

PARASITE recently expanded to over 800 theaters, bringing in an additional $2.2 million. It’s U.S. cumulative box office is over 28mm. 

Information about the Live Score Event and for ticketing information can be found here.

The post <em>Parasite</em> to Screen at Los Angeles’ Ace Hotel with Live Score appeared first on Boxoffice.



from Boxoffice

Arts Alliance Media Supports Sundance Film Festival for Fourth Consecutive Year

PRESS RELEASE


Arts Alliance Media will provide their Screenwriter Theatre Management System (TMS) and software support to the Sundance Film Festival for the fourth consecutive year.

Sundance Institute will use AAM’s Screenwriter TMS at six 2020 Sundance Film Festival screening locations across Park City, Salt Lake City and the Sundance Mountain Resort in Utah, from January 23 to February 2, 2020.

“We really enjoy working with AAM and their Technical team. They are amazing partners and work seamlessly with us on our out of the box usage of their software. By pointing all our theatres to one central LMS which can efficiently push content to our venues, we now have the ability to save time, money, and take cars off of the road,” noted Holden Payne, Technical Director of Exhibition and Production at Sundance Institute.

The Sundance Film Festival selects around 200 feature-length and short films every year and was attended by at least 122,000 people in 2019.

Screenwriter, installed in over 45,000 cinema screens worldwide, enables staff to monitor screens, schedule features, trailers and advertisements and control playback all from one intuitive interface. As well as automating common operational tasks, such as playlist and schedule building, Screenwriter ensures that the correct KDMs (Key Delivery Messages – the security keys required to unlock content for playback) are in place.

Any potential content, connectivity or KDM issues are highlighted so staff can resolve them ahead of time and keep screenings running on schedule. This will help the 2020 Sundance Film Festival to handle any last-minute schedule changes, content alterations or VIP screenings to ensure the same great experience to all their audiences.

Peter Kim, Vice President of Sales at Arts Alliance Media, said, “We’re delighted that Sundance Institute has selected AAM as their software partner for the fourth consecutive year. The Sundance Film Festival is a landmark event and Screenwriter’s versatility and reliability will ensure maximum support as they anticipate another record-breaking year.”

The post Arts Alliance Media Supports Sundance Film Festival for Fourth Consecutive Year appeared first on Boxoffice.



from Boxoffice

Expanded Nordic Oscar Weekend Celebrates its Hollywood Talent

PRESS RELEASE


Los Angeles, 22 January 2020 – Celebrating its fifth year in LA, the Nordic Oscar Weekend (NOW) is where Europe’s ‘coolest’ creative talent meets Hollywood. This year the event will span three days of panels, conferences, awards, and celebrations in the first week of February (6th to 8th), that will highlight the outsize influence that the region’s actors, directors, and other creative industry professionals have in the global film capital. Rebranding from ‘Norwegian’ to Nordic Oscar Weekend, NOW is the learning and networking opportunity for the best talent of today and tomorrow.

NOW 2020 follows a great year for Nordic talent that saw such achievements as Alexander Skarsgårds blockbuster Pennywise clown in IT: Chapter 2; the combined directing and acting talent of HBO’s Chernobyl and the Academy Award-nominated score for Joker by Hildur Guðnadótti – which could follow the success of the previous year’s Oscar-winning composer Ludwig Göransson, whose Black Panther soundtrack was followed by the music for Disney+’s The Mandalorian and Christopher Nolan’s Tenet. These are just the tip of the Nordic talent iceberg in Hollywood. 

Having started in 2015, the NOW event has since 2017 included the Greta Nissen Award, named after the Norwegian star who was the original ‘Paramount Blonde’, as well as the Door Opener Award. These awards have previously celebrated the creative talent behind films and TV hits such as Game of Thrones, Wonder Woman, Norsemen, Pirates of the Carribean, Hansel & Gretel: Witch Hunters. In 2019 the event expanded from being a nighttime event with awards, to also include a daytime conference the day prior, to grow business opportunities between an emerging Norwegian creative community and the traditional Hollywood industry.

Commenting on the event, co-founder Dave Spilde of Trollbound Entertainment said, “The breadth and depth of all the Nordic talent working in Hollywood today are tremendous, given that it only represents a small selection of creative from five countries of just over 25 million people.” The 2020 NOW conference will focus mainly on Film/TV and Music with topics as:

  • Legal considerations for working in the US;
  • Representation: Agents and Managers;
  • Sharing of personal experiences;
  • Sales opportunities;
  • Inviting US industry professionals to interact with the Nordic crowd;
  • Import/Export of creative products and content.

This event “is not just about celebrating Norwegians,” emphasised Jo Sletback, the Honorable Consul General of the Royal Norwegian Consulate General in San Francisco at last year’s event, “but about celebrating their contributions to the creative industries.” In addition to film and television, the conference highlights music, design, fashion, writing and other creative sectors. 

Speakers will include agents, managers, studio executives, music producers, production companies, and showrunners. The audience will consist of top Nordic producers, writers/showrunners, actors, directors, photographers, fashion designers, music producers, musical artists, dancers, models, and more. We will be working with Nordic trade-bodies to make maximum awareness. NOW anticipate about 200-300 participants and registration is now open.   

For more information and program visit: https://www.nowla.org/

The post Expanded Nordic Oscar Weekend Celebrates its Hollywood Talent appeared first on Boxoffice.



from Boxoffice

Specialty Distribution: Neon Looks Back on 2019’s Art House Hits

Since its launch in 2017, Neon has emerged as one of the most important and eclectic theatrical distributors in the country. After a particularly strong 2019 that saw the release of Bong Joon Ho’s Parasite expand and reach over $20 million domestically, Neon became a symbol of how the specialty market can thrive at movie theaters—even in a time of big studio tentpoles and competition from streaming services.

Boxoffice Pro spoke with Neon’s head of distribution, Elissa Federoff, ahead of Art House Convergence to get a recap of the company’s impressive 2019 in cinemas.

There have been a lot of questions about the role of theatrical for independent and specialty titles, especially in this streaming era. Your releases in 2019 have managed to stay—and expand—in theaters through successful runs. What importance does theatrical hold for Neon? Can these types of films continue to thrive in cinemas in the coming years?

A movie theater is the best place for cinema. It’s all-encompassing and communal, and there aren’t many other places where that kind of experience exists. We have no distractions from the outside world; it’s just us and the movie. It’s singular and special and not something we take for granted. Films like Parasite and Portrait of a Lady on Fire are spectacular feats of filmmaking. Director Bong’s Parasite unfolds in the most exciting ways, and to hear the thrill of the audience while watching together is part of that magic. Portrait of a Lady on Fire is a timeless and singularly provocative love story. Writer/director Céline Sciamma has created something elegant and profound, boundless in both its setting and its appeal across broad audiences. Winning Best Screenplay at Cannes and with a 98 percent Rotten Tomatoes score, Portrait has played in theaters across the country to standing ovations and multiple jury awards. That can’t be duplicated in our living rooms.

Parasite

On a similar note, Neon has had great success with documentaries in theaters—not a particularly easy task. Do you believe today’s audiences are more open to watching documentaries in cinemas?

In the past several years some of the best and most successful specialty releases have been nonfiction, and I know it’s because those films have been exceptional. Audiences want to see unique and cinematic stories told in fresh and exciting ways. For example, Todd Miller’s Apollo 11, a story we all know but the never-before-seen footage and the exhilarating score make it like we’re watching the launch for the very first time. We premiered it out of Sundance and went nationally on Imax screens before playing for the next several months in multiplexes and art theaters around the country. It’s now at $16 million worldwide, and not only is it an extraordinary piece of nonfiction filmmaking, it’s a great movie, period. 

Apollo 11

Walk us through some of your 2019 slate—what was it about those films that originally caught your attention, and can you share with us your approach to their release and marketing? 

Each film on our 2019 slate was handpicked by our team. We love all the films for different reasons, but together they create a body of work for Neon that makes total sense. Each film at Neon gets a tailor-made, bespoke campaign that best suits it. For example, Honeyland opened on two screens in July and held steady for months in a few highly curated theaters as a way to maximize the discovery aspect of the film. Monos is phenomenal and made by an exciting new voice in filmmaking, Alejandro Landes. He did Q&As in cities across the country, because after people fell in love with watching his film in the theater, they all had a great thirst for the details of his process. We finished the year with Clemency, which won the Grand Jury Prize for Dramatic Filmmaking at Sundance. It combines a career-best performance by Alfre Woodard with an eloquent, new voice in film, Chinonye Chukwu. The subject matter is important and will strike much-needed conversation, but the beauty of Chukwu’s filmmaking is what we continually see reviewers and audiences responding to.

The post Specialty Distribution: Neon Looks Back on 2019’s Art House Hits appeared first on Boxoffice.



from Boxoffice

Tuesday, January 21, 2020

Weekend Box Office Results: Bad Boys For Life, Dolittle

The decade might be only three weeks old, but this may still rank among the decade’s biggest box office surprises even by December 2029.

Sony / Columbia’s action comedy sequel Bad Boys For Life opened with a $62.5 three-day / $73.0M four-day weekend if including the Monday holiday.

For context, three-day projections were generally in the low $40M range. On one popular box office prediction website, the highest that any user projected for the three-day was $51M.

Studio estimates kept going higher and higher. Saturday’s four-day projection was $63.5M, then that increased to $68.1M on Sunday, then increased again to $73.4M on Monday.

(The actual declined slightly to $73.0M when revealed on Tuesday.)

Not Bad

For Life debuted about equal to 2003’s previous installment Bad Boys II, which opened with $70.6M adjusted for ticket price inflation ($46.5M originally).

Yet that film opened in July instead of January and was at the peak of Will Smith’s stardom, making For Life‘s approximately even opening arguably even more impressive.

Compared to other similar action sequels or reboots in the past year, For Life topped both the $17.8M total of November’s Charlie’s Angels and the $21.3M total of June’s Shaft on its opening Friday alone. 

Its opening weekend alone bested the $62.2M cumulative total of November’s Terminator: Dark Fate, and almost overtook the $80.0M cumulative total of June’s Men in Black: International.

For comparison, Smith’s similar action movie Gemini Man underperformed in October with a $48.5M cumulative total, which For Life exceeded in its opening weekend.

Studio Heads

This also vaults Sony into the highest-grossing studio of 2020 so far, with $228.4M versus Disney’s $190.5M.

While Disney will almost certainly finish the year on top, they had also spent the first two weekends of the year ahead, with some forecasting that they wouldn’t lose their lead at any point.

It Did Little

The financial news was on the opposite end of the spectrum for Universal’s family film Dolittle, which opened with a $21.8M three-day / $28.3M four-day weekend despite its estimated $175M production budget.

That’s -2.4% below 1998’s Doctor Dolittle even in pure dollars, or -49.7% below if adjusting for ticket price inflation.

It also opened -29.7% behind 2001’s Dr. Dolittle 2 if adjusting for ticket price inflation.

Silver or Bronze

Last weekend’s leader, Universal’s war thriller 1917, fell to either second or third place, depending how you look at it.

For the three-day weekend, it took the silver medal with $21.9M; for the four-day weekend, it took the bronze medal with $26.9M.

Among other January wide release war movie, its -27.2% MLK Day weekend decline was steeper than the -23.8% for Zero Dark Thirty but milder than the -31.4% for Lone Survivor.

How’d This Weekend Compare?

Total box office this four-day weekend was $205.0M. That’s +55.2% above last weekend, and even the three-day was +25.7% above last weekend.

The four-day MLK Day weekend was also +26.3% above this same extended MLK Day weekend last year, when Glass led with $46.5M.

The Year So Far

Year-to-date box office stands at $670.7M. That’s +10.3% above this same date last year, up from +5.3% after last weekend.


Tuesday’s 4-Day Weekend Actuals (Domestic)

FRI, JAN. 17 – MON, JAN. 20

WIDE (1000+)

# TITLE WEEKEND   LOCATIONS   AVG. TOTAL WKS. DIST.
1 Bad Boys For Life $73,033,944 3,775 $19,347 $73,033,944 1 Sony / Columbia
2 Dolittle $28,301,930 4,155 $6,812 $28,301,930 1 Universal
3 1917 $26,907,050 -27% 3,612 178 $7,449 $81,524,034 4 Universal Pictures
4 Jumanji: The Next Level $12,660,811 -10% 3,323 -581 $3,810 $273,573,786 6 Sony Pictures
5 Star Wars: The Rise Of Skywalker $10,592,727 -30% 3,058 -1221 $3,464 $494,238,528 5 Disney
6 Little Women $8,227,765 5% 2,503 -713 $3,287 $86,718,817 4 Sony Pictures
7 Just Mercy $7,517,302 -23% 2,457 82 $3,060 $21,129,945 4 Warner Bros.
8 Knives Out $5,326,647 -5% 1,667 -393 $3,195 $147,004,034 8 Lionsgate
9 Frozen II $5,325,076 -10% 2,080 -575 $2,560 $466,476,766 9 Disney
10 Like a Boss $4,780,202 -52% 3,081 3 $1,552 $17,863,790 2 Paramount Pictures
11 Underwater $4,529,164 -35% 2,791 0 $1,623 $13,749,871 2 20th Century Fox
12 Spies in Disguise $3,973,389 -23% 1,761 -910 $2,256 $59,800,256 4 20th Century Fox
13 Jojo Rabbit $1,918,034 841% 1,005 880 $1,908 $24,047,106 14 Fox Searchlight
14 Ford v. Ferrari $1,342,230 76% 1,080 513 $1,243 $113,152,618 10 20th Century Fox

LIMITED (100 — 999)

# TITLE WEEKEND   LOCATIONS   AVG. TOTAL WKS. DIST.
1 Weathering With You $2,229,027 486 $4,586 $5,275,277 1 GKIDS
2 Parasite $2,211,216 132% 843 498 $2,623 $28,199,866 15 NEON
3 Uncut Gems $1,621,411 -52% 930 -1151 $1,743 $46,550,010 6 A24
4 The Grudge $1,062,723 -70% 977 -1665 $1,088 $20,195,364 3 Sony Pictures
5 Bombshell $767,688 -47% 410 -879 $1,872 $29,432,596 6 Lionsgate
6 Joker $429,312 624% 854 769 $503 $334,576,513 16 Warner Bros.
7 Once Upon a Time In Hollywood $417,360 1102% 705 651 $592 $141,575,381 26 Sony Pictures
8 A Beautiful Day in the Neighborhood $384,189 -27% 365 -154 $1,053 $60,588,038 9 Sony Pictures
9 Cats $179,205 -68% 146 -672 $1,227 $26,827,040 5 Universal Pictures
10 Pain and Glory $126,767 129% 167 63 $759 $4,223,782 16 Sony Pictures Classics
11 Chhapaak $122,781 -61% 100 0 $1,228 $553,775 2 FIP
12 Maleficent: Mistress of Evil $92,188 14% 105 -23 $878 $113,770,483 14 Disney
13 Queen & Slim $81,770 -79% 120 -322 $681 $43,730,180 8 Universal Pictures
14 Richard Jewell $81,490 -52% 163 -213 $500 $22,181,668 6 Warner Bros.
15 Midway $69,793 -19% 113 -65 $618 $56,824,434 11 Lionsgate

PLATFORM (1 — 99)

# TITLE WEEKEND   LOCATIONS   AVG. TOTAL WKS. DIST.
1 Ip Man 4: The Finale $130,373 -59% 54 -65 $2,414 $3,776,592 4 Well Go USA Entertainment
2 The Song Of Names $111,224 -5% 76 6 $1,463 $502,955 4 Sony Pictures Classics
3 Harriet $100,240 34% 95 -27 $1,055 $43,051,130 12 Focus Features
4 Les Misérables (2020) $85,844 255% 42 38 $2,044 $122,477 2 Amazon Studios
5 A Hidden Life $61,372 -38% 55 -64 $1,116 $1,629,640 6 Fox Searchlight
6 Ashfall $53,709 203% 18 16 $2,984 $331,455 5 CJ Entertainment
7 Judy $32,817 164% 44 14 $746 $24,093,271 17 Roadside Attractions / LD Entertainment
8 Invisible life $27,433 42% 15 -3 $1,829 $122,754 5 Amazon Studios
9 Zombieland: Double Tap $23,828 -27% 50 -25 $477 $73,118,130 14 Sony Pictures
10 Clemency $22,098 61% 10 0 $2,210 $134,530 4 Neon
11 21 Bridges $21,888 -67% 51 -90 $429 $28,533,552 9 STX Entertainment
12 Cunningham $18,072 -22% 23 7 $786 $177,145 6 Magnolia Pictures
13 The Lighthouse $13,677 89% 5 -3 $2,735 $10,857,026 14 A24
14 Citizen K $11,516 1 $11,516 $38,139 9 Greenwich Entertainment
15 The White Sheik $9,172 260% 3 2 $3,057 $39,343 4 Rialto Pictures
16 Three Christs $7,982 -45% 23 -8 $347 $30,065 2 IFC Films
17 Play the Flute $4,560 3 $1,520 $212,223 51  
18 Waves $4,505 -21% 8 3 $563 $1,651,151 10 A24
19 Synonyms $3,547 -29% 6 1 $591 $200,087 13 Kino Lorber
20 Midnight Family $3,485 9% 5 -8 $697 $30,875 7 1091
21 Varda by Agnes $2,812 -53% 2 -4 $1,406 $122,680 9 Janus Films
22 Recorder: The Marion Stokes Project $2,638 44% 3 0 $879 $43,957 10 Zeitgeist Films
23 The Woman Who Loves Giraffes $2,418 -65% 2 0 $1,209 $30,875 16 Zeitgeist Films
24 Les Misérables – The Staged Concert $1,989 61% 1 0 $1,989 $444,083 7 Trafalgar Releasing
25 The Disappearance of My Mother $1,133 7% 2 -1 $567 $23,353 7 Kino Lorber
26 Kind Hearts and Coronets (2019 Re-Issue) $976 1 $976 $29,386 8 Rialto Pictures
27 Stuffed $933 607% 1 0 $933 $13,212 14 Music Box Films
28 Linda Ronstadt: The Sound of My Voice $725 -26% 2 -2 $363 $4,249,948 20 Greenwich Entertainment
29 Give Me Liberty $572 -12% 1 0 $572 $239,830 22 Music Box Films
30 The Kingmaker $455 -88% 1 -4 $455 $121,746 11 Greenwich Entertainment
31 By the Grace of God $437 468% 1 0 $437 $62,719 14 Music Box Films
32 No Safe Spaces $432 -97% 3 -38 $144 $1,291,514 13 Atlas Distribution
33 Branagh Theatre Live: The Winter’s Tale $291 -92% 1 0 $291 $128,717 7 Trafalgar Releasing
34 Be Natural: The Untold Story of Alice Guy-Blaché $277 1 $277 $114,587 40 Zeitgeist Films
35 Temblores $161 -84% 1 -2 $161 $21,486 9 Film Movement

The post Weekend Box Office Results: <em>Bad Boys For Life</em>, <em>Dolittle</em> appeared first on Boxoffice.



from Boxoffice