Studio Weekend Estimates: Dumbo Flies to No. 1 w/ $45M; Us Scares Up $33.6M in Sophomore Frame

Nearly 80 years after he first soared into theaters, Dumbo flew once again.

Disney’s latest live-action remake brought in an estimated $45 million in its opening frame, falling a bit short of some of the more bullish expectations but nonetheless capturing the No. 1 spot for the weekend. As for the other wide newcomers, Pure Flix’s Unplanned bested predictions, while Harmony Korine’s latest gonzo release The Beach Bum failed to catch fire.

While some analysts had Dumbo opening north of $60 million going into the weekend, the beloved baby elephant flew a bit closer to the ground than expected in its debut, placing its opening gross on the lower end of the spectrum of Disney’s recent live-action reimaginings. For comparison’s sake, the studio’s Beauty & the Beast remake debuted on roughly the same number of screens almost exactly two years ago and grossed an astonishing $174.7 million, while Alice in Wonderland (also directed by Tim Burton) brought in $116.1 million in its opening frame in March of 2010. Those comparisons may be a tad unfair given the arguably more-devoted fanbases of those two franchises (particularly Beast‘s), yet the drop-off is still undeniably striking.

Nonetheless, $45 million is by no means a terrible start. That counts as the fourth-highest opening gross of the year so far, behind only Captain Marvel ($153.4 million), Us ($71.1 million), and How to Train Your Dragon: The Hidden World ($55 million). While critics weren’t crazy about Dumbo (it currently sits at just 50% on Rotten Tomatoes), opening-night audiences awarded it an “A-” Cinemascore, indicating potentially strong legs in the weeks ahead (though the film’s 61% Flixster Audience Score is somewhat less encouraging). It’s worth noting that the film has been characterized as perhaps not appropriate for more sensitive children, particularly by parents who recall the animated version’s darker themes of separation and abuse. That factor no doubt affected its opening numbers to some degree.

After opening to an astonishing $71.1 million last weekend, Jordan Peele’s latest horror opus Us fell to second place with an estimated $33.6 million, a drop of roughly 52% from its debut. While that’s a much sharper drop than Get Out‘s 15%, that film was inevitably less frontloaded, as Peele wasn’t yet a major name when it opened. Us is also a more challenging and less crowd-pleasing film than its predecessor, a fact reflected in its “B” Cinemascore (Get Out received an “A-“) and 70% Flixster Audience Score (vs. Get Out‘s 86%). Nonetheless, with a fantastic $128.2 million after just ten days of release, Us cannot be counted as anything other than an unqualified success for both Peele and Universal.

In third, Captain Marvel continued flying high with an estimated $20.5 million, a drop of 41% from last weekend. The MCU blockbuster now has an incredible $353.8 million in North American grosses, bringing it to No. 8 on the list of all-time grossers among MCU installments, surpassing last year’s Spider-Man: Homecoming ($334.2 million).

Holding steady in fourth place was the YA drama Five Feet Apart, which brought in an estimated $6.2 million in weekend number three, a drop of just 27% from last weekend. The $7 million Lionsgate release now has a healthy $35.8 million in the bank and looks to continue playing strong with its core audience.

In fifth place, newcomer Unplanned brought in an estimated $6.1 million, a better-than-expected debut boosted by a reported $800K in pre-release buyouts prior to its official Thursday night opening. The anti-abortion drama boasted the second-best opening ever for a Pure Flix release, behind only 2016’s God’s Not Dead 2 ($7.6 million).

Paramount’s Wonder Park fell to sixth in its third weekend with an estimated $4.9 million, bringing the total for the animated adventure to a disappointing $37.8 million.

Seventh place went to How to Train Your Dragon: The Hidden World, which eased just 35% to an estimated $4.2 million in its sixth weekend. The total for the Universal animated threequel now stands at $152.9 million.

Expanding to 924 locations after a release in just four theaters last weekend was the thriller Hotel Mumbai, which made a healthy showing in eighth place with an estimated $3.1 million. Starring Dev Patel and Armie Hammer, the Bleecker Street release has benefitted from reasonably positive reviews (73% on Rotten Tomatoes) and compelling fact-based subject matter. Its total currently stands at $3.2 million.

In ninth place, Tyler Perry’s A Madea Family Funeral brought in an estimated $2.7 million, bringing its total to an excellent $70 million after five weeks in theaters. The alleged final film in Perry’s Madea franchise is now just shy of the $73.2 million final gross for Boo! A Madea Halloween and should surpass it by next weekend.

Making a disappointing showing in tenth was The Beach Bum, which brought in an estimated $1.8 million. Despite featuring bona fide A-lister Matthew Mccounaughey in the lead role, the Neon title couldn’t match the buzz of Korine’s last release Spring Breakers, which grossed $4.8 million on roughly the same number of screens in its wide debut back in 2013. For McCounaughey, Beach Bum is just the latest in a string of disappointments including January’s Serenity ($4.4 million opening, $8.5 million total), last fall’s White Boy Rick ($8.8 million, $24 million), and 2017’s The Dark Tower ($19.1 million, $50.7 million). In fact, the actor hasn’t had a bona fide hit since 2014’s Christopher Nolan sci-fi Interstellar, which grossed $188 million in North American and $677 million worldwide.

Overseas Update:

Dumbo took in $71 million overseas from 53 territories, bringing its global opening weekend to $116 million. That number includes $10.7 million in China, $7.4 million in the UK, and $7.2 million in Mexico. Among Disney live-action remakes, this was roughly in line with Cinderella‘s $62.4 million overseas opening in 2015.

Captain Marvel closed in on the $1 billion worldwide mark this weekend with another $26.4 million overseas, bringing its global total to a super-powered $990.6 million. Look for it to cross the threshold sometime this week.

How to Train Your Dragon: The Hidden World crossed the $500 million mark worldwide this weekend, with $348.9 million of its $501.8 million total coming from overseas.

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CinemaCon 2019 CinemaCon Triumph Award: Jan Bernhardsson

Jan Bernhardsson didn’t expect to find himself in the cinema business, but that didn’t stop him from forging a 20-year career in the industry. Stepping into the role of CEO at Sweden’s SF Bio in 1998, he was part of the 2013 merger with Finland’s Finnkino and the resulting new corporate entity, Nordic Cinema Group (NCG), where he served as CEO through its 2017 acquisition by AMC Entertainment. The AMC deal saw NCG get folded into the ODEON corporate structure, part of AMC’s European network of cinemas. Bernhardsson served as ODEON’s chief operations officer and AMC’s executive vice president, Europe in the period since, leaving the company earlier this year. Boxoffice spoke with Bernhardsson, ahead of CinemaCon, about his career in exhibition and what the future holds for the industry at large. 

How did you come to work in exhibition?

I started in the home entertainment and distribution side, and during that period I promised myself I would never be in retail. I had my own company that I sold to a big Swedish media conglomerate group. They had a lot of activities in this group—newspapers, television, radio, etc. I started to work in the film department, and they had activities in the Nordic. I was like a Swiss army knife at the time. I worked as a CFO and was also involved in business development. I worked with them for around three years; it was an integrated company involved in production, distribution, and exhibition. We saw that integration could be unhealthy and decided to separate the production and distribution business from the cinemas. The board at the time assigned me to take care of the cinemas when we split the company. That’s how I came to have a background in all the processes of the film business; from production to distribution to home entertainment to cinemas.

Are there any mentors who were important in your career?

It took me a while to master this industry when I was thrown in as a CEO in this business 20 years ago. I have always been surrounded by very good colleagues in every phase of my work. It’s so important to have experienced people in our industry. Our role as leaders is to listen to them; I have a lot of colleagues that I want to mention, but if I start listing them I won’t be able to stop. If I had to name one person that has been the most relevant in my business life, it would be the guy who threw me into the business: Torsten Larsson. He was the chairman of my board for 12 years of this journey.

What are some of the early lessons you learned in the industry that really stuck with you? 

I think it applies to every business; you need to create a circular consumption pattern with a consumer. At the time I started, 1998 I think, we missed the big focus we should have had on the customer. We seemed more focused on the films. In this business, the devil is in the details because this business has a lot of transactions. From a transactional perspective, we have double the transactions because customers will book their ticket online and arrive to our cinemas where we have a chance to create a new transaction with that customer in the concessions area. It’s great because you create two wallets: the first when you start the journey online and the second when they come into the cinema. 

What has been the most transformative period during your career?

In the Nordics we have a very high penetration of digital commerce. For example, I sold my first ticket on the internet one year before Google was started. For me, the digital box office is the biggest change in the industry because previous to it, the customer’s decision process was based on impulse—they want to go to the cinema. Nowadays we have pre-booked tickets over the internet, which has changed the consumption patterns in a way that it all becomes much more professional in the way to handle our customers. But I think that the industry still has many million miles to go before we will realize digital ticketing’s full potential. 

What is the state of exhibition today in the Scandinavian region? 

Having the experience of serving as a chief operating officer for AMC, I’ve seen a lot of markets. I must say that there’s a big difference between the Nordics and Continental Europe. The average cinema in the Nordics is better invested, has much higher-maintenance CapEx; it’s a much higher standard. Alternatively, in Sweden, when we go cashless, you can imagine how many people will be buying tickets over the internet, if you do the math, compared to other markets in Europe, for example, Italy, where around 80 percent of transactions are in cash. There’s a different approach to each market, different considerations. The Nordic market is well managed when compared to the rest of Europe. It’s mostly due to the history and the size of the markets; it’s always easier to gain a higher market share when it’s just a few players. But it also means cinemas are more willing to invest and take more risks.

What are the specific challenges and opportunities that you see coming up in the industry in the next five years or so?

There are many opportunities, but the big question is, how do you to bet on it? It’s big money to invest in the cinema. There are a lot of cinemas that need heavy refurbishment. When it comes to pricing, I think it’s hard to drive up attendance volumes with a lower price; people will still go according to their existing frequency. I tie attendance to film offerings; I don’t think more people will read a bad book because it’s cheap. There’s a lot we can do in exhibition, especially if we can create value for money—it’s all about the experience we offer. 

The big threat we have ahead of us, one we’ve been speaking about for a long time, are theatrical windows. If you look at the production values of the TV series that are around today, it’s a complete and total improvement from what we were seeing 20 years ago. It’s a tremendous difference when we are competing for people’s leisure time. Ultimately, I think cinemas have a great opportunity for people who want an entertainment option outside their home. For example, up here in the Scandinavian countries, people have very luxurious, very, very nice homes with well-invested kitchens—but they still go to restaurants. That applies to cinemas, but we need to keep in mind that people won’t go out to a restaurant that is worse than what they have in their kitchens. We always need to match or exceed the experience. It’s always up to ourselves what kind of industry we have in the future. I believe people will always want to have a nice night outside their home. And if people today are willing to pay $4 for a bottle of water that they can get for free in their taps at home, I think it’s a sign that they’re willing to pay for a great experience. We control our own destiny; we can’t just sit with our arms crossed and wait for studios to provide us with hits. We need to deliver on the moviegoing experience in order to remain relevant. Otherwise, if you’re not relevant, folks will stay at home.

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Screenvision Media Signs New Licensing Agreement With Cielo

PRESS RELEASE

Miami, FL and New York, NY, March 31, 2019– CIELO along with Screenvision Media announced today the signing of a licensing agreement to implement CIELO Ad Reporting within Screenvision Media’s network. This groundbreaking system will bring cloud based technology to broaden and deepen delivery reporting to the cinema advertising industry.

In today’s media landscape where brands rely on data metrics to measure the delivery of their campaigns, timeliness is a priority. Screenvision Media has maintained this as a key priority within their ad operations, and continually pursues technology to complement and augment its existing systems. As part of this commitment, Screenvision Media has signed a licensing agreement with CIELO aimed at empowering the industry with a first-of-its-kind cloud-based software solution for advertising playback and delivery.

Backed by CIELO’s successful track record of creating IoT solutions for cinemas, CIELO’s Ad Reporting product will encompass the company’s real-time analytics and reporting features with Screenvision Media’s industry expertise. This partnership is set to provide an enhanced product and service with a unique set of tools that will continue to advance cinema advertising industry capabilities within the current media environment.

“Screenvision Media continues its innovative leadership with the introduction of CIELO within their advertising cinema network, providing a cost effective and accurate way of validating the playback of advertisements in real-time,” explained Guillermo Younger, CEO of CIELO.

“CIELO Ad Reporting is a sophisticated and innovative solution, in line with Screenvision Media’s mission to offer technology-forward solutions,” stated John Marmo, Screenvision Media’s VP Digital Training & Compliance, Exhibitor Relations. “The adoption of the CIELO Ad Reporting system complements our approach to technological advancement. Combined with our recent implementation of our broadband internet distribution system, this will grant full visibility to advertising data in real-time for compliance reporting and campaign performance analytics. This is a powerful combination that will revolutionize the cinema advertising industry.”

CIELO Ad Reporting will be deployed across 6,000 movie theatre screens within the Screenvision Media network. The cloud based reporting will augment the existing Screenvision Media reporting system and further support the already robust reporting across their entire network.

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Total Immersion: An Exclusive Deal between CGR and VOX Brings ICE Premium Experience to the Middle East

Two years after the first ICE (immersive cinema experience) auditorium was unveiled in France, with the premiere of Star Wars: The Force Awakens on December 14, 2016, the premium format is set for its first international rollout under an exclusive deal between CGR Cinemas and VOX Cinemas.

CGR’s ICE theater combines advanced sound and image technologies with the premium combination of Dolby Atmos sound, DK speakers, 9P 4K laser projection and special recliner seating. ICE Immersive promises “the ultimate immersive experience.” It all began in 2016, when Jocelyn Bouyssy, managing director of one of France’s leading circuits, CGR, noticed at CinemaCon the potential of combining Philips LightVibes technology—which delivers ambient video and surround lighting effects to the audience’s peripheral vision field—with premium sound and seating. Two years later, ICE leads the French PLF market in terms of admissions and theaters, with 25 sites.

After the immense success of ICE in France, CGR and VOX Cinemas, the Middle East’s leading exhibitor, announced in February a strategic partnership to deploy the technology in the Middle East and North Africa. This deal marks the first time that ICE theater will be available outside France, bringing a new kind of experience to a dynamic and booming market. The technology will be deployed in three priority territories in 2019: Kuwait, the United Arab Emirates, and Saudi Arabia.

“We were impressed by the outstanding technological excellence of the ICE theater concept and welcome this strategic partnership with CGR Cinemas,” stated Cameron Mitchell, CEO of Majid Al Futtaim Leisure, Entertainment and Cinemas, the parent company of VOX Cinemas, in a press release. “As part of our vision to deliver outstanding offerings to customers across our markets, we continually seek the best cinema experience that can truly enthrall our audience.”

VOX Cinemas has long been the leader in theatrical innovation in the Middle East, bringing the emblematic IMAX Experience, the immersive 4DX, and the unique IMAX Sapphire technology to its audiences. Bouyssy added, “I am pleased with this strategic partnership, as we share with VOX Cinemas the same innovative vision for the future of theatrical exhibition.”

2018 was a tremendously successful year for ICE. A record number of films were released in the format, including Jumanji, Mission: Impossible—Fallout, Aquaman, and Bohemian Rhapsody. Speaking to Boxoffice, Bouyssy reported that all the latest blockbusters have generated more entries in ICE than IMAX, surpassing IMAX entries by up to 80 percent. Ticketing revenues compared to “classic” screens also rose by 55 percent. Behind this success lies an innovative business model for exhibitors. “ICE is the only PLF conceived and created by a cinema circuit for cinema circuits, based on a zero third-party royalty business model,” Bouyssy emphasized. “This model is therefore revolutionary, not only in terms of technological added value, but especially in terms of a business model for exhibitors. They keep absolute control of their ticketing revenues.”

In France, audience satisfaction has also skyrocketed, with double the seat occupancy rate compared to the average attendance in a classic movie theater, and nine out of 10 ICE viewers reporting they were satisfied with the experience. According to Bouyssy, the key to ICE’s popularity is that the format, unlike some other PLFs, does not target a specific segment but rather appeals to all demographics, from young urban audiences to higher socio-professional categories.

A strong marketing campaign boosted the format’s visibility and appeal. “The digital and television campaigns and the clear commercial claim associated with it—‘Live a unique visual experience’—allow the viewer to immediately visualize the added value offered by ICE. Besides, all our campaigns use strong movie content as a communications lever. We do not separate the content from the experience. Both go together,” Bouyssy asserted. Moreover, CGR was able to generate excitement among younger audiences by collaborating with celebrities and influencers who promoted the format on social media.

If 2018 proved the success of ICE, 2019 seems even more promising. More than 20 films will be released in the format, including long-awaited blockbusters like How to Train Your Dragon: The Hidden World, Annabelle 3, Men in Black International, Spider-Man: Far from Home, and Hellboy. ICE offers an appealing business model for exhibitors and a uniquely immersive experience for moviegoers; the ambitious deal with VOX is surely just the beginning of the model’s expansion in France and abroad. Bouyssy announced that “key agreements are currently being negotiated in other territories and will be announced shortly. In France, independent circuits (Cinemovida, etc.) have been conquered by the ICE concept and will open their ICE theaters in the coming months. The Majestic Cinemas circuit has already opened its first ICE theater in Compiègne, France.”

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Trinnov Unveils Ovation2 Cinema Processor at CinemaCon

PRESS RELEASE

Paris, France, March 30th, 2019– Trinnov will be unveiling the Ovation2 at CinemaCon 2019 in booth 2419a, in partnership with Moving Image Technologies. An active demonstration will also take place in Milano #1 suite theater, in partnership with Christie®. The Ovation2 retains all the significant benefits of its predecessor while introducing further enhancements in terms of calibration, integration and operation.

The Ovation2 retains all the significant benefits of its predecessor while introducing further enhancements in terms of calibration, integration and operation.

Tactile Screens

Trinnov redesigned the front panel around 2 touch screens, offering cinema technicians and integrators much better ergonomy and a more modern user experience.

Digital & Analog Outputs

The new Ovation 16/16 version adds up to 16 channels AES outputs mirroring its analog outputs. With this feature, users will be able to use an amplifier with digital inputs as well as analog inputs.

Step by step «Wizard»

A new step by step wizard is now available allowing for much broader configuration choices over an intuitive guided process. Connection to the Ovation has been improved with a web interface as well as the VNC client, no external software needed.

Re-designed power supply

At the heart of Ovation2, is a new power supply designed with the highest requirements in mind to offer better overall performance and stability in compliance with the world’s most demanding specs and certifications.

Technical Specifications

• Up to 16 channel digital AES inputs on DB-25 / RJ-45

• 8 channel analog balanced audio inputs on DB-25

• Up to 16 channel digital AES outputs on DB-25

• Up to 24 channel analog balanced audio outputs on DB-25

• 5 SPDIF inputs on 2x BNC, 2x RCA & optical TosLink

• Featuring Trinnov mono, bi, tri, or quad amp and crossover optimization

• Automation by network or RS232

• Optional: Dolby Digital decoder, DTS Digital decoder, and upmixer

• Rack: 19’’ / width: 482.6 mm / length: 440.0 mm / height: 88.9mm

Meet Trinnov at booth 2419a with the presence of Arnaud Laborie (CEO), Arnaud Destinay (Sales Director), Michael Babb (International Sales Manager), Joseph Chen (Sales Manager Asia) and Benoit Munoz (Marketing Manager) and experience the Optimizer technology in the Christie Milano theater.

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Long Range Tracking: Aladdin

This week’s report takes an early look at Memorial Day Weekend 2019, typically one of the biggest moviegoing periods of the year. Specifically, we’re offering up initial forecasts for the holiday’s headline release: a live action remake of 1992’s Aladdin. Will the film capture nostalgic Gen Xers and Millennials en route to another blockbuster for the Mouse House?

Aladdin
Opening Weekend Range: $70 – 95 million (3-day) / $85 – $115 million (4-day)

PROS:

• The original 1992 film was the top earning release of its box office year, earning $217.4 million — which equals more than $473 million when adjusted for 2019 ticket prices.
• As an Oscar-winning animated classic from Disney’s previous golden age, the original film remains beloved by audiences who grew up on the film and younger families who have since been introduced to it.
• Fans will be particularly excited by the prospect of Oscar-winning composer Alan Menken returning for this remake, as well as director Guy Ritchie (Sherlock Holmes) and writer John August (Big Fish).
• Casting Will Smith in the high profile role of Genie provides a notable high-profile star name to help attract moviegoers of various ages. Robin Williams famously brought the role to animated life, earning a number of awards and nominations for his work.
• Opening two weeks after Pokemon: Detective Pikachu should give it enough breathing room to attract a strong family audience over the long Memorial Day weekend.
• Trailer Impact metrics eight weeks out are very positive at 83 percent average positive interest, besting the 72 percent of Dumbo at the same point before release.
• Global performance will be a key factor in this film’s bottom line, somewhat decreasing pressure on its domestic run to meet high-end expectations.

CONS:

• Although reactions to other elements of the trailers have been generally positive, the backlash toward a heavily CG version of Genie drastically shifted the buzz narrative in recent weeks. Due to this, reviews and early word of mouth may be crucial to the film’s opening and long-term performance — meaning box office forecasts are volatile for now.
• For all their recent successes, Disney has an uncanny history of box office under-performances with their Memorial Day releases over the past decade.
• Though the film will earn the lion’s share of its money around the holiday and into its second weekend, opening just two weeks before The Secret Life of Pets 2 could result in significant overlap with that film’s own target family audience.

8-Week Tracking

Release Date	Title	3-Day Wide Release Tracking	% Chg from Last Week	Domestic Total Forecast	% Chg from Last Week	Estimated Location Count	Distributor
4/5/2019	The Best of Enemies	$7,500,000	-25%	$25,000,000	-17%	1,600	STX
4/5/2019	Pet Sematary (2019)	$28,000,000		$66,000,000		3,400	Paramount
4/5/2019	Shazam!	$52,000,000	4%	$165,000,000		4,100	Warner Bros.
4/12/2019	After (2019)	$3,400,000	NEW	$6,900,000	NEW	2,000	Aviron
4/12/2019	Hellboy (2019)	$17,000,000	6%	$36,000,000	6%	3,300	Lionsgate / Summit
4/12/2019	Little	$15,000,000		$43,000,000		3,000	Universal
4/12/2019	Missing Link	$11,000,000	10%	$42,000,000	8%	2,900	Annapurna Pictures
4/17/2019	Breakthrough	$13,500,000	-10%	$52,000,000	-7%	–	Fox
4/17/2019	Penguins	$4,500,000		$17,500,000		–	Disney / Disneynature
4/19/2019	The Curse of La Llorona	$20,000,000		$45,000,000		–	Warner Bros. (New Line)
4/26/2019	Avengers: Endgame	$265,000,000		$645,000,000		–	Disney / Marvel
5/3/2019	The Intruder	$14,500,000		$40,000,000		–	Sony / Columbia
5/3/2019	Long Shot	$16,000,000		$60,000,000		–	Lionsgate / Summit
5/3/2019	Uglydolls	$8,000,000		$27,000,000		–	STX
5/10/2019	All Is True	n/a		n/a			Sony Classics
5/10/2019	Detective Pikachu	$90,000,000		$250,000,000		–	Warner Bros.
5/10/2019	The Hustle	$12,500,000		$35,000,000		–	Mirror Films / MGM
5/10/2019	Poms	$12,500,000		$45,000,000		–	STX
5/10/2019	The Rosie Project	n/a		n/a		–	TriStar
5/17/2019	A Dog’s Journey	$11,000,000		$39,500,000		–	Sony / Columbia
5/17/2019	John Wick: Chapter 3 – Parabellum	$35,000,000		$100,000,000		–	Lionsgate / Summit
5/17/2019	The Sun Is Also a Star	$12,000,000		$36,000,000		–	Warner Bros.
5/24/2019	Ad Astra	n/a		n/a		–	Fox
5/24/2019	Aladdin	$85,000,000	NEW	$235,000,000	NEW	–	Disney
5/24/2019	Booksmart	n/a		n/a		–	Annapurna Pictures
5/24/2019	BrightBurn	n/a		n/a		–	Sony / Columbia

Alex Edghill contributed to this report

Forecasts subject to change as location counts are finalized before Friday.

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

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Will Rogers Motion Picture Pioneers Foundation Launches Film Row to Engage Next Generation of Leaders

PRESS RELEASE

Will Rogers Motion Picture Pioneers Foundation (WRMPPF) announced the launch of Film Row, comprised of up-and-coming industry professionals who champion philanthropic endeavors while also providing personal and professional growth opportunities for the entertainment industry leaders of tomorrow. The objective of Film Row is to foster emerging leaders of the entertainment industry through educational programs, networking events and philanthropic endeavors that benefit the entertainment industry and beyond.

WRMPPF’s relationship with the entertainment industry dates back to the days of vaudeville, when tuberculosis was rampant among vaudevillians who often lived in close quarters, when they traveled throughout the country. To combat the disease, the National Vaudeville Association opened a tuberculosis sanatorium in upstate New York, the NVA Lodge. After Will Rogers’ tragic death, the name of the hospital was changed in 1936 to the Will Rogers Memorial Hospital. The hospital became a national training facility for doctors treating patients with tuberculosis, becoming known as the Will Rogers Institute.

In 2002, the Will Rogers charity merged with the Foundation of Motion Picture Pioneers (FMPP) and became the Will Rogers Motion Picture Pioneers Foundation. The Foundation perpetuates Rogers’ legacy through the operation of three programs: Brave Beginnings, which works to ensure that ventilators and life-saving neonatal equipment is always available to newborns in critical need; the Pioneers Assistance Fund, which provides financial assistance and social services to members of the motion picture distribution and exhibition community who encounter an illness, injury, or a life-changing event, and the Will Rogers Institute, which is committed to promoting medical research pertaining to cardiopulmonary diseases and educating the public on topics of health and wellness.

“Will Rogers Motion Picture Pioneers Foundation is delighted to support Film Row as it engages the next generation of industry leaders and brings together our entire motion picture community,” said Todd Vradenburg, executive director, WRMPPF.  “Our industry is full of terrific people willing to help one another, and now, more than ever, we look to foster the next generation as they transition into leadership roles and ultimately become the future of our industry.”

“Will Rogers was the most beloved American and greatest philanthropist of his day,” said Melanie Valera, president of Film Row. “His legacy is built on inspiring others and taking care of the community. Our partnership with Will Rogers Motion Picture Pioneers Foundation is an opportunity for Film Row to give back to the motion picture industry and provide our members with the tools and knowledge needed to prepare them to take the next step in their careers, all while championing philanthropic endeavors.”

Film Row hosted a launch party on March 21 at the Ricardo Montalbán Theatre in Los Angeles to officially announce itself to the entertainment community and encourage participation. The event was attended by industry members including executives such as Kyle Davies, president of domestic distribution at Paramount Pictures, and Bob Lenihan, president of U.S. programming at AMC Theatres. For more information, visit www.filmrow.org.

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Rochester Theater Management Chooses Atom Seating

PRESS RELEASE

Alpharetta, GA, March 2019– Rochester Theater Management has partnered with Atom Seating’s “Spaces And Between” division to install luxury recliners, gliders and rockers in four of its locations. Rochester Theater Management has ordered over 2,700 chairs for its Brockport Strand Theatre, Geneseo Theaters, Canandaigua Theaters, and Auburn Movieplex.

The project was managed by Sonic Equipment on behalf of Rochester Theater in collaboration with Atom Seating.

Jason Yantz, owner and President of Rochester Theater said, “We chose VIP recliners and glider seats from Atom Seating because of their affordability and durability. We are extremely pleased with the final product and our customers are even more ecstatic about the upgrades that took place at our locations.  Our previous seats were extremely outdated and in terrible condition. Atom Seating has allowed us to revamp our image and bring first class movie entertainment back to our local communities here in upstate New York.”

Sonic Equipment is a leading integrator for luxury seating across the country, and works closely with exhibitors nationwide to upgrade and improve auditoriums and cinema technology.  Eric Olson, Director of Sales for Sonic Equipment said, “Ankit Kabra and Atom Seating were very easy to work with. Their efficient and professional attention to this and every project, combined with their excellent product line, gives both us at Sonic Equipment Company and our exhibitor partners the most comfortable and confident experience possible when choosing such an important upgrade. Equally important for Sonic Equipment Company, is the support after the project is completed, to ensure the highest customer satisfaction.”

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AMC Theatres to Present Free Screenings of Martin Luther King Documentary

AMC Theatres announced a tribute to the life of Dr. Martin Luther King Jr. with a free showing of the Oscar-nominated documentary King: A Filmed Record…Montgomery to Memphis from Kino Lorber and Gathr Films. The film will play at 100 AMC theatres in cities and towns nationwide at 6 p.m. on April 4, the 51st anniversary of Dr. King’s death. The three-hour, five-minute film also will include a brief intermission.

King: A Filmed Record…Montgomery to Memphis is a historic filmed record of Dr. King’s legacy during his lifetime. In 1999, it was selected by the Library of Congress to be preserved and included in the National Film Registry. Prior to its 2013 theatrical re-release with Gathr Films and Kino Lorber, it was rarely seen since its 1970 “one-time only” theatrical premiere.

AMC guests can obtain their free ticket at the box office of participating AMC theatres. Tickets also can be reserved in advance at http://www.gofobo.com/AMCKing.

In addition to the screening, AMC, through the AMC Cares Foundation, will be financially supporting the important work of The King Center. This support will enable approximately 1,000 students to participate in the “Students with King” program, which provides students in grades 1-12 the opportunity to learn more about Dr. Martin Luther King, Jr. and his wife, Coretta Scott King, as leaders of the nonviolent civil rights movement.

Beginning next week, a short video featuring Dr. Bernice A King, CEO of The King Center and daughter of Dr. Martin Luther King Jr. can be found on AMC’s website atwww.amctheatres.com/MLKevent.

“It’s an honor to present for free to AMC guests this acclaimed film about Dr. Martin Luther King Jr., and I especially want to thank Bernice A King and The King Center for their support and advice throughout this process of bringing her father’s biography back to the big screen,” said Adam Aron, CEO and president of AMC Theatres.

Participating AMC locations:

Atlanta

AMC Colonial 18

AMC Phipps Plaza 14

AMC Southlake Pavilion 24

AMC Sugarloaf Mills 18

Austin

AMC Barton Creek 14

Baltimore

AMC White Marsh 16

Baton Rouge

AMC Baton Rouge 16

Birmingham

AMC Patton Creek 15

Boston

AMC DINE-IN Braintree 10

AMC Framingham 16

AMC Methuen 20

Charlotte

AMC Carolina Pavilion 22

AMC Concord Mills 24

Chattanooga

AMC Chattanooga 18

Chicago

AMC Crestwood 18

AMC River East 21

AMC South Barrington 24

AMC Village Crossing 18

Cincinnati

AMC Newport on the Levee 20

Cleveland

AMC Ridge Park Square 8

Columbia, SC

AMC Dutch Square 14

Columbus, GA

AMC Columbus 15

Columbus, OH

AMC DINE-IN Easton Town Center 30

Dallas-Ft. Worth

AMC DINE-IN Mesquite 30

AMC NorthPark 15

AMC Parks At Arlington 18

Denver

AMC Highlands Ranch 24

AMC Westminster Promenade 24

Detroit

AMC Forum 30

AMC John R 15

AMC Livonia 20

Edinburg

AMC Edinburg 18

Hartford

AMC Plainville 20

Houston

AMC Gulf Pointe 30

AMC Studio 30

AMC Willowbrook 24

Huntsville, FL

AMC Valley Bend 18

Indianapolis

AMC Indianapolis 17

Kansas City

AMC Barrywoods 24

AMC DINE-IN Studio 28

Knoxville

AMC Foothills 12

Las Vegas

AMC Town Square 18

Los Angeles

AMC Burbank 16

AMC Century City 15

AMC Del Amo 18

AMC Ontario Mills 30

AMC Orange 30

AMC Promenade 16

AMC Universal CityWalk 19

Miami – Fort Lauderdale

AMC Aventura Mall 24

AMC Sunset Place 24

Milwaukee

AMC Mayfair 18

Minneapolis – St. Paul

AMC Southdale Center 16

Mobile – Pensacola

AMC Bayou 15

Montgomery

AMC Festival Plaza 16

Nashville

AMC Thoroughbred 20

New Orleans

AMC Elmwood Palace 20

New York/New Jersey

AMC Bay Plaza 13

AMC Clifton Commons 16

AMC Garden State 16

AMC Jersey Gardens 20

AMC Kips Bay 15

AMC Lincoln Square 13

AMC Magic Johnson Harlem 9

AMC Palisades 21

Norfolk

AMC Hampton 24

Oklahoma City

AMC Quail Springs Mall 24

Omaha

AMC Council Bluffs 17

Orlando

AMC Altamonte Mall 18

AMC DINE-IN Disney Springs 24

Philadelphia

AMC Cherry Hill 24

AMC Hamilton 24

AMC Neshaminy 24

Phoenix

AMC Ahwatukee 24

AMC Desert Ridge 18

Pittsburgh

AMC Waterfront 22

Raleigh – Durham

AMC Southpoint 17

Rochester, NY

AMC Webster 12

Rockford

AMC Rockford 16

Sacramento

AMC Manteca 16

Salt Lake City

AMC West Jordan 12

San Antonio

AMC Rivercenter 11

San Diego

AMC Fashion Valley 18

San Francisco – Oakland – SJ

AMC Bay Street 16

AMC Eastridge 15

AMC Mercado 20

AMC Metreon 16

Seattle – Tacoma

AMC Alderwood 16

AMC Pacific Place 11

AMC Southcenter 16

Spokane

AMC River Park Square 20

St. Louis

AMC Edwardsville 12

AMC Streets of St Charles 8

Tallahassee

AMC Tallahassee 20

Tampa – St. Petersburg

AMC Veterans Expressway 24

Tulsa

AMC Southroads 20

Washington, D.C.

AMC Hoffman 22

AMC MJ Capital Center 12

AMC Rio Cinemas

AMC Tysons Corner Center 16

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Cineworld Group Extends AAM Software to Regal Cinemas

PRESS RELEASE

London, March 29^th, 2019 — Arts Alliance Media (AAM) today announced that they are significantly extending their technological partnership with the Cineworld Group plc (CW).

AAM currently supplies their Theatre Management System (TMS), Screenwriter, and 3^rd line technical support to Cineworld’s estate in Europe and Israel, and additionally provides Cineworld head office with control over the 900 screens in their UK circuit with the Producer Circuit Management System (CMS).

Following CW’s recent acquisition of Regal Cinemas in the USA, they have decided to automate their scheduling and content management using Screenwriter in Regal Cinemas’ 7,361 screens, and expand Producer’s coverage across CW’s entire portfolio, which includes Picturehouse, Cinema City, Cineworld, and Regal Cinemas. AAM will also provide 3^rd Line Technical Support to the new sites.

“With a circuit that now spans over 9,500 screens in ten countries across two continents, we have a huge amount of operational data available to us.” noted Renana Teperberg, CCO at CW. “AAM have proven they can turn that data into business opportunities with their CMS solution. Producer presents us with the centralised visibility, tools, and controls we need to bring consistency to our customer experience and efficiency to our entire circuit, all from head office.”

CW will roll out Producer at a swift pace, thanks to AAM’s newly redesigned CMS, which does not require a VPN, or anything further to install. As soon as Screenwriter, and its add-on, ScreenConnect, are live, Producer will immediately start receiving a stream of data from the connected sites. CW will be the first exhibitor to benefit from this innovative CMS offering, which has been designed with input from cinemas around the world to deliver a complete solution for centralising cinema operations.

Producer’s key features will empower CWto:

Save time and reduce human error using centralised playlist building: Build playlists at head office, using a drag-and-drop interface, use advanced targeting and POS integrations to create different versions based on time, date, and location, and then automatically assign them to the correct shows.

Streamline content management: Centralised content deletion allows head office to clean out screen servers remotely, while preventing the deletion of content that is scheduled to play at that site. Automatic title matching and metadata tagging means CPLs will be automatically grouped into titles and the correct version will be selected for playback.

Access any screen, anytime, anywhere : Users can log in to Producer from any device with a standard internet connection. Its responsive design makes it easy to use on a computer, tablet, or even a smartphone.

Eliminate KDM errors: ScreenConnect facilitates automated KDM delivery through AAM’s pioneering collaboration with Deluxe Technicolor Digital Cinema (DTDC). It allows any KDMs generated by DTDC to be delivered directly from DTDC’s systems to Cineworld’s screen servers through the cloud, and provides DTDC with delivery confirmation so that they can proactively resend any KDM that didn’t reach its destination.

Monitor playback and resolve issues: Gain an overview over any errors that might impact shows, prioritise and resolve show-stopping issues from a single interface, and access detailed reports for every screen.

“Cineworld have a long history of embracing innovation, including as one of the earliest adopters of our Circuit Management technology.” said Patrick Foley, CEO of Arts Alliance Media, “We’re thrilled to partner with them once again on their latest ground-breaking endeavour, using a combination of advanced software and enhanced processes to bring efficiency and consistency to over 9,500 screens around the world.”

AAM’s software solutions will be on display at CinemaCon between April 1st and 4th at booth 2703A.

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Dumbo Earns $2.6M from Thursday Night Shows; Us Poised to Cross $100M on Friday

Friday Update: Disney reports today that Dumbo took flight with an estimated $2.6 million start from Thursday night’s first shows on the domestic side. For comparison purposes, that registers:

• 13 percent behind How to Train Your Dragon: The Hidden World ($3.0 million)
• 24 percent ahead of The LEGO Movie 2: The Second Part ($2.1 million)
• 100 percent ahead of A Wrinkle In Time ($1.3 million)
• 38 percent behind The Jungle Book (2016) ($4.2 million)
• 13 percent ahead of Cinderella (2015) ($2.3 million)
• 30 percent ahead of Oz the Great and Powerful ($2.0 million)

Given the usual caveats about how very few Thursday starts are created equal, we won’t have any further insights about how the weekend is expected to play out until Saturday morning reveals Friday’s overall estimates. Our pre-weekend forecast can be read here.

Meanwhile, sources report that Us added $4.5 million yesterday, giving it an updated domestic cume of $94.7 million through just seven days of play. The film is expected to generate a strong sophomore weekend performance with no new direct competition in the market.

More updates to follow throughout the weekend.

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Unique X Expands Southeast Asia Footprint with Cinemaxx Deal

PRESS RELEASE

London/Jakarta – March 29, 2019: Unique X, a leading digital cinema software company, announced an expansion of its operations in Southeast Asia in a new deal with fast-growing Indonesian cinema chain Cinemaxx. The agreement will see Unique X install RosettaBridge TMS, RosettaNet and Basekey KDM management solutions across all 47 Cinemaxx sites, currently incorporating a total of 239 screens.

Cinemaxx, owned by property conglomerate Lippo Group, has recently received investment from Mexican exhibition giant Cinépolis to fund its expansion plans. As Cinemaxx’s number of sites and screens expands, the combination of Unique X solutions will deliver significant efficiencies by enabling central management and automation of cinema operations.

Unique X’s solutions are powering more than 25,000 screens in over 70 countries. The Global Cinema Advertising Association (SAWA) recently awarded Unique X “The Best Use of Technology in Cinema Advertising 2018.”

“Cinemaxx has an ambitious vision to build Indonesia’s most preferred cinema group. Unique X’s innovative solutions offer us a way to streamline our operations across all screens and support us in delivering a consistently premium experience to our guests,” said Gerald Dibbayawan, Cinemaxx’s chief executive officer.

“Cinemaxx are a great team to be working with and have some very exciting expansion plans. We are delighted to be deploying our solutions to their cinema network and look forward to providing ongoing service and support. We are very happy to welcome Cinemaxx to the RosettaBridge family” commented Mark Stephen, director of sales, Unique X.

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From the Film Journal Archives: An Encounter with French New Wave Pioneer Agnès Varda

Pioneering French New Wave filmmaker Agnès Varda died last night at the age of 90. Only last month, Varda premiered her new film, Varda by Agnès, at the Berlin Film Festival and received an honorary award there. Film Journal writer Anna Storm met with Varda in October 2017 to discuss her Oscar-nominated documentary Faces Places, co-directed with artist JR. Here’s another look at their encounter.

Partway through the charming documentary Faces Places, octogenarian filmmaker Agnès Varda, often referred to as “the godmother of the French New Wave,” and her co-director, the thirtyish French street artist JR, decide to paste an enlarged photograph onto a German bunker that sits like a modern-art sculpture on the beach of Saint-Aubin-Sur-Mer in Normandy. Varda had taken this picture of the young photographer Guy Bourdin just above the beach over 60 years earlier. Without knowing what the place meant to her, JR had suggested they visit. Varda simply “couldn’t believe” that of all the locations in France, it was this “five kilometers” or so stretch of seashore, so dear to her because of its associations with her late friend Guy, that JR should have recommended. But then, “serendipity” could have been a third collaborator on their film.

Hauling their equipment onto the beach, including ladders, cameras and scaffolding, and then pasting the photograph of Guy onto the bunker before the tide came in was quite a production, and even a little dangerous. “I don’t know how much the audience can feel the adventure,” Varda fretted earlier this week while she and JR were in town to promote Faces Places, which Cohen Media Group opens in New York today. “We didn’t know about the audience reaction. Because we don’t make films for us. We make them to be shown.”

Born in Belgium in 1928, Varda did not begin her career making films. She worked as a photographer before shooting her first movie in her mid-20s. Varda has said that at the time she had seen no more than ten films in her life; she simply “imagined” how hers would look. Her sophomore feature, Cleo from 5 to 7, demonstrated the formidable power of this imagination and was nominated for the Palme d’Or at the 1962 Cannes Film Festival. A Berlin Silver Bear (for 1965’s Happiness), a Venice Golden Lion (for 1985’s Vagabond) a European Film Award (for 2000’s The Gleaners and I) and a French César (for 2008’s The Beaches of Agnès), among other awards, followed suit. In 2015, she received an honorary Palme d’Or, and she will be honored with a special Oscar (aka the Governors Award) in November.

It was at Cannes this year that Varda’s fears concerning audience reactions to Faces Places first proved unfounded. The documentary follows her and JR as they travel through a number of French villages in the van JR uses for his ongoing participatory art project, “Inside Out,” for which he won a TED award in 2011. The back of the van doubles as a photo booth that dispenses from the side of the vehicle poster-sized photographs. They chat with the locals and then do what JR does best: paste giant-sized pictures of people (or animals) onto the exteriors of buildings (or shipping containers, or trains, or World War II-era bunkers, or whatever else moves them). It is indeed a great “adventure” propelled by the warmth of their friendship.

Anyone who has seen the documentary will not be surprised by Varda’s description of her experience at Cannes this spring. A roomful of “2,012 people” gave the film “such an enthusiastic reception, we felt almost surprised. We said: Is it a mistake or something? It’s too much. Which made us feel good,” she adds. The film is currently 100% fresh on Rotten Tomatoes.

It was Varda’s daughter, the costume designer Rosalie Varda-Demy, who arranged for their introduction. (Rosalie’s stepfather was the late The Umbrellas of Cherbourg director, Jacques Demy. Varda also had a son with Demy, the actor and filmmaker Mathieu Demy.) Rosalie thought the two might hit it off, given that Varda, who filmed a 1981 documentary on murals in Los Angeles, Mur Murs, is interested in street art. However, “we didn’t think we would get along so well and be best buddies,” says JR, in the affectionately teasing tone he adopts with his collaborator. It was clear from the first they would do something together, although they didn’t know it would be a documentary.

“If we’d thought from the beginning that this was going to be a film, we wouldn’t have taken it that easy,” JR admits. They would have felt pressured to follow a schedule. But circumstances favored a laid-back approach. Varda, who was in her mid-80s when filming began, could only shoot two to four days each month. There were also periods during which they had to wait for executive producer Rosalie to secure more financing. So they traveled and filmed when they could, and for two years, “we were just playing.”

Varda believes their “peaceful” doc was so enthusiastically received because it is the right film for the times. While we live “in a world of so much chaos and bad news and hate and violence,” Faces Places is a “proposition out of politics, out of terror, out of violence. It’s a proposition of ‘Let’s be together with people.’”

And yet politics is often present in the film at its margins, though Varda would call it “sociologie or anthropologie.” One of the first towns that Varda and JR visit, for example, is home to a former mining community on the downturn. The woman who lives in the last house along a kind of miner’s row is the daughter of a deceased miner who is refusing to move. Varda and this woman still send each other chocolates, JR says.

At a factory, Varda came to consider differently a political issue she has been watching for some time. One of the days they filmed happened to be the very last day for an employee who had been at the factory for 30 years. “I’ve been following the politics, demonstrations, march[es] in the streets” of those who want better retirement conditions, says 89-year-old Varda. But, “I never was on the side of somebody who has to retire.” This man didn’t know what his tomorrow would look like. The way he “spoke about falling from a…”

“Cliff,” offers JR.

“…cliff. Suddenly I said, ‘Well, I learned it’s not that easy to retire.’”

And then there are the dockworkers who were on strike when the filmmakers visited. Yet again, serendipity appeared at their side. (Varda has joked in more than one interview that she enlists “chance” as her assistant on her documentaries. He deserves a raise.) JR admits they were hesitant to ask the workers to participate in their project. But, “they said, ‘No, actually, art has nothing to do with our strike.’” Not only were the workers game to participate, there is little chance they could have participated had they not been on strike.

“We were lucky, ’cause they were all free to help us because they didn’t have to work,” explains JR. Varda and JR chose to paste their enlarged photographs onto immense shipping containers that the workers voluntarily stacked like LEGO blocks.

The men’s enthusiasm also allowed the filmmakers to gratify their feminist impulses. Those familiar with Varda will know to associate her with feminism: Not only is she the only woman commonly named among the French New Wave directors of the late ’50s and ’60s (directors who also include her late husband Demy, as well as François Truffaut, Alain Resnais and the mysterious Jean-Luc Godard), she has agitated for abortion rights and written several “difficult” female characters, most notably Mona of Vagabond. But viewers unfamiliar with JR might be interested (albeit unsurprised, given his rapport with Varda and the grandmother who makes a cameo in the movie) to know his first film was a documentary titled Women Are Heroes.

So both were excited to invite three of the workers’ wives to the dock. It was the first time these women had ever visited the place where their husbands work. And it was photographs of them, not of their men, that Varda and JR chose to enlarge and paste onto the towering shipping containers. These women survey the dock like benevolent giantesses. Their husbands “were surprised to be themselves touched” by the spectacle, Varda recalls. “So we were impressed that maybe it changed…their perception of life.” She speculates that seeing their women on a heroic scale made the dockworkers reconsider certain gender stereotypes. “Because we work with images. And images are not innocent.” Here, it was JR and Varda, not advertisers concerned with a bottom line, who could control what the images of women meant.

What they could not control was the reaction of everyone to whom they reached out. At the end of the film, they drop in to see Godard. Things, however, do not go according to plan. To this day, Varda has not spoken with the filmmaker. Although she sent him a DVD of Faces Places, she has received no reply.

“I really admire his work,” she says. “And I won’t change my mind about, as a filmmaker, how important he has been. As a friend, he was an important friend, but this was in the sixties, and people have the right to change, to have other friends, or to forget.”

Equally important to the film’s conclusion is JR’s trademark sunglasses. Although his refusal to remove his shades irks Varda throughout the film, they serve a pragmatic purpose in real life. Many of the public street-art projects that have taken him from Russian embassies throughout Europe to the border wall separating the United States and Mexico are illegal. In order to preserve his anonymity, JR will neither be photographed nor filmed without his sunglasses. It was, in fact, in consideration of this point that Varda first asked me upon sitting down and seeing a recording device on the table: “Are you filming?”

But while discussing the finale to Faces Places, Varda grew distracted. Also on the table was a stack of promotional postcards. The image from the film’s poster appeared on the front of each postcard, while on the back there was a synopsis and a few shortened reviews. One review irritated Varda so much that she interrupted herself mid-sentence to demand, “Who gives stars? Who is it?”

The five stars and accompanying phrase—“Exquisite”—were from The Guardian, I told her.

“But they only gave it to me,” teased JR. “There’s a little asterisk that says, ‘Stars only to JR.’”

Varda ignored him. “Why is it ‘exquisite’? This is not ‘exquisite.’ That’s a ridiculous name.”

JR: “She’s complaining about everything.”

AV: “Yes, this is not a good quote.”

JR: “That’s a very French thing to do.”

AV: “This is not an exquisite film.”

How would you describe it? I asked.

“Well, I would say, warm, helping you get new friends,” she replied. “I don’t know, something about people.”

“We had luck all along the way, actually,” JR said. Even “what you would call maybe ‘not luck’ at the end of the film was incredible luck.” He tapped Varda’s hands with the edges of several postcards. She shooed him off. He grinned. “I think the biggest luck is that we got to meet, finally.”

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Flix Brewhouse Celebrates Anniversaries Ahead of Nationwide Expansion

PRESS RELEASE

Round Rock, TX – March 2019 – Flix Brewhouse is gearing up for a momentous spring and summer. Between April and June 2019, the movie theater that houses a fully-operational brewery and brew master will observe three anniversaries. The Round Rock, Little Elm and Carmel locations will all celebrate anniversaries. As the year unfolds, Flix Brewhouse will also expand into new territory across the nation in 2019.

According to a January 2018 Inc. article, “innovation just might be the most important component of a successful company.” The article goes on to point out, “The right innovation will allow you to offer something unique to your customers.” As a result of this uniqueness, innovative companies stand out from the competition in a world where getting and keeping customers’ attention is harder than ever.

It is precisely such innovation that has allowed Flix Brewhouse to thrive in the competitive movie theater space. The company has combined dining and microbrewing with film watching into a unique movie theater experience. With positive customer response, Flix Brewhouse has several new locations slated for 2019.

In the meantime, the company is focusing on what it has gotten right since it first opened its doors almost eight years ago. “We are very excited to be celebrating anniversaries at three of our locations this year,” says Greg Johnson, Flix Brewhouse’s Director of Marketing. The original Round Rock location will mark its 8^th anniversary on June 29, 2019. Leading up to that milestone, the Little Elm location will celebrate one year in business on April 27. Three days later, the Carmel location will commemorate its 4^th anniversary.

To date, the circuit has 10 theaters in several different states. “We don’t like getting stuck in a rut and we know our customers don’t either. They can get the same old thing anywhere,” explains Johnson. “So, we continually innovate our menu with seasonal crafts on our beer list and special recipes on our food menu.”

The communities in which Flix is located have responded to this refreshed menu by returning for an experiential theater experience. Stadium seating “dining rooms,” high-definition digital cinema projection and sound qualities, wall-to-wall curved screens, comfortable high-back chairs and the Easy Glider moveable table top complete the Flix Brewhouse experiential ambiance.

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Cast of Terminator: Dark Fate to Receive CinemaCon Ensemble Award

PRESS RELEASE

WASHINGTON D.C.  (March 28, 2019) – Linda Hamilton, Natalia Reyes, Mackenzie Davis, and Gabriel Luna will receive this year’s CinemaCon^®Ensemble Award. Mitch Neuhauser, Managing Director of CinemaCon, announced the award today. CinemaCon, the official convention of NATO, will be held April 1-4, 2019 at Caesars Palace in Las Vegas. The cast of Terminator: Dark Fate will be presented with this special honor at the “CinemaCon Big Screen Achievement Awards” ceremony taking place on the evening of Thursday, April 4, at The Colosseum at Caesars Palace, hosted by the Coca-Cola Company, the official presenting sponsor of CinemaCon.

“With a cast that includes many familiar faces as well as talented newcomers, the next chapter of this blockbuster franchise is sure to entertain audiences around the globe. And, of course, it’s great to have Linda Hamilton back  in  the franchise,” noted Neuhauser. “We are thrilled to have the opportunity to honor this exciting cast with this year’s ‘CinemaCon Ensemble Award.’”  

Releasing in theatres nationwide on November 1, 2019 via Paramount Pictures, Terminator: Dark Fate sees Linda Hamilton (“Sarah Connor”) and Arnold Schwarzenegger (“T-800”) return to their iconic roles. Directed by Tim Miller (Deadpool) and produced by visionary filmmaker James Cameron and Skydance’s David Ellison, the film follows the events of Terminator 2: Judgment Day. In addition, Terminator: Dark Fate stars Mackenzie Davis, Natalia Reyes, Gabriel Luna and Diego Boneta.  

Since coming to national attention playing the iconic “Terminator” role of “Sarah Connor,” Linda Hamilton has gone on to star in such films as Terminator 2: Judgment Day, and Dante’s Peak. On the small screen, her credits include “Beauty and the Beast,” for which she received both an Emmy Award and two Golden Globe nominations and “A Mother’s Prayer.”

Born in Bogotá, Colombia, Natalia Reyes began her career at the age of nine appearing on stage and in various films and television series. She is best known across Latin America for her starring role in “Lady, La Vendedora de Rosas,” as well as Pickpockets, “Cumbia Ninja” and “2091.” Most recently, she starred in the films Sumergible, Brakland, Running with the Devil, and Birds of Passage.

Mackenzie Davis recently wrapped production on The Turning, a modern take on Henry James’ novella “The Turn of the Screw” which is set to be released in 2020. Last year she starred in the critically-acclaimed Tully, and in 2017 appeared in Blade Runner 2049. Additional film credits include Always Shine, The Martian, and her breakout performance in Breathe In. On the small screen she starred in the final season of the critically-acclaimed “Halt and Catch Fire,” and in an episode of “Black Mirror.”

Gabriel Luna has been seen on the big screen films such as Freeheld, Transpecos, and Balls Out. On the small screen, he has been seen in “Marvel’s Agents of Shield,” “True Detective,” “Texas Cyclone,” “Harley and the Davidsons,” “Wicked City,” and “Matador.” He also recently starred in the Minhal Baig directed Hala.

Paramount Pictures, Skydance Media and Twentieth Century Fox set Terminator: Dark Fate to release on November 1, 2019.

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Cinemark Extends Agreement Terms For All IMAX® Theatres

PRESS RELEASE

NEW YORK and PLANO, Texas, March 28, 2019 /PRNewswire/ — IMAX Corporation (NYSE: IMAX) and Cinemark Holdings, Inc. (NYSE: CNK) today announced an expansion of the companies’ partnership with the renewal of all Cinemark’s existing IMAX locations and the installation of two IMAX® with Laser systems. Cinemark will add IMAX’s new laser experience and 12-channel immersive sound system to a new IMAX® theatre to be located at the Cinemark complex in Daly City, California as well as upgrade the existing IMAX theatre at the Cinemark complex in Milford, Connecticut.

With today’s announcement, nearly all of Cinemark’s IMAX theatres are now under agreement through 2026. In addition, in specified circumstances Cinemark shall refresh some of its existing IMAX theatres with redesigned entryways and enhanced in-theatre branding. Cinemark opened its first IMAX theatre in 1999 and, with today’s agreement, now has a total of 14 IMAX theatres that are currently open and one expected to open in the fourth quarter of 2019.

“Throughout our 20-year partnership, Cinemark and IMAX have shared some of the world’s biggest movies and created a platform for the best technical and visual advancements in the industry,” said Mark Zoradi, CEO, Cinemark. “With the reaffirmation of our commitment with IMAX, we will continue to provide audiences with the most impactful moviegoing experience.” 

“Today’s agreement is a testament to the robust performance of Cinemark’s IMAX locations and reaffirms its commitment to giving audiences the best in immersive cinema-going through The IMAX Experience®,” said IMAX CEO Richard L. Gelfond. “We’re excited to expand upon our 20-year partnership with Cinemark as we look to continue providing the differentiated IMAX experience to millions of moviegoers across the U.S. for years to come. With the recent launch of IMAX with Laser and the rollout of a world-class brand campaign, we are more focused than ever on providing audiences with a truly differentiated blockbuster experience that they can’t get anywhere else.”

IMAX with Laser provides audiences with crystal-clear and vivid images to suspend disbelief when experiencing today’s largest films. The next-generation 4K laser projection system features a new optical engine and suite of proprietary IMAX technologies that delivers increased resolution, sharper and brighter images, deeper contrast as well as the widest range of colors available to filmmakers to present more distinct, exotic colors than ever before.

The new system will also feature IMAX’s 12-channel sound technology that incorporates new side and overheard channels to deliver greater dynamic range and precision for ultimate audio immersion and sound you can feel.

To date, the Company has signed agreements for more than 200 of its new IMAX with Laser systems worldwide.

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THX Announces Partnership with Cinionic for THX Ultimate Cinema Launch

PRESS RELEASE

San Francisco, CA – (March 28, 2019) – THX Ltd. today announced that the world’s first THX Ultimate Cinema at Regency Westwood Village Theatre will launch in spring/summer 2019.

The company is working closely with industry leader Cinionic, the Barco, CGS, and ALPD cinema joint venture delivering a new visual standard with enhanced services and technology solutions, to bring the THX Ultimate Cinema experience to consumers. This premium large-format (PLF) cinema offering provides a moviegoing experience that meets all THX Certified Cinema standards.

THX Ultimate Cinema at Regency Westwood builds upon Cinionic’s premium offering, integrating its state-of-the-art dual-Barco laser system, which delivers a 4K resolution image with increased brightness, contrast, clarity and rich brilliant colors for premium large format screens with CGS remastered content exclusively shown at this location. The Regency Westwood Village theater, which boasts nearly 1400 seats and is home to some of Hollywood’s biggest red-carpet premieres, has also undergone numerous upgrades to the sound system and acoustics. These include an increase in low-frequency power to yield a decrease in distortion and an increase in sound power, as well as the addition of curtains to improve the clarity and accuracy of the immersive multi-dimensional sound system.

The design of the Village cinema complies with THX Certified Cinema standards. THX and Cinionic worked with the exhibitor, acoustical consultants, and equipment installers to create a unique design package with architectural and technical requirements to address the audio and visual fidelity to ensure a superior cinematic experience in the auditorium.

“We are excited to collaborate with Cinionic to bring the THX Ultimate Cinema experience to audiences around the world, starting with Regency’s Westwood Village Theatre in Los Angeles” said, Min-Liang Tan, CEO of THX. “THX and Cinionic are respected technology leaders in cinema, and we are confident that this strategic relationship will help meet the demands of exhibition and consumers to make premium entertainment experiences more attainable.”

“The new projection system featured in the THX Ultimate Cinema offering delivers a fantastic image on screen,” said Lyndon Golin, CEO, Regency Theaters. “We are very excited to be able to provide an enhanced cinematic experience to our studio partners for premieres and moviegoers alike.”

“Cinionic was founded to create a new visual standard that drives the industry forward. Our mission to deliver compelling cinema experiences for today’s – and tomorrow’s – moviegoers aligns with that of THX,” said, Wim Buyens, CEO, Cinionic. “THX Ultimate Cinema allows us to bring Cinionic premium technology to the Regency theater for the first time. Our goal is to help elevate the industry standard and bring premium experiences around the world to a whole new level.”

THX Ultimate Cinema

THX Ultimate Cinema will provide exhibitors a branded and differentiated PLF offering which includes high-quality projection technology from Cinionic, as well as an immersive audio system, acoustics and auditorium specifications that meet THX Certification standards.

Driven by dedicated content and strong moviegoer demand for a differentiated experience, Premium Large Format (PLF) is one of the fastest-growing and most active areas of commercial cinema exhibition, with significant potential to grow exponentially in size over the next several years. With the business environment for PLF cinema also becoming increasingly competitive and saturated amid a startling array of brands and technologies, many exhibitors have been seeking a PLF partner that offers high-quality technologies, flexible implementation options, and a strong cinema brand that resonates with consumer audiences.

THX and Cinionic are working with additional exhibitors around the world to bring the THX Ultimate Cinema experience to market and will announce new partners as installation plans are completed.About THX Ltd.

THX Ultimate and THX Ultimate Cinema are trademarks belonging to THX Ltd. All other trademarks remain the property of their respective owners.

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Christie to Showcase CP4330- RGB Projector and New Lineup at CinemaCon

PRESS RELEASE

LAS VEGAS – (March 27, 2019) – Christie^®will be opening CinemaCon 2019, April 1 – 4 at Caesars Palace with projection and sound innovations, while adding to the bottom line of the studio and exhibition communities.

The Milano 1-3 ballrooms, complete with a 30-seat theatre with Christie RealLaser™ projection and Vive Audio, will showcase how energy-saving, future-proofed projection and sound offerings can deliver realistic color, contrast and bright images, along with high-quality cinema sound.

“And what a difference a year makes. Last year at CinemaCon, Christie debuted its 4K resolutionCP4325-RGB cinema projector, the first RealLaser system developed for mainstream cinema exhibition. Exhibitors have recognized the advantages bestowed by our exclusive Christie RealLaser^™illumination platform,” said Dale Miller, Executive Vice President, Cinema, at Christie. “Interest in and orders for our new, RealLaser-equipped systems, including the Christie 2K resolution CP2315-RGBand CP2320-RGB models added to the family in 2018, is exceeding all expectations.”

Since their official launch, Christie’s pure laser CP4325-RGB, CP2315-RGB and CP2320-RGB projectors, based on the Christie RealLaser illumination platform, have been embraced by exhibitors around the world for new installations. All manner of cinemas, from chains to single art-houses, have jumped on the bandwagon, including China’s Wanda Cinema Line, Taiwan’s Showtime Cinemas, Australia’s HOYTS Cinemas, Thailand’sMajor Cineplex, the Philippines’ SM Cinema, France’s CGR Cinemas and Mexico’s Cinemex ARTZ.

Christie will launch the CP4330-RGB projector, a higher-lumen output version of the CP4325-RGB, at the show, as well as preview two new models coming off of Christie’ manufacturing lines in 2019. The new CP4330-RGB can be seen in scheduled demonstrations throughout each day. The preview of the CP2309-RGB, extending its mainstream cinema projector family, and the CP4450-RGB, boasting dual laser optical systems (LOS) and CineLife+ electronics, for Premium Large Format (PLF) theatres, will add to a lineup of affordable pure RGB laser cinema projectors.

In the CP2309-RGB model, exhibitors will get an all-in-one system based on the proven CP2315-RGB design and leveraging the 0.69” DMD-chipset from TI, delivering more than 8500 lumens with an impressive 2000:1 contrast ratio. Debuting at CinemaCon 2019 and available in the summer, an economic entry-point to Christie’s acclaimed RGB laser projection family is used for the first round of replacements to Series One projectors.

As well, the Vive Audio family will be extended with the launch of a new, low-profile, coaxial ribbon driver ceiling surround sound speaker, the LS2C. And the LA3Si and LA3i replacements for the current LA3S-3ohm and LA3 speakers will be previewed.

Christie boasts more than 65,000 digital projectors in the market today. Christie’s Managed Services group offers a variety of programs that combine comprehensive extended warranty options with concierge and service level capabilities. The team will be on hand to answer questions about how their customized services and solutions may be able to help exhibitors make the next transition to Christie RealLaser, or simply add more life to their existing investments.

At CinemaCon, the new product reels and screenings that showcase the magic of cinema in the Colosseum will be delivered by either Christie’s CP4230 projectors installed there, or by Dolby Vision laser projectors, which are manufactured by Christie.

See Christie at Milano 1, 2 and 3 Ballrooms at CinemaCon.

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Dolby to Showcase Dolby Cinema Processor CP950 at CinemaCon 2019

PRESS RELEASE

SAN FRANCISCO, March 28, 2019 (GLOBE NEWSWIRE) — Dolby Laboratories, Inc. (NYSE: DLB) showcases global growth for Dolby Cinema as well as the spectrum of innovative solutions for cinema exhibition, including the new Dolby Cinema Processor CP950 at CinemaCon 2019.

“Our cinema business continues to drive strong global momentum,” said Doug Darrow, Senior Vice President, Cinema Business Group, Dolby Laboratories. “Dolby Cinema’s rapid expansion, coupled with the thousands of Dolby Atmos screens available worldwide, and the ongoing release of new cinema products, reinforces the strong demand for spectacular cinema experiences that only Dolby technologies can provide.”

Dolby Cinema Global Growth
Over 200 Dolby Cinema locations are open globally, with an additional 200 sites committed worldwide, and a total of 20 exhibitor partners in 11 countries. Dolby’s exhibitor partner AMC Theatres has 130 Dolby Cinema locations in the United States. Dolby Cinema, in partnership with Odeon, debuted December 2018 at Odeon Leicester Square in London, with a second opening planned in Leeds, England on April 12, 2019. In the past year, Japan’s first Dolby Cinema opened with exhibitor partner, Shochiku Multiplex Theatres, and 22 additional Dolby Cinemas opened in China with support from exhibitors such as Wanda Cinema Line, CGV Cinema Line, Jinyi, and Wanying Cinema Line in Beijing, Shanghai, Guangzhou, and Shenzhen, amongst others.

Major studios with upcoming theatrical releases mixed in Dolby Atmos and graded in Dolby Vision, to use the Dolby Cinema experience, include Lionsgate, Paramount Pictures, Sony Pictures, The Walt Disney Studios, Universal Pictures, and Warner Bros. Pictures. There have been more than 200 theatrical releases mastered in Dolby Vision and Dolby Atmos, including the top 15 box office leaders in 2018. Dolby audio-visual technologies were also utilized in eight Oscar winning films at the 91^st Academy Awards.

Dolby Atmos Momentum 
To date, more than 4,800 Dolby Atmos enabled cinema screens have been installed or committed in more than 90 countries. There is also a growing trend of exhibitors outfitting entire multiplexes with Dolby Atmos with nearly 50 multiplexes around the world having equipped all screens with Dolby Atmos.

From mixing to playback, Dolby Atmos delivers a high-quality audio experience for moviegoers. There are now over 200 Dolby Atmos mixing facilities worldwide, and more than 1,300 feature films that have been mixed and mastered in Dolby Atmos.

Dolby’s Solutions for Cinema
Making its debut at CinemaCon, the Dolby Cinema Processor CP950 offers an innovative way of installing Dolby 5.1 and 7.1 surround and includes an expansion slot for future upgradability to Dolby Atmos. This feature-packed solution offers ease of installation and servicing, a built-in booth monitor, intuitive front-panel user interface, color touchscreen, crossover for bi-amplified or tri-amplified screen loudspeakers, and web interface for enhanced access and usability.

In addition to the new Dolby Cinema Processor CP950, other Dolby technologies highlighted at CinemaCon include:

• Dolby Integrated Media Server IMS3000 – an innovative imaging server and audio processor in one, which delivers reliability and enables exhibitors to show movies with high-quality sound.
• Dolby Multichannel Amplifier – an advanced, high-density design that can replace up to 16 stereo amplifiers, and offers flexibility with sound as exhibitors can start with Dolby Audio 5.1 or 7.1 sound now, and unlock the power of Dolby Atmos later.
• SLS Cinema Series Speaker System – delivers exceptionally clear and powerful audio experiences with superior dynamic range, and ultra-clear high frequency from any seat in the house.

Dolby’s technologies will be showcased at CinemaCon in Las Vegas, Nevada from April 1 – 4 at booth #2503A in the Augustus Ballroom.

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D-BOX and Cineplex Announce Partnership to Roll-out 10 New Auditoriums in Select Markets in Canada

PRESS RELEASE

MONTREAL, March 27, 2019 (GLOBE NEWSWIRE) — D-BOX Technologies Inc. (D-BOX) (TSX:DBO), a world leader in immersive motion entertainment experiences and Cineplex, a leading entertainment and media company, announced the addition of D-BOX motion seats to an additional 10 Cineplex auditoriums across Canada. The addition of these locations brings the total number of auditoriums at Cineplex theatres to 100, a new milestone for D-BOX.

“We are always happy to partner with Cineplex because it means we can bring the D-BOX experience to more Canadians. Reaching 100 auditoriums in the Cineplex circuit is an extra special milestone for us,” said Claude Mc Master, President and CEO of D-BOX. “Furthermore, to have our motion technology featured in auditoriums with UltraAVX screens creates an exciting new entertainment experience that transcends the ordinary by completely immersing movie-goers in the story.”

Capitalizing on a worldwide demand for immersive movie-going experiences, Cineplex and D-BOX have continued their partnership to enhance the guest experience and offer some of the latest technology for entertainment. Combining the motion of D-BOX seats with the wall-to-wall screens, picture and sound quality available through UltraAVX, Cineplex guests can enjoy the latest blockbusters in an immersive movie-going experience.

“D-BOX is globally recognized for its technology and innovation and over the past decade, their motion seats have been a much sought-after experience that our guests have loved,” said Dan McGrath, Chief Operating Officer, Cineplex. “We are so pleased to continue our longstanding partnership and are excited to introduce the D-BOX experience to even more Canadians.”

The roll-out of the 10 additional D-BOX locations is scheduled to begin this summer with completion slated for 2020 in select markets across Canada.

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Severtson Features Giant Electric Motorized Cinema Screens During CinemaCon 2019

PRESS RELEASE

Mesa, Arizona, USA, March 28, 2019 – Severtson Screens (www.severtsonscreens.com) has announced that it will feature its new SēVision 3D GX Giant Electric Motorized Cinema Projection Screen line during CinemaCon 2019, held in Las Vegas, Nev. from April 1-4 at Caesars Palace, booth #2221A.

“Our wildly popular giant SēVision 3D GX projection screens are ideal for large venues where the screen needs [to be] raised and lowered, such as in an opera or play house with a large stage environment,” explained Toby Severtson, president and CEO of Severtson Corp. “It’s also the perfect solution for multi-purpose auditoriums, such as in commercial, university/school, house of worship, museum, and pro AV situations that require large commercial or cinema-sized screens, but not in a permanent static installation.”

The giant electric motorized projection screens are available in all offered gain levels as well as in non-perf, cinema (standard) perf, and microperf so the soundstage can be placed behind the screen similar to premier movie theatres.

“The SēVision 3D GX Giant Electric Motorized projection screens were the first giant electric high quality 3D screens available on the market at these larger cinematic sizes,” Severtson continued. “Due to our folded screen technology and coating, it has enabled us to create an electric cinema screen that can be rolled up and down frequently without damaging the screen’s surface. It’s the perfect answer for what was once an impossible scenario for a large format cinematic 3D screen.”

Since the recently announced SēVision 3D GX-WA coating technology can be folded like other Severtson Screens coatings, it is an ideal option for the Giant Electric Motorized Screens and thus will also be featured during CinemaCon 2019.

“Our enhanced SēVision 3D GX-WA projection screen coating is a brilliant example of Severtson Screens’ continued quest for quality, improvement, and innovation,” explained Severtson. “The SēVision 3D GX-WA coating provides the benefits of the standard SēVision 3D GX coating, but offers increased uniformity and brightness typically seen more often on 2D white screens. It is also engineered specifically to increase the viewing angle over standard silver screens while also reducing hotspotting.”

“Like all Severtson projection materials, SēVision 3D GX-WA offers the unique benefit of also being foldable, without any damage to the projection surface,” added Dan Maxwell, Severtson Corp. V.P. & Chief Operating Officer. “This allows it to be transported in a smaller crate and at a fraction of the cost, as well as to locations around the world where shipping was previously far more difficult and expensive. It also makes it an ideal coating for our Giant Motorized and Giant QuickFold screens.” 

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