Focus Features and Regal to Offer Free Screenings of Harriet

In celebration of Black History Month, Focus Features and Regal have partnered to offer free screenings of Harriet in 50 theatres around the United States on Tuesday, February 4, and Tuesday, February 11.

Directed by Kasi Lemmons, the film depicts the life of African American freedom fighter Harriet Tubman, bringing her story to the big screen for the very first time. For her work in the titular role of Harriet, Cynthia Erivo has been nominated for two Academy Awards, for Best Actress and Best Original Song for “Stand Up,” which she co-wrote with Joshuah Brian Campbell. 

Moviegoers can get free tickets through Gofobo here.

Free screenings will be offered at these locations:

Regal New Roc 4DX, IMAX & RPX	New York
Regal Galleria Mall	New York
Regal Edwards Long Beach & IMAX	Los Angeles
Regal Edwards Aliso Viejo & IMAX	Los Angeles
Regal Cantera & RPX	Chicago
Regal UA Riverview Plaza IMAX & RPX	Philadelphia
Regal Hacienda Crossings ScreenX, IMAX & RPX	San Francisco-Oakland-San Jose
Regal Fox Run & RPX	Boston (Manchester)
Regal Majestic &IMAX	Washington, DC (Hagerstown)
Regal Potomac Yard	Washington, DC (Hagerstown)
Regal Arbor Place & IMAX	Atlanta
Regal Edwards Greenway Grand Palace ScreenX & RPX	Houston
Regal Auburn-Washington	Seattle-Tacoma
Regal Park Place & RPX	Tampa-St. Pete (Sarasota)
Regal Oakwood	Miami-Ft. Lauderdale
Regal UA Denver Pavilions 4DX & RPX	Denver
Regal Richmond Town Square	Cleveland-Akron (Canton)
Regal Waterford Lakes 4DX & IMAX	Orlando-Daytona Beach-Melbourne
Regal Stockton City Center & IMAX	Sacramento-Stockton-Modesto
Regal Movies On TV	Portland, OR
Regal Brier Creek	Raleigh-Durham (Fayetteville)
Regal Stonecrest At Piper Glen 4DX, IMAX & RPX	Charlotte
Regal UA Snowden Square	Baltimore
Regal Rancho Del Rey	San Diego
Regal Hollywood ScreenX & RPX	Nashville
Regal Live Oak & RPX	San Antonio
Regal Hollywood & RPX	Greenville-Spartanburg-Asheville-
Regal Royal Palm Beach & RPX	West Palm Beach-Ft. Pierce
Regal Aliante & IMAX	Las Vegas
Regal Manor	Harrisburg-Lancaster-Lebanon-York
Regal Macarthur Center & RPX	Norfolk-Portsmouth-Newport News
Regal Warren Moore 4DX & IMAX	Oklahoma City
Regal UA Cottonwood	Albuquerque-Santa Fe
Regal Greensboro Grande & RPX	Greensboro-High Point-W.Salem
Regal Arbor @ Great Hills	Austin
Regal River City Marketplace	Jacksonville
Regal Transit Center & IMAX	Buffalo
Regal Edwards Fresno 4DX & IMAX	Fresno-Visalia
Regal McCain Mall & RPX	Little Rock-Pine Bluff
Regal Commonwealth & IMAX	Richmond-Petersburg
Regal Colonie Center & RPX	Albany-Schenectady-Troy
Regal Pinnacle ScreenX, 4DX, IMAX & RPX	Knoxville
Regal Belltower & ScreenX	Ft. Myers-Naples
Regal River Ridge	Roanoke-Lynchburg
Regal Warren East	Wichita-Hutchinson
Regal Sandhill IMAX & RPX	Columbia, SC
Regal Swamp Fox	Myrtle Beach-Florence
Regal Augusta Exchange & IMAX	Augusta-Aiken
Regal Salisbury & RPX	Salisbury
Regal Stonefield & IMAX	Charlottesville

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Santikos Announces Eleventh Location

PRESS RELEASE

San Antonio, TX (January 31, 2020) – Santikos Enterprises is pulling back the curtain and has announced their next location for a state-of-the-art theater and entertainment center on Bulverde Rd and 1604. With the recent announcement surrounding Santikos’ Leon Springs location, this Bulverde road facility is sure to expand and further cement Santikos’ presence here in San Antonio.

Santikos is best known for taking films, food, and fun and amplifying the experience with state-of-the-art amenities, world-class service, and friendly faces. This new location will be no exception and is planned to be a 50,000 square foot building filled with 10-12 auditoriums, the notable AVX viewing experience, a well-stocked bar and an arcade.

“The announcement of an 11th location is extremely exciting for us,” stated Tim Handren, CEO of Santikos Enterprises. “Our continual goal is not just to create space for families and friends to come together for an unmatched experience. The goal is to carry on John Santikos’ legacy and make an impact in our community. Our company is unique in that 100% of our profits go directly back into the community through the San Antonio Area Foundation. This is what separates Santikos from all other entertainment venues, they can’t say their profits are truly staying local. We believe this location will only expand our ability to make a positive community impact and solidify our presence in this city and surrounding counties. John Santikos’ vision was to have his businesses grow and continue operating for the benefit of the community. We work hard every day to be good stewards of those assets and his legacy.”

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Long Range Box Office Tracking: Disney’s Mulan

Our look ahead into March and the end of 2020’s first quarter concludes with preliminary tracking and forecasts for Disney’s next live action adaptation.

Mulan
Opening Weekend Range: $40 – 60 million

PROS:

• Second to no one, Disney has all but mastered the ability to capitalize on existing IP and nostalgia. In recent years, they’ve sent remakes of The Lion King, Beauty and the Beast, Aladdin, The Jungle Book, Maleficent, and Cinderella to varying degrees of big box office success.
  
  
• As audiences and the industry embrace diversity on the big screen, the appeal of a large scale, English language film starring a predominately Asian cast could attract a strong turnout from Asian-American communities and families.
  
  
• Opening three weeks after Pixar’s Onward, there should be enough of a gap to prevent significant competition — especially given the former’s lean toward young male audiences, in opposition to this feature’s reliance upon young women.
  
  
• Trailer impressions are notably high as the film received a considerable amount of promotion in front of blockbusters like Star Wars: The Rise of Skywalker and Frozen II over the holidays.

CONS:

• Though a success in its own right, the 1998 Mulan was a more down-to-earth box office performer compared to the earlier blockbuster successes of Disney’s previous golden animation age in the early 1990s.
  
  
• Although the film has some distance between it and another Disney opener early in March, April will bring about a fair amount of potential competition for younger viewers with Peter Rabbit 2 (April 3, one week after) and Trolls: World Tour (April 17).
  
  
• Rumors of significant reshoots (not entirely confirmed by Disney) and a few key changes from the original animated film could hinder excitement among devoted fans of the latter.
  
  
• Though generating strong views in terms of numbers, the film’s trailers have incurred mixed sentiment across social media metrics. This is not always indicative of long-term success (see last year’s Aladdin, for example), but combined with other factors mentioned here, we’re somewhat cautious in forecasts for the time being while leaving breakout potential on the table.

Upcoming Estimated Location Counts

• Birds of Prey (4,100 studio estimate)
• Fantasy Island (2,700)
• The Photograph (2,300)
• Sonic the Hedgehog (4,000)

8-Week Tracking & Forecasts

Release Date	Title	3-Day (FSS) Opening Tracking Range	3-Day (FSS) Opening Forecast	% Chg from Last Week	Domestic Total Range	Domestic Total Forecast	% Chg from Last Week	Distributor
2/7/2020	Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)	$40,000,000 – $60,000,000	$49,000,000		$100,000,000 – $150,000,000	$135,000,000	8%	Warner Bros.
2/14/2020	Fantasy Island	$12,000,000 – $17,000,000	$15,500,000		$30,000,000 – $45,000,000	$40,000,000		Sony / Columbia
2/14/2020	The Photograph	$10,000,000 – $15,000,000	$13,000,000		$25,000,000 – $35,000,000	$30,000,000		Universal
2/14/2020	Sonic the Hedgehog	$31,000,000 – $36,000,000	$34,000,000	3%	$100,000,000 – $140,000,000	$118,500,000	3%	Paramount
2/21/2020	Brahms: The Boy 2	$7,000,000 – $12,000,000	$8,000,000		$15,000,000 – $28,000,000	$17,800,000		STX
2/21/2020	Call of the Wild	$15,000,000 – $20,000,000	$15,000,000		$50,000,000 – $65,000,000	$50,000,000		20th Century
2/28/2020	The Invisible Man	$20,000,000 – $40,000,000	$30,000,000		$60,000,000 – $105,000,000	$80,000,000		Universal
3/6/2020	Onward	$50,000,000 – $70,000,000	$60,000,000		$175,000,000 – $250,000,000	$227,000,000		Disney / Pixar
3/6/2020	The Way Back	$12,000,000 – $17,000,000	$13,000,000		$40,000,000 – $60,000,000	$43,500,000		Warner Bros.
3/13/2020	Bloodshot	$12,000,000 – $17,000,000	$14,000,000		$30,000,000 – $45,000,000	$36,000,000		Sony / Columbia
3/13/2020	I Still Believe	$13,000,000 – $18,000,000	$14,500,000		$44,000,000 – $59,000,000	$49,000,000		Lionsgate
3/13/2020	My Spy	$8,000,000 – $13,000,000	$10,000,000		$25,000,000 – $45,000,000	$36,000,000		STX
3/13/2020	Untitled Blumhouse Productions Project		n/a			n/a		Universal
3/20/2020	A Quiet Place Part II	$60,000,000 – $80,000,000	$72,000,000		$140,000,000 – $190,000,000	$168,000,000		Paramount
3/27/2020	Mulan	$40,000,000 – $60,000,000	$46,000,000	NEW	$115,000,000 – $170,000,000	$132,000,000	NEW	Disney

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Weekend Box Office Report: Gretel & Hansel ($475K) and The Rhythm Section ($235K) Off to Lukewarm Starts

Friday Update: Following our weekend forecast earlier in the week, today’s new releases are off to expectedly modest starts entering Super Bowl weekend in North America.

UAR’s Gretel & Hansel pulled a reported $475K from shows beginning at 7pm in 2,500 locations last night. That’s just a few ticks above The Turning last week ($425K) and below Underwater $(500K) earlier this month. Those fellow genre films posted overall opening weekends of $6.95 million and $7.01 million, respectively.

Meanwhile, Paramount’s The Rhythm Section posted an estimate of $235K last night, also from shows starting at 7pm in over 2,200 locations. That’s just over one-third of what Miss Bala ($650K) earned in its Thursday night debut before the Super Bowl last year, a pic which ultimately bowed to $6.86 million for its first weekend.

Both Thursday night figures remain unconfirmed by their respective studios.

As covered earlier, Bad Boys for Life will easily remain atop the box office in its third frame this weekend, while 1917 and Dolittle will cap off the top three ahead of the newcomers.

More updates throughout the weekend.

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Film Forum Receives $1 Million 50th Anniversary Gift from King Family Foundation

Karen Cooper, director of New York City’s Film Forum since 1972, announced more than one million dollars in gifts to commemorate the theater’s 50th anniversary this year.

The anniversary is being celebrated with a $1 million gift from the Charles & Lucille King Family Foundation in memory of the Foundation’s founder and longtime chair and president, Diana King. Her father, Charles King, was founder of King World Productions, a leading distributor of syndicated television programming (“Wheel of Fortune,” “Jeopardy,” “The Oprah Winfrey Show”). Diana King, who passed away in January 2019, established the Charles & Lucille King Family Foundation in 1988. For the next 30 years, the Foundation has supported a panoply of undergraduate and graduate scholarship programs for students in film, television, and other media. Film Forum has received funding from the Foundation every year since 2005, and since 2015 specifically to support its “Film Forum Jr.” program of weekend classics for children. Film Forum is honoring King’s generous legacy with the naming of The Diana King Theater.

The Robert Jolin Osborne Trust will make a $250,000 gift to Film Forum during its anniversary year, to establish the Robert Jolin Osborne Endowed Fund for American Classic Cinema of the 1930s, ’40s, and ’50s. Additionally, the estate recently made a $50,000 gift in support of the Kevin Brownlow Festival honoring the world-renowned film historian, author, and documentarian, which will take place at Film Forum May 8–21. Brownlow will be in person at numerous screenings and events. Robert Osborne (1932-2017) is known to just about every American who ever turned on the TV to watch an old movie. As the iconic, silver-haired host on Turner Classic Movies (TCM) for more than two decades, he was termed “a one-of-a-kind cinematic savant” by The New York Times. The Osborne Endowed Fund will support Film Forum’s longtime commitment to American classic cinema from the 1930s through the 1950s, under the leadership of Bruce Goldstein, director of repertory programming.

Having opened on the Upper West Side in 1970 with 50 folding chairs, the nonprofit cinema has grown to its present incarnation: 4 screens, 469 seats, open 365 days year, with a $6 million operating budget. Film Forum maintains a dual profile – as a leading cinema for NYC premieres of independent foreign and American features, and as a leading repertory cinema, championing classic movies and overlooked masterpieces.

Film Forum is a nonprofit whose budget is offset by gifts from public funders (the National Endowment for the Arts, the NYS Council on the Arts, the NYC Department of Cultural Affairs), private individuals, foundations, and corporations. Major gifts over the years from the Ford Foundation, the Ostrovsky Family Fund, the Cordelia Corporation, the Harry S. Thomson Foundation, the Kaplen Brothers Fund, the Charina Endowment Fund, the Samuel I. Newhouse Foundation, the Constantiner Family Foundation, the Thompson Family Foundation, Caryl Ratner, the Clayton-Royer Family Fund, the R.G. Rifkind Foundation, the Helen Frankenthaler Foundation, the Roy Lichtenstein Foundation, and others have played a critical part in the theater’s longevity. It is with the support of GFP Real Estate (the Gural Family and Partners real estate platform), Film Forum’s landlord, that the theater’s 2018 expansion into a contiguous space—for the creation of a 4th screen—was made possible.

In addition to the naming of the Diana King Theater and the establishment of the Robert Jolin Osborne Endowed Fund, Film Forum is marking its 50th anniversary with these projects:

• Several evenings of in-person presentations by directors and stars will focus on movies they saw at Film Forum which have had a lasting effect upon their lives and work. Oscar-nominated actor Ethan Hawke (a Film Forum board member), will present Dennis Hopper’s rarely seen directorial feature The Last Movie, and will participate in a moderated dialogue.
• A limited-edition series by renowned artist Cindy Sherman (also a Film Forum board member) will be for sale to benefit the theater, through the artist’s generosity and that of her gallery, Metro Pictures.
• An anniversary trailer, created by Jump Cut, will be on Film Forum screens this spring.
• A “Happy Birthday” trailer featuring 8 NYC arts luminaries (Gary Cryst, André Gregory, Ethan Hawke, Famke Janssen, Margo Jefferson, Natasha Lyonne, and Frances McDormand) will be released shortly.
• A 6-minute original movie (“The Projectionists”) is now playing on Film Forum’s YouTube channel, made by Coren H.G..
• A new Film Forum T-shirt, based on the 1981 “Greetings from Film Forum” postcard, designed by George Griffin, is now on sale at the theater’s concession and online.

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Weekend Box Office Forecast: Bad Boys for Life Eyes 3rd #1 Finish; The Rhythm Section and Gretel & Hansel Debut on Super Bowl Weekend

Another January ends, which means another Super Bowl is upon us and moviegoing will see a significant slowdown in North America as folks prepare to watch the big game on Sunday.

Thankfully, January has already provided two breakouts in the form of Bad Boys for Life and 1917‘s wide expansion, both of which will continue anchoring the market (the former shooting for its third straight #1 finish). Dolittle will also lend some weight with a likely top three finish amid no fresh competition for family viewers.

Daring to enter wide release this weekend, Paramount’s The Rhythm Section will hope to bring out Blake Lively fans (not to mention fans of Mark Burnell’s source novels). Unfortunately, pre-release tracking metrics have stalled in recent days after showing signs of potentially cracking a $10 million+ debut similar to the likes of Peppermint and Red Sparrow. Our most current models suggest a more reserved debut could be in store this weekend, though, with mixed reviews and a minimal marketing push not helping matters.

Meanwhile, United Artists Releasing will drop Gretel & Hansel this weekend. In its favor, the PG-13 rating and less-than-90-minute run time could draw young female viewers early in the weekend. On the less optimistic side, horror/thriller releases haven’t fared well so far this year — with the glut of The Grudge, Underwater, and last week’s The Turning arguably diminishing demand for another one so soon. Our internal metrics for Gretel are comparable to the latter two titles, as well as Pride and Prejudice and Zombies, which also opened over Super Bowl weekend in 2016.

Opening Weekend Ranges

• Gretel & Hansel ($3 – 8 million)
• The Rhythm Section ($4 – 9 million)

Top 10 vs. Last Year

Boxoffice projects this weekend’s top ten films will increase approximately 23 to 28 percent from the same weekend one year ago, which was also Super Bowl weekend. At the time, Glass again led the market as Miss Bala debuted among a top ten aggregate that generated $52.1 million.

Weekend Forecast

Film	Distributor	3-Day Weekend Forecast	Projected Domestic Total through Sunday, February 2	% Change from Last Wknd
Bad Boys for Life	Sony / Columbia	$19,000,000	$148,000,000	-44%
1917	Universal	$8,800,000	$117,600,000	-45%
Dolittle	Universal	$7,800,000	$55,000,000	-36%
The Rhythm Section	Paramount	$6,000,000	$6,000,000	NEW
Gretel & Hansel	United Artists Releasing	$5,300,000	$5,300,000	NEW
Jumanji: The Next Level	Sony / Columbia	$5,200,000	$290,300,000	-32%
The Gentlemen	STX	$4,800,000	$18,700,000	-55%
Star Wars: The Rise of Skywalker	Disney / Lucasfilm	$3,200,000	$507,000,000	-43%
Little Women (2019)	Sony / Columbia	$3,100,000	$98,900,000	-33%
The Turning	Universal	$2,400,000	$11,000,000	-65%

Forecasts subject to change as location counts are finalized before Friday

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

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Comscore Chief Privacy Officer Veronica Torres Appointed to International Association of Privacy Professionals’ Advisory Board

PRESS RELEASE

Comscore announces today that chief privacy officer Veronica Torres has been appointed to the International Association of Privacy Professionals’ Women Leading Privacy Advisory Board. In her new role, Torres will help advance women operating in the privacy field by advising on best practices and supporting the IAPP’s mission to provide a comprehensive body of resources, knowledge, and experts.  

“The privacy landscape is rapidly evolving, and new regulations have placed a greater emphasis on privacy than ever before. We have been fortunate to benefit from Veronica’s strong leadership and vision to drive Comscore’s rigorous data privacy practices,” said Carol DiBattiste, chief legal & compliance officer, Comscore. “Veronica has played an indispensable role articulating Comscore’s privacy framework, and I am confident she will provide valuable counsel that will advance the IAPP’s mission to define, support and improve the privacy profession globally.”

In her current role at Comscore, Torres leads the company’s global privacy and data protection strategy by working with stakeholders across its business functions. She received her J.D. from Brooklyn Law School, were she focused on information law.

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Weekend Box Office Results: Bad Boys For Life, The Gentlemen, The Turning

Sony’s Bad Boys For Life claimed the box office crown again with $34.0M, declining only -45.6%, a better hold than -52.6% for predecessor Bad Boys II.

It’s also a better hold than for other recent mid-January releases such as Glass with -53.1%, Ride Along with -48.6%, and Ride Along 2 with -64.6%.

And it’s also a far better hold than several other comedy action sequels or reboots in the past year, such as Shaft with -60.4%, Charlie’s Angels with -61.2%, and Men in Black: International with -64.3%.

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Universal’s 1917, hold onto second place while declining only -28.1% in its third wide weekend.

Compared to other January war movies in their third wide weekends, that’s a better hold than Lone Survivor with -41.5%, Zero Dark Thirty with -38.5%, American Sniper with -52.5%. 

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After its disappointing debut last weekend, especially relative to its huge estimated $175M budget, Universal’s Dolittle took place with $12.1M, dropping -42.7%.

That’s a worse hold than 2016’s The Jungle Book with -40.4%, 1998’s Doctor Dolittle with -32.1%, or 2001’s sequel Dr. Dolittle 2 with -36.8%.

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This weekend saw two new wide debuts.

STX’s action comedy The Gentlemen had a gentle opening with $10.6M and fourth place, about in line with pre-release projections.

Universal’s horror film The Turning turned over $6.9M and sixth place, on the lower end of pre-release projections — and earning a rare “F” CinemaScore in the process. The audience was 52% female and 53% under age 25.

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Neon’s awards contender Parasite became the studio’s highest grossing release ever with $30.9M and counting. That beats the studio’s previous best I, Tonya with $30.0M, and also their prior Best Picture winner Moonlight with $27.8M.

On its 16th weekend, Neon’s Parasite finally broke 1,000 theaters for the first time, earning $1.97M.

However, its fourth and fifth weekends were both higher at $2.53M and $2.59M, despite the lower screen counts.

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Disney’s Star Wars: The Rise of Skywalker reached $500M domestically on Saturday, its 37th day of release.

While it’s hard to call $500M a disappointment, it reached the mark notably slower than its predecessors. 2015’s The Force Awakens took 10 days, 2016’s spinoff Rogue One took 32 days, and 2017’s The Last Jedi took 16 days.

Skywalker earned $5.5M this weekend for seventh place.

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Disney’s Frozen 2 fell out of the top 10, coming in 11th place with $2.6M. Barring an unlikely return to the top tier, the film spent nine weekends in the top 10.

That’s far fewer than its predecessor’s 16 top-10 weekends, the most of any film in 2010s. (La La Land, Black Panther, and Zootopia all tied for second with 13 top-10 weekends.)

To some extent that was expected, though, given the more frontloaded box office for most sequels.

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How’d This Weekend Compare?

Total box office this weekend was $121.5M. That’s -27.0% below last weekend but +17.4% above this same weekend last year, when Glass led for a second frame with $18.8M.

The Year So Far

Year-to-date box office stands at $834.1M. That’s +11.4% above this same date last year, up from +10.3% after last weekend.

While most analysts project this year’s domestic box office will ultimately fall below last year, the early trajectory is defying that prediction. 

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Monday’s Weekend Actuals (Domestic)

FRI, JAN. 24 – SUN, JAN. 26

WIDE (1000+)

#	TITLE	WEEKEND		LOCATIONS		AVG.	TOTAL	WKS.	DIST.
1	Bad Boys For Life	$34,011,714	-46%	3,775	0	$9,010	$120,655,879	2	Sony / Columbia
2	1917	$15,916,580	-28%	3,937	325	$4,043	$103,999,889	5	Universal Pictures
3	Dolittle	$12,198,835	-44%	4,155	0	$2,936	$44,383,565	2	Universal
4	The Gentlemen	$10,651,884	—	2,165	—	$4,920	$10,651,884	1	STX Entertainment
5	Jumanji: The Next Level	$7,700,526	-21%	3,121	-202	$2,467	$283,246,326	7	Sony Pictures
6	The Turning	$6,950,045	—	2,571	—	$2,703	$6,950,045	1	Universal Pictures
7	Star Wars: The Rise Of Skywalker	$5,572,678	-33%	2,800	-258	$1,990	$501,982,818	6	Disney
8	Little Women	$4,603,145	-28%	2,528	25	$1,821	$93,630,546	5	Sony Pictures
9	Just Mercy	$4,031,215	-30%	2,408	-49	$1,674	$27,054,597	5	Warner Bros.
10	Knives Out	$3,539,020	-17%	1,677	10	$2,110	$151,754,942	9	Lionsgate
11	Frozen II	$2,648,199	-31%	1,750	-330	$1,513	$469,911,767	10	Disney
12	Parasite	$1,973,639	15%	1,060	217	$1,862	$30,912,648	16	NEON
13	Spies in Disguise	$1,760,765	-34%	1,323	-438	$1,331	$62,020,506	5	20th Century Fox
14	Like a Boss	$1,504,826	-63%	1,723	-1358	$873	$20,501,855	3	Paramount Pictures
15	Jojo Rabbit	$1,405,254	-6%	1,160	155	$1,211	$25,979,891	15	Fox Searchlight
16	Underwater	$1,206,446	-68%	1,677	-1114	$719	$15,917,430	3	20th Century Fox

LIMITED (100 — 999)

#	TITLE	WEEKEND		LOCATIONS		AVG.	TOTAL	WKS.	DIST.
1	The Last Full Measure	$1,056,416	—	614	—	$1,721	$1,056,416	1	Roadside Attractions
2	Ford v. Ferrari	$815,945	-24%	804	-276	$1,015	$114,346,820	11	20th Century Fox
3	Uncut Gems	$694,573	-47%	490	-440	$1,417	$47,672,928	7	A24
4	Weathering With You	$668,607	-63%	458	-28	$1,460	$6,528,252	2	GKIDS
5	Bombshell	$573,548	-7%	596	186	$962	$30,250,966	7	Lionsgate
6	The Grudge	$300,620	-67%	420	-557	$716	$20,748,284	4	Sony Pictures
7	Panga	$285,689	—	102	—	$2,801	$285,689	1	FIP
8	A Beautiful Day in the Neighborhood	$201,035	-32%	240	-125	$838	$60,923,062	10	Sony Pictures
9	The Song Of Names	$114,768	23%	182	106	$631	$666,888	5	Sony Pictures Classics
10	Once Upon a Time In Hollywood	$114,046	-64%	325	-380	$351	$141,827,869	27	Sony Pictures
11	Joker	$113,282	-67%	348	-506	$326	$334,814,743	17	Warner Bros.
12	Cats	$104,785	-27%	133	-13	$788	$26,978,620	6	Universal Pictures
13	Clemency	$86,500	392%	127	117	$681	$229,203	5	Neon
14	Richard Jewell	$56,271	-14%	155	-8	$363	$22,272,768	7	Warner Bros.

PLATFORM (1 — 99)

#	TITLE	WEEKEND		LOCATIONS		AVG.	TOTAL	WKS.	DIST.
1	Color Out Of Space	$216,162	—	81	—	$2,669	$356,526	1	RLJE Films
2	Pain and Glory	$58,009	-40%	68	-99	$853	$4,319,043	17	Sony Pictures Classics
3	Les Misérables (2020)	$57,367	-17%	69	27	$831	$205,195	3	Amazon Studios
4	Ip Man 4: The Finale	$53,911	-49%	29	-25	$1,859	$3,870,814	5	Well Go USA Entertainment
5	Maleficent: Mistress of Evil	$49,227	-31%	90	-15	$547	$113,832,896	15	Disney
6	Queen & Slim	$39,155	-42%	72	-48	$544	$43,791,430	9	Universal Pictures
7	A Hidden Life	$34,508	-27%	43	-12	$803	$1,689,048	7	Fox Searchlight
8	Merci pour tout (Thanks For Everything)	$24,213	-41%	40	-36	$605	$1,017,030	5	eOne Entertainment
9	Cunningham	$16,564	12%	21	-2	$789	$202,155	7	Magnolia Pictures
10	Judy	$16,320	-33%	47	3	$347	$24,130,992	18	Roadside Attractions / LD Entertainment
11	Citizen K	$14,425	51%	7	6	$2,061	$55,752	10	Greenwich Entertainment
12	Chhapaak	$14,094	-87%	21	-79	$671	$599,396	3	FIP
13	Invisible life	$11,502	-50%	11	-4	$1,046	$141,686	6	Amazon Studios
14	Varda by Agnes	$7,001	149%	6	4	$1,167	$133,881	10	Janus Films
15	The Cave (2019)	$6,817	—	10	—	$682	$55,215	15	National Geographic Documentary Films
16	Zombi Child	$6,051	—	3	—	$2,017	$7,199	1	Film Movement
17	Lore	$3,780	-47%	4	-3	$945	$15,386	2	Indican Pictures
18	Midnight Family	$3,577	25%	9	4	$397	$35,962	8	1091
19	The Woman Who Loves Giraffes	$3,500	45%	2	0	$1,750	$37,401	17	Zeitgeist Films
20	The Lighthouse	$3,464	-73%	5	0	$693	$10,863,481	15	A24
21	Waves	$2,919	-12%	5	-3	$584	$1,656,240	11	A24
22	The White Sheik	$2,220	-70%	2	-1	$1,110	$34,694	5	Rialto Pictures
23	Synonyms	$2,137	-40%	5	-1	$427	$203,169	14	Kino Lorber
24	By the Grace of God	$1,684	285%	1	0	$1,684	$64,403	15	Music Box Films
25	Blood Widow	$1,012	-63%	1	-1	$1,012	$5,835	2	Indican Pictures
26	Three Christs	$549	-92%	4	-19	$137	$34,946	3	IFC Films
27	Ága	$452	—	1	—	$452	$35,178	21	Big World Pictures
28	Branagh Theatre Live: The Winter’s Tale	$408	40%	1	0	$408	$132,666	8	Trafalgar Releasing
29	The Disappearance of My Mother	$332	-71%	1	-1	$332	$23,685	8	Kino Lorber
30	Give Me Liberty	$231	-60%	1	0	$231	$242,450	23	Music Box Films
31	Christ Stopped at Eboli	$229	—	1	—	$229	$77,936	43	Rialto Pictures
32	Stuffed	$125	-87%	1	0	$125	$13,337	15	Music Box Films
33	Les Misérables – The Staged Concert	$109	-99%	1	-4	$109	$455,544	8	Trafalgar Releasing
34	A German Youth	$48	—	1	—	$48	$2,343	16	Big World Pictures

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Studio Weekend Box Office Report: Bad Boys for Life, 1917, The Gentlemen, The Turning

Following Bad Boys for Life’s impressive $73 million four-day debut over the MLK weekend — a result that helped contribute to a five percent rise in the year-over-year box office to date — the Sony threequel remained at the top of the heap this weekend with an estimated $34 million, while wide-release newcomers The Gentlemen and The Turning opened to mixed results and 1917 continued on a strong trajectory that saw it surpass the $100 million mark in North America.

Enjoying its second weekend at No. 1, Sony’s Bad Boys for Life dipped 46% from its debut, a strong hold that brought the total for the action-comedy to $120.6 million after ten days of release. Not adjusting for inflation, that puts it 27% ahead of 2003’s Bad Boys II at the same point in its run.

Second place went to Universal’s WWI drama 1917, which dipped to No. 3 in its third weekend of wide release with an estimated $15.8 million. That brings the 10-time Oscar nominee to a solid $103.8 million to date, with potentially much more left in the tank as it shapes up as a favorite for Best Picture honors at next month’s Oscars.

Universal has enjoyed considerably less success with Dolittle, another newcomer from last weekend, which brought in an estimated $12.5 million in is sophomore frame. That’s a drop of 42% for the mega-expensive Universal title, which now has $44.6 million domestically. While not an awful tally, that’s a major disappointment relative to the Robert Downey Jr. vehicle’s reported $175 million budget.

Newcomer The Gentlemen grossed an estimated $11.03 million from 2,165 locations in its debut weekend, a healthy opening for the action-comedy release. The film was certainly boosted by a marquee cast that includes Matthew McConaughey, Charlie Hunnam, Henry Golding and Michelle Dockery as well as the name value of director Guy Ritchie, who returned to his Lock, Stock and Snatch roots after a decade of helming franchise films like Sherlock Holmes, The Man from U.N.C.L.E. and last year’s live-action blockbuster Aladdin. Notably, this is his best non-franchise wide opening ever, topping Snatch‘s $8 million debut in January 2000.

Indeed, The Gentlemen is shaping up to be a solid win for distributor STX, which acquired U.S. rights to the film from Miramax for $7 million. Its 72% Rotten Tomatoes critics score, a marketing campaign that emphasized the project’s well-liked stars and strong appeal with an older male audience also helped juice its total this weekend. The audience for the film was, predictably, 60% male, while 55% of those who turned out were between the ages of 25 and 44.

Sony’s leggy threequel Jumanji: The Next Level dipped just 18% to an estimated $7.9 million in fifth place, bringing its total to a sturdy $283.4 million through the end of its seventh weekend. At this rate, the family adventure is looking like a lock for $300 million domestically.

The weekend’s other freshman, Universal’s horror film The Turning, opened in sixth place with an estimated $7.3 million from 2,571 locations, which is right around what the Kristen Stewart horror-thriller Underwater opened to a couple of weeks back. That’s a so-so start for the low-budget title, which suffered from abysmal critical notices (it currently sits at just 12% on Rotten Tomatoes) and a January market that has been crowded with similar fare like Underwater and The Grudge, making it more difficult for the film to stand out. The studio reports that The Turning received an “F” Cinemascore from opening day audiences, boding poorly for its long-term prospects.

Falling out of the top five for the first time was Star Wars: The Rise of Skywalker, which scooped up an estimated $5.2 million in its sixth weekend of release for $501.6 million to date. That makes the Disney blockbuster only the 15th film ever to top the $500 million mark in North America, albeit at a much slower pace than The Force Awakens, The Last Jedi and even Rogue One, which managed the feat a weekend earlier in 2017. While Skywalker is an undeniable smash on almost every metric, it’s notable that it probably won’t even match the $532.1 million total brought in by Rogue One — a spin-off of the main series — by the end of its domestic run.

Slipping just 25% in eighth place was Sony’s Little Women, which brought in an estimated $4.7 million in its fifth weekend of release. With $93.7 million to date, the hit adaptation and Best Picture nominee has its sights set on $100 million, a figure it should reach at some point next weekend.

Also holding well was the Warner Bros. title Just Mercy, which slipped just 29% to an estimated $4.05 million in ninth place. The Jamie Foxx-Michael B. Jordan drama has now brought in just over $27 million after three weekends of wide release and five weekends overall.

Rounding out the Top 10 was Lionsgate’s Knives Out, which brought in an estimated $3.6 million (a drop of just 15%) for a smashing $151.8 million total through the end of its ninth weekend.

Notable outside the Top 10 this weekend was Neon’s Parasite, which expanded to 1,060 screens on the heels of its Best Picture nomination and brought in an estimated $2 million, enough for it to become distributor Neon’s highest-grossing title to date with $30.9 million.

Overseas Update:

1917 crossed the $200 million global mark this weekend with an estimated $23.7 million, bringing its overseas total to $96.6 million and its global tally to $200.5 million.

Dolittle brought in an estimated $13.2 million overseas this weekend, brining its international total to $46.4 million and its global tally to $91.1 million.

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Georgia Theatre Company Becomes Employee-Owned Circuit

Georgia Theatre Company, a fourth-generation, family-owned theater circuit based in St. Simons Island, Georgia, has completed a sale of 100% of its stock to the Georgia Theatre Company Employee Stock Ownership Trust (ESOT).

The original company founded in the mid-1920s has roots operating theatres in Glynn County and approximately 20 other communities in Georgia for nearly 100 years. Over the past three decades, founder and chairman William (Bill) J. Stembler has grown this latest company from just a few locations with about $5 million in annual revenue to 25 locations with revenue surpassing $75 million annually and a team of approximately 700 employees.

“Our employees are the foundation of Georgia Theatre Company,” said Stembler. “By transitioning to an employee-owned company, we are empowering them to play an integral role in the company’s future. My family and I are grateful for this opportunity to reward our employees for their hard work, loyalty, and contributions by creating the Employee Stock Ownership Plan [ESOP].”  

An ESOP is an employee benefit plan which provides company stock to eligible employees. Eligibility is governed by ERISA and administered by an independent trustee. By becoming 100% ESOP-owned, all company stock is now held in trust by the ESOT. As an employee-owned company, Georgia Theatre Company will retain the same management structure, with Stembler remaining chairman of the board. Stembler added, “Our operational model that has served us well for over 28 years will continue.  We strive to provide a comfortable, clean environment to enjoy a movie with a few friends or a crowd of strangers on a big screen.”

CFO Mike Warren and president Bo Chambliss will also continue in their positions of leadership of the company. “This is an exciting day for Georgia Theatre Company,” said Chambliss. “Employee-owned companies are renowned as some of the world’s best companies to work for, and we are honored to be joining the list. Converting to an ESOP is a great opportunity for all of our employees. We all have the ability to make a difference, from the experience our customers receive to the financial value of our company. We believe this will be a key tool to attract and retain top talent to work for Georgia Theatre Company.”

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Long Range Box Office Tracking: A Quiet Place Part II

Despite a slew of horror / thriller releases opening early in 2020, including one potentially standout example in February (The Invisible Man), late March is slated to deliver what will likely be the year’s first bona fide genre event when A Quiet Place Part II opens on Friday, March 20.

We’ve also updated tracking for a number of upcoming titles in the chart below, most notably Sonic the Hedgehog.

A Quiet Place Part II
Opening Weekend Range: $60 – 80 million

PROS:

• The first film was a runaway success for Paramount two years ago after an intense and effective marketing campaign helped generate excitement for the original property, delivering a $50.2 million domestic opening weekend — the highest ever for an original film in April.
  
  
• The original’s ability to build on that strong opening with a 3.75x multiplier proved it wasn’t front-loaded and that audiences were incredibly receptive to the film. Staying power was more akin to that of the first Conjuring film than front-loaded examples like It or Halloween.
  
  
• Early social metrics for the sequel are strong as the trailer has generated sentiment and impressions comparable to previous blockbuster openings from the genre like Us and the aforementioned Halloween. An opening on that scale would land this sequel in the top ten March openings of all-time (Us holds the horror genre record for the same month at $71.1 million).
  
  
• Emily Blunt’s return — as well as another directorial effort from John Krasinski — provide the kind of creative consistency that should fuel hype for the apparent world-building sequel.

CONS:

• Despite generally enthusiastic responses, the first trailer suggests this film will be less about “staying quiet” while doubling down on the amount of action taking place. If indicative of the film itself, that would deviate from part of the first film’s successful formula, while placing further importance on the story moving forward organically without falling into the traps of genre sequels.
  
  
• With a potential — if not likely — higher opening weekend than the previous film (provided pre-release reviews and buzz hold to current indications), it’s safe to expect more front-loading in the long run, especially since the sequel will have to compete with Mulan and April’s No Time to Die for certain audience segments and premium screens.

Estimated Location Counts

• Gretel and Hansel (2,500+ studio estimate)
• The Rhythm Section (3,000 studio estimate)
• Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (3,900+ projection)

8-Week Tracking and Forecasts

Release Date	Title	3-Day (FSS) Opening Tracking Range	3-Day (FSS) Opening Forecast	% Chg from Last Week	Domestic Total Range	Domestic Total Forecast	% Chg from Last Week	Distributor
1/31/2020	Gretel and Hansel	$4,000,000 – $9,000,000	$5,000,000	-10%	$8,000,000 – $16,000,000	$10,000,000	-10%	United Artists Releasing
1/31/2020	The Rhythm Section	$8,000,000 – $13,000,000	$10,000,000	-17%	$20,000,000 – $40,000,000	$30,000,000	-21%	Paramount
2/7/2020	Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)	$40,000,000 – $60,000,000	$49,000,000		$100,000,000 – $150,000,000	$125,000,000		Warner Bros.
2/14/2020	Fantasy Island	$12,000,000 – $17,000,000	$15,500,000	-9%	$30,000,000 – $45,000,000	$40,000,000	-10%	Sony / Columbia
2/14/2020	The Photograph	$10,000,000 – $15,000,000	$13,000,000	-13%	$25,000,000 – $35,000,000	$30,000,000	-14%	Universal
2/14/2020	Sonic the Hedgehog	$30,000,000 – $35,000,000	$33,000,000	27%	$90,000,000 – $130,000,000	$115,000,000	34%	Paramount
2/21/2020	Brahms: The Boy 2	$7,000,000 – $12,000,000	$8,000,000		$15,000,000 – $28,000,000	$17,800,000		STX
2/21/2020	Call of the Wild	$15,000,000 – $20,000,000	$15,000,000		$50,000,000 – $65,000,000	$50,000,000		Fox
2/28/2020	The Invisible Man	$20,000,000 – $40,000,000	$30,000,000		$60,000,000 – $105,000,000	$80,000,000		Universal
3/6/2020	Onward	$50,000,000 – $70,000,000	$60,000,000		$175,000,000 – $250,000,000	$227,000,000		Disney / Pixar
3/6/2020	The Way Back	$12,000,000 – $17,000,000	$13,000,000		$40,000,000 – $60,000,000	$43,500,000		Warner Bros.
3/13/2020	Bloodshot	$12,000,000 – $17,000,000	$14,000,000		$30,000,000 – $45,000,000	$36,000,000		Sony / Columbia
3/13/2020	I Still Believe	$13,000,000 – $18,000,000	$14,500,000		$44,000,000 – $59,000,000	$49,000,000		Lionsgate
3/13/2020	My Spy	$8,000,000 – $13,000,000	$10,000,000		$25,000,000 – $45,000,000	$36,000,000		STX
3/13/2020	Untitled Blumhouse Productions Project		n/a			n/a		Universal
3/20/2020	A Quiet Place Part II	$60,000,000 – $80,000,000	$72,000,000	NEW	$140,000,000 – $190,000,000	$168,000,000	NEW	Paramount

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After Parkland Documentary to Screen in Over 100 Cities During ‘Day of Conversation’

Kino Lorber announced that Emily Taguchi and Jake Lefferman’s documentary After Parkland will screen in over 100 cities across the U.S. on February 12 as part of a nationwide “Day of Conversation” to commemorate the second anniversary of the tragic shooting at Marjory Stoneman Douglas High School. 

Led by social impact agency Picture Motion, a coalition of individuals and organizations have signed on to host Demand Film community screenings to create conversation that will lead to tangible change in 2020, including a voter registration drive powered by TurboVote.

Participants include national and local chapters of March for Our Lives, Moms Demand Action, Young Democrats, Alliance for Youth Action, Gays Against Guns, and the League of Women Voters

More information about the film and a list of the cities and screenings may be found at https://us.demand.film/after-parkland/

To join the coalition of organizations and community leaders participating in the national screening day to demand gun reform, request to host a screening event here. Hosts receive a toolkit to help plan and amplify their event. The Day of Conversation aims to engage with gun reform partners, religious and interfaith centers, the medical community, civic engagement advocates, educators and students, and more.

The screenings will be followed by a physical and digital educational release to schools, universities, and libraries, streaming exclusively on Hulu starting February 19, and a release on Kino Lorber DVD on February 25.

After Parkland tells the intimate story of families of Marjory Stoneman Douglas High School navigating their way through grief, and searching for new meaning in the immediate days, weeks, and months after the Parkland shooting that left 17 dead. Filmmakers Taguchi and Lefferman traveled to Parkland, Florida with producer Stephanie Wash and began filming with students who endured gunfire and the parents who lost their children in the crosshairs. Filming throughout the spring, summer, and fall, the verité documentary chronicles the private journeys of these families as they navigated the unthinkable and rose to challenge the nation to end gun violence. 

Taguchi and Lefferman sought moments away from the spotlight that shed light on the long-term impacts. The documentary captures the vulnerable moments of when the students returned to school for the first time after the shooting, the intimate dinner table conversations, and joyful yet somber high school rites of passage like prom and graduation and a championship basketball game. 

The film, which had its world premiere at the 2019 Tribeca Film Festival, is produced by Jeanmarie Condon and Steven Baker.

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Weekend Box Office Report: The Gentlemen Scores $725K, The Turning Earns $425K Thursday Night

Friday Report: STX and Guy Ritchie’s The Gentlemen got off to a solid start with $725K from last night’s opening shows at 1,885 locations domestically, setting the stage for a healthy debut weekend. The R-rated crime comedy registered ahead of last year’s Cold Pursuit ($540K) and just behind The Foreigner‘s $775K back in autumn 2017.

Meanwhile, Universal’s The Turning earned $425K from its 7pm start at 2,220 locations last night. That figure comes in just south of Underwater ($500K) earlier this month and slightly better than The Prodigy ($350K) one year ago.

As covered in our earlier forecast for the weekend, Bad Boys for Life will easily retain the top spot again this weekend after its second-best-ever MLK opening one frame ago. Holdovers 1917 and Dolittle should fill out the top three ahead of this weekend’s wide openers, though The Gentlemen could be a dark horse candidate to challenge for third place if it breaks out beyond expectations after Thursday night.

More updates to follow throughout the weekend.

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Artists Den Entertainment & CineLife Entertainment ® Partner on Live from The Artists Den cinema series

New York, NY, January 22, 2020 – CineLife Entertainment, a division of Spotlight Cinema Networks, today announced that it has signed a partnership with Artists Den Entertainment to host its Emmy nominated television music series, Live from the Artists Den, as an in-cinema feature this year. The series will be a selection of shows from the brand’s extensive catalogue and a mix of new seasons for the series.

This partnership further expands Artists Den’s global reach and provides music content to CineLife Entertainment, Spotlight Cinema Networks’ newest event cinema division. Audience members are randomly selected through ticket sweepstakes for live Artists Den shows, available exclusively via the Artists Den mailing list. Unlike other televised music series, Live from the Artists Den breaks away from the confines of a conventional studio set by unveiling new, unexpected venues for each concert, with the venue serving as the co-star alongside each featured artist.

This partnership allows consumers access to experience these unique shows, featuring extraordinary artists performing in nontraditional, often historic settings, and is complimented by the art house cinemas they will be shown in. Artists Den is uniquely suited for cinema given the high quality of the visuals and audio that are originally shot and recorded during the live experience – allowing for the cinema experience to be further elevated from the live concert.

“At CineLife and Spotlight, we’re dedicated to providing our viewers with content that is not only entertaining, but an immersive experience. Live from the Artists Den is exactly that; allowing audiences to see and hear every visual and musical intricacy of a live performance up close,” said Bernadette McCabe, Executive Vice President, CineLife Entertainment.

“Artists Den has always appealed to cultural enthusiasts who seek premium entertainment, we can’t think of a better partner for our series than Spotlight and CineLife Entertainment, who specialize in bringing cultural audiences around the country together with important arthouse theatres. Given our major focus on the sense of place in our shows this is an ideal alignment for Artists Den in cinema,” said Mark Lieberman, CEO, Artists Den Entertainment.

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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.

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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

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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 26^th 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.

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Arts Alliance Media Supports Sundance Film Festival for Fourth Consecutive Year

PRESS RELEASE

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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.”

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Expanded Nordic Oscar Weekend Celebrates its Hollywood Talent

PRESS RELEASE

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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/

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