Paramount Pictures today announced that on Wednesday, March 18, it will be offering fans of A Quiet Place the chance to relive the original film in select theaters and be the first to experience the next installment, A Quiet Place Part II before it arrives in theaters nationwide on Friday, March 20.
Tickets for the double feature go on sale today, as ticketing launches nationwide for A Quiet Place Part II at https://www.aquietplacemovie.com. Tickets can also be purchased at the box office at participating locations.
The start time for the double feature will be 7 p.m. local time at participating locations, with the sequel beginning at 9 p.m. local time. The double feature will be presented exclusively in Dolby Cinema and Premium Large Format theatres only.
Additionally, double feature attendees will receive an exclusive 11×17 collectors print created especially for this one-night event, while supplies last.
Directed by John Krasinski, A Quiet Place Part II stars Emily Blunt, Millicent Simmonds, Noah Jupe, and Cillian Murphy.
This week’s update takes an early look at the original horror film, Antebellum, currently slated to open Friday, April 24.
UAR’s Bad Trip is also scheduled to open in wide release that day, however, we’re holding off on projections until its marketing campaign attains a wider footprint.
Antebellum
Opening Weekend Range: $9 – 14 million
PROS:
Janelle Monáe takes on her first leading role following her well-received turns in Hidden Figures and Harriet. The multi-talented star also recently headlined as the Oscars opening musical act.
Early marketing has emphasized the film’s producing connection to Get Out and Us, which could further attract audiences looking for another unique, cerebral horror film.
CONS:
Social media activity has been relatively silent in recent months, though that’s not necessarily a tell-tale sign given the penchant of original horror films to not catch fire until much closer to release.
Opening the weekend before a Marvel film in late April has typically proven to be disadvantageous for various releases as audiences of varying backgrounds often sit that weekend out in preparation for the upcoming blockbuster (May 1’s Black Widow, in this case).
Upcoming Location CountProjections
Onward (4,000 studio estimate on March 6)
The Way Back (2,600+ studio estimate on March 6)
Bloodshot (2,900 on March 13)
Emma (1,500 studio estimated expansion on March 13)
The Hunt (2,600 on March 13)
I Still Believe (2,000 on March 13)
My Spy (2,500 on March 13)
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
3/6/2020
Onward
$45,000,000 – $65,000,000
$55,000,000
-8%
$170,000,000 – $250,000,000
$210,000,000
-7%
Disney / Pixar
3/6/2020
The Way Back
$7,000,000 – $12,000,000
$8,000,000
-11%
$20,000,000 – $40,000,000
$25,000,000
-11%
Warner Bros.
3/13/2020
Bloodshot
$10,000,000 – $15,000,000
$11,000,000
-8%
$25,000,000 – $38,000,000
$26,500,000
-12%
Sony / Columbia
3/13/2020
The Hunt
$8,000,000 – $13,000,000
$9,500,000
-10%
$20,000,000 – $33,000,000
$23,000,000
-8%
Universal
3/13/2020
I Still Believe
$13,000,000 – $18,000,000
$13,000,000
$44,000,000 – $59,000,000
$43,000,000
Lionsgate
3/13/2020
My Spy
$6,000,000 – $11,000,000
$7,500,000
$15,000,000 – $35,000,000
$25,000,000
STX
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
$48,000,000
$115,000,000 – $170,000,000
$138,000,000
Disney
4/3/2020
The Lovebirds
$10,000,000 – $15,000,000
$12,000,000
$35,000,000 – $50,000,000
$42,000,000
Paramount
4/3/2020
The New Mutants
$15,000,000 – $25,000,000
$17,000,000
$35,000,000 – $55,000,000
$37,000,000
20th Century Studios
4/3/2020
Peter Rabbit 2: The Runaway
$14,000,000 – $19,000,000
$18,500,000
$65,000,000 – $85,000,000
$71,000,000
Sony / Columbia
4/10/2020
No Time to Die
$75,000,000 – $100,000,000
$88,000,000
$200,000,000 – $290,000,000
$269,000,000
MGM
4/17/2020
Antlers
n/a
n/a
Searchlight Pictures
4/17/2020
Blue Story
n/a
n/a
Paramount
4/17/2020
Trolls: World Tour
$17,000,000 – $27,000,000
$23,500,000
$60,000,000 – $90,000,000
$81,000,000
Universal
4/24/2020
Antebellum
$9,000,000 – $14,000,000
$12,000,000
NEW
$20,000,000 – $40,000,000
$34,000,000
NEW
Lionsgate
4/24/2020
Bad Trip
n/a
NEW
n/a
NEW
United Artists Releasing
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Cinemark Holdings, Inc. announced today that Jay Jostrand has been promoted to executive vice president real estate. In this role, Jostrand will continue to manage all real estate efforts throughout Cinemark’s 345-theatre domestic circuit, which includes overseeing strategic investments and advances in expansion, amenities, maintenance and productivity.
“Jay has been an integral member of the Cinemark executive leadership team as we continue to enhance and expand our theatres to elevate the entertainment experience we provide moviegoers,” said Mark Zoradi, Cinemark CEO. “We are pleased to announce this well-deserved promotion in recognition of Jay’s leadership and the significant impact he has made on our national footprint through his role on our real estate team.”
Jostrand’s tenure at Cinemark spans nearly two decades. During that time, he has been instrumental in securing locations for the Company’s significant domestic theatre growth and identifying locations for re-positioning with Luxury Lounger recliner seats. In addition, he spent over a decade of his career as a partner with GRACO Real Estate Development in the retail development, ownership and brokerage side of the real estate business.
Friday Update: Universal reports this morning that The Invisible Man earned an estimated $1.65 million from shows beginning at 7pm in 2,850 locations last night. That’s a solid start for the modern horror remake, which has trended well in pre-release tracking with indications of less front-loading than usual for the genre, according to post-Thursday sales observations.
That being said, last night’s take was slightly below the $1.98 million of Insidious: The Last Key back in January 2018 — potentially a fair comp given the similar time of year and the fact that Insidious had a deeper fan base to pull from as a sequel. That chapter ultimately earned $29.6 million over opening weekend.
Similarly, Get Out earned $1.8 million from Thursday night shows back in March 2017, all part of a $33.4 million debut frame.
Invisible Man remains the favorite to win the weekend box office, though Sonic the Hedgehog and The Call of the Wild could post strong holds with no new competition for family audiences opening this weekend.
Samsung Electronics unveiled its Onyx screen in Australia at Hoyts Entertainment Quarter in Moore Park, Sydney, the first-ever in Australia. The new installment features Samsung’s latest 14-meter Onyx Cinema LED screen. Another 10-meter Onyx screen will also be installed at Hoyts Highpoint in Melbourne, Australia, by March 2020.
“As the cinema landscape continues to evolve globally, theaters are looking for new ways to enhance the movie-going experience,” said Hyeseung Ha, Senior Vice President of Visual Display Business at Samsung Electronics. “With Onyx, we are aiming to provide our entertainment partners and their customers a visual experience unlike any other. We are excited to partner with Hoyts to help showcase what we can offer in terms of theatrical picture quality and provide viewers with an experience that will bring them back to the cinema again and again.”
Hoyts is a leader in the entertainment industry with more than 50 cinema locations across Australia and New Zealand. The newly renovated Hoyts Entertainment Quarter in Moore Park, Sydney, will act as Hoyts’ flagship cinema location, hosting major Australian blockbuster premieres and red-carpet events.
“We are always looking for new ways to stay ahead of the game and provide our guests with something unexpected,” said Damian Keogh, CEO and President of the Hoyts Group. “That is why we are leading the way and incorporating Australia’s first Onyx Cinema LED screens into our cinemas. These screens are a total game-changer, providing a movie and entertainment experience unlike anything our guests have seen before.”
Samsung’s Onyx LED screens are installed in several major cities across the world, through partnerships with Pacific Theaters in Los Angeles, U.S.; Capital Cinema in Beijing, China (pictured above); and Arena Cinemas’ Sihlcity theater in Zürich, Switzerland.
ICE Theaters, the leading premium screen offering in France with 36 screens, and its parent company CGR Cinemas, the top French multiplex company with 700 screens in France, announced that Guillaume Thomine Desmazures will assume the role of senior V.P., sales and strategy, effective immediately.
In the newly created role, Desmazures will lead ICE Theaters’ international expansion efforts and worldwide sales division. With over 10 years’ experience in the media industry, Desmazures will be in charge of expanding the brand footprint and theater development by identifying strategic partnership deals with exhibitors, distributors, and manufacturers. Part of Desmazures’s role will be to lead the strategy and fine-tuning of the ICE offering according to each market’s specifics.
Desmazures officially joins ICE Theaters after working with the company in a consolatory capacity to help secure two milestone international expansions in 2019—to Saudi Arabia with VOX Cinemas, and the opening of the first location in the U.S. at AEG’s Regal L.A. Live.
Previously, Desmazures held a position at Arts Alliance Media as its senior sales manager, where he guided the digital transition through the virtual print fee model throughout the European and Latin American markets. Over the past four years, Desmazures has been headed Bel Air Cinema, which provides day-and-date movies in DCI format to high-net-worth individuals on board superyachts, royal palaces, private islands, and residences.
“I was taken back by the newness of this breathtaking sensorial immersive experience ‘made in France.’ With over 52 major studio feature films released in ICE Theaters in only two years and outstanding box office results, I realized a new revolution was on its way in theatrical exhibition,” Desmazures said. “With a shockingly profitable business model for both exhibitors and distributors, I couldn’t see why this would not triumph internationally. Being part of this new and fantastic adventure, supported by such a powerful and innovative theatrical exhibition group, is a fantastic challenge for me. With Mr. Bouyssy’s green light, I tested the market and then signed an exclusive agreement to roll out several ICE Theaters with Vox Cinemas for the Kingdom of Saudi Arabia along with the very first U.S.-based ICE Theaters at Regal L.A Live in Los Angeles as a start. Now [that] it’s proven the model has some great wings, it is time to put it into the second gear!”
“We are very excited to welcome Guillaume to the ICE Theaters team,” said Jocelyn Bouyssy, CEO of CGR Cinemas Group. “Our first meeting goes back to 2007 when he did fantastic work on the digitization of our exhibition locations with CGR. We are starting an amazing new adventure: We have the right product supported by all the major studios, along with the right executives to drive ICE Theaters to all corners of the world.”
ICE Immersive technology features up to seven non-reflecting LED panels flanking each side of the auditorium to fill the moviegoer’s peripheral vision with colors complementary to the front screen. An in-house post-production team in La Rochelle, France creates ambient images for the panels and syncs them to each film showcased.
India’s Carnival Cinemas has chosen Christie’s RGB pure laser cinema projectors featuring RealLaser™ illumination technology as its next-generation projection systems. The projectors will be installed and maintained by TSR Films Private Limited (TSR Films), Christie’s integration partner in India.
Dr. Shrikant Bhasi, chairman and founder of Carnival Group, said, “The time has come for us to upgrade the cinematic experience to a whole new level that delivers a complete, best-in-class and refreshing experience to our patrons, and in so doing enables us to remain ahead of the curve for a long time to come. We are pleased to join hands with a like-minded partner in TSR Films and its founder, Tan Sri Dato’ Sri Dr. MP Ramasamy. We aim to be at the forefront of technological advancement with this deal with global cinema technology major Christie’s RGB pure laser cinema projectors. This investment will enable us to benefit from a long-lasting and reliable platform that performs well into the future.”
Mohan Umrotkar, CEO of Carnival Cinemas, added, “We will convert all our existing and new screens into laser in the next five years. In addition to the best color palette, best 3D visual experience, and a world-class immersive audio experience, we would also move a step forward towards reducing our ecological footprint with less power consumption. We have become the first multiplex chain in India to be equipped with Christie RGB RealLaser cinema projectors. This will help our advertisers to experiment with more colors and better quality cinema-specific brand advertisements, as lasers only create the exact colors needed and also offer potentially brighter projected images, with more and better colors. Digital cinema projector lamps are being replaced between every 500 to 3,000 hours, depending on the screen size. Again, based on an analysis of the Indian cinema market, we found that over 30,000 of these lamps are being swapped and sent around on an annual basis. This means that if we replace every lamp-based cinema projector with such an RGB laser projector, we avoid over tens of thousands lamp swaps in India annually—this is a lots of transport costs, packaging waste, and pollution that can be reduced.”
Tan Sri Dato’ Sri Dr. MP Ramasamy, chairman and managing director of TSR Films, stated, “Carnival Cinemas is among the fastest-growing multiplex chains in India, focused on redefining the cinematic experience for its patrons. We are therefore proud to collaborate with Carnival to equip its multiplexes with Christie’s innovative RGB pure laser cinema projectors that are efficient, reliable, environmentally friendly, and delivering brighter and superior visuals than other technologies currently available on the market. I’m confident that this partnership will ensure that the projection solutions deployed at Carnival are always ahead of time and retain the technical edge in providing the most awe-inspiring visuals to all cinema audiences.”
R P Balamurugan, CEO of TSR Films, added, “Today we have grown multifold and are here to celebrate another milestone in our journey, whereby we are entering into a very special and one of the biggest national chain relationships with Carnival Cinemas in India by commissioning over 500 Christie Laser-powered 2k and 4k RGB projection systems along with Dolby IMS 3000 IMB within a span of three years and upgrading it to Atmos Systems on a pan-India basis. TSR Films is extremely delighted and overjoyed for the audience of our esteemed partner Carnival Cinemas, as they are going to enjoy a spectacular cinematic experience in its first phase of upgrade to the new cutting-edge technology. It’s also very important to add that the new solution isn’t just the latest in technological innovation but also environmentally friendly and energy-efficient.”
Dr. Don Shaw, Christie’s senior director, Asia cinema sales, commented, “We’re delighted that Carnival Cinemas has recognized the many benefits offered by Christie’s RGB pure laser cinema projectors featuring RealLaser illumination technology, and will progressively deploy them in its cinemas across India. We are also thankful to Tan Sri Dato’ Sri Dr. MP Ramasamy and TSR for all the efforts in making this collaboration with Carnival Cinemas possible. Christie is fully committed to providing superior products to Carnival in their rollout of next-generation RGB pure laser projectors, and we look forward to stronger collaboration moving forward.”
Christie’s RealLaser RGB pure laser projectors deliver more than 95 percent of Rec. 2020 spec without filtering or color correction.
CJ 4DPLEX, together with The Walt Disney Studios, announced today that Disney’s epic live-action film, Mulan, will be releasing worldwide 4DX and ScreenX technology formats starting March 25 in certain markets, totaling 734 4DX screens and 314 ScreenX screens worldwide. Mulan opens in North American theaters on March 27 on 40 4DX screens with Regal Cinemas, Cineplex, Cinépolis, Marcus Theatres, and CGV Cinemas and 48 ScreenX screens nationwide with Regal Cinemas, Cineplex, B&B Theatres, and CGV Cinemas.
Mulan in 4DX will feature over 20 different motion and environmental effects enhancing the action and drawing audiences closer to the story on-screen. Epic battle sequences featuring stampeding horses, whizzing arrows and swords clanging in combat, along with the breeze and scents of the countryside in ancient China, will be brought to life inside the 4DX auditoriums. Notable effects include: motion, vibration, airshots, leg ticklers, scent, water, and fog.
Mulan in ScreenX will expand specially selected sequences of the film onto the left and right side walls of the auditorium, surrounding audiences with extended imagery for a heightened immersive viewing experience. The breathtaking fantasy elements of Mulan, along with the incredible landscapes, from the mountain terrains to the lush countryside and to the sprawling battle sequences between the Imperial Army and the Rourans will receive the 270-degree panoramic ScreenX treatment.
“The scale of Disney’s Mulan is incredible—from the breathtaking landscape to its sprawling battle sequences and the inspiring story at its center, it is a film that needs to be told in an equally grand way, and we are thrilled to announce the global release of the film in our cutting-edge 4DX and ScreenX formats,” said JongRyul Kim, CEO of CJ 4DPLEX. “4DX with its multi-sensory effects will ignite the action sequences of Mulan, while ScreenX will expand its stunning visual sequences onto the walls of the auditorium for a one-of-a-kind viewing experience inside the theaters.”
Past collaborations between CJ 4DPLEX and Walt Disney Studios include successful worldwide releases of Marvel Studios’ Black Panther and Captain Marvel, along with 20th Century Fox’s Ford v Ferrari in both the 4DX and ScreenX formats.
Horror films have seemingly been a dime per dozen so far in early 2020, with over a handful having already released since the calendar turned. None have truly taken off, unfortunately, and it’s been nearly six months since the genre rose to the top of the box office (September’s It: Chapter Two) — but that’s about to change with Universal’s The Invisible Man.
Based loosely on the original television series, this adaptation from director Leigh Whannell has been generating solid buzz since marketing ramped up last year. Whannell himself is no stranger to success in the genre, having had significant involvement in the Insidious and Saw franchises.
Working under the Blumhouse umbrella again with this film, and with a PG-13 rating in tow, appeal to teens and young adults could be quite significant thanks to the lack of major horror releases so far this year, very positive reviews from critics (91 percent on Rotten Tomatoes, currently), and a strong trailer campaign that has stirred interest from a variety of demographics.
We also expect star Elisabeth Moss to be positive force here. The actress has garnered acclaim (and awards) for her roles in The Handmaid’s Tale and Mad Men, and combined with the IP itself, could expand interest for this modern adaptation to include adult audiences as well.
The film’s social media performance has been a key component in our semi-bearish forecasts calling for an opening weekend anywhere between $20 million and $40 million domestically. The horror genre — non-sequels, especially — is known for its late bloomers in terms of projecting buzz-driven breakouts. Steadily positive sentiment for this release is a good sign heading into the weekend.
On the pre-sales front, early indications are that the film won’t be as a heavily front-loaded to Thursday night as other recent horror titles, with a bulk of activity being measured for Friday itself and beyond. Combined with expected positive word of mouth, these factors signal momentum will continue building in the days ahead as this effectively serves as an original property among today’s broader target audience for the genre (35 and under).
If there’s reason to pause and expect a more modest (though still relatively positive) debut in the low $20 millions range, it’s the genre’s aforementioned proliferation of the market over the past two months and the fact that the previous horror-hit-in-waiting didn’t catch on as models indicated it could despite positive reviews and buzz (that being November’s Doctor Sleep).
Entering the weekend, Universal expects an opening north of $20 million.
Meanwhile, with no fresh or direct competition on the slate, Sonic the Hedgehog and The Call of the Wild should post respectable holds as the reigning family films in the marketplace — though both will shed some of their premium screen footprint to Invisible Man.
Meanwhile, WarnerMedia/truTV tells Boxoffice that Impractical Jokers: The Movie will expand to an estimated 1,900 locations this weekend, giving it a strong chance to leap-frog a few titles into the top ten after it’s strong showing in limited release last week. Comparisons are few and far between given the fan following of the popular television comedy series, so forecasts are somewhat volatile in terms of projecting potential as a true wide release.
Despite relative optimism for this weekend’s new release, overall box office compared to the same point last year will still likely decline (barring a massive breakout for Invisible) due to the slimmer release slate.
Opening Weekend Range
The Invisible Man ($25 – 35 million)
Top 10 vs. Last Year
Boxoffice projects this weekend’s top ten films will decline 10 to 15 percent from the same weekend one year ago. At the time, How to Train Your Dragon: The Hidden World captured first place in its second frame as Madea’s Family Funeral and Greta debuted, while Green Book expanded following its Oscar win. The top ten generated $94.4 million at the time.
Weekend Forecast
Film
Distributor
3-Day Weekend Forecast
Projected Domestic Total through Sunday, March 1
% Change from Last Wknd
The Invisible Man
Universal
$30,000,000
$30,000,000
NEW
Sonic the Hedgehog
Paramount
$17,300,000
$128,900,000
-34%
The Call of the Wild
20th Century Studios
$14,700,000
$45,900,000
-41%
Bad Boys for Life
Sony / Columbia
$3,700,000
$196,700,000
-37%
Impractical Jokers: The Movie
WarnerMedia / truTV
$3,600,000
$6,900,000
30%
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)
Warner Bros.
$3,400,000
$78,000,000
-50%
1917
Universal
$2,500,000
$155,700,000
-41%
Jumanji: The Next Level
Sony / Columbia
$2,200,000
$313,800,000
-23%
Brahms: The Boy 2
STX
$2,100,000
$9,300,000
-64%
Blumhouse’s Fantasy Island
Sony / Columbia
$1,700,000
$23,400,000
-60%
Parasite
Neon
$1,700,000
$51,600,000
-44%
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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Odeon Cinemas has been named the 2020 recipient of the “International Exhibitor of the Year” award at CineEurope. The award will be presented to Mark Way, President of AMC Europe and Managing Director at Odeon, and Juan Antonio Gomez, Chief Partnership and Content Officer at Odeon, as part of the CineEurope Awards Ceremony hosted by the Coca-Cola Company on Thursday, 25 June, at the Centre Convencions Internacional Barcelona (CCIB) in Barcelona, Spain.
Each year at CineEurope, the award is given to a cinema exhibitor whose accomplishments, new developments, growth, and market leadership make them the standard-bearer for the industry. “It gives us great pleasure to present the International Exhibitor of the Year award to the Odeon Cinemas Group,” said Andrew Sunshine, president of The Film Expo Group. “Odeon Cinemas has built a culture of innovation for cinema, changing the movie-going experience throughout Europe.”
Mark Way, president of AMC Europe and managing director of Odeon Cinemas Group, said: “It is a huge privilege to receive this award on behalf of all 11,500 Odeon Cinemas Group colleagues. This award is testament to their hard work and commitment in improving Odeon’s guest experience, whether that be through great hospitality, the rollout of our Luxe recliner model, our improved food and beverage offer, or through upgraded cinema technology across our estate.
“We are in a golden age of cinema, and the future for Odeon within that is very exciting. We look forward to welcoming millions more guests through our doors in the years ahead.:
Welcoming today’s announcement is UNIC CEO Phil Clapp, who states: “We are delighted that Odeon Cinemas Group has been recognized as the CineEurope 2020 International Exhibitor of the Year. This decision reflects in particular the extent to which the company has blazed a trail across a number of European territories, not least through the roll-out of their ground-breaking Odeon Luxe brand, taking the cinema environment to new heights and setting new standards for the big screen experience.”
Odeon Cinemas Group, Europe’s largest cinema operator, hosts over 110 million guests each year in more than 360 cinemas across 12 European countries. Odeon’s stated goal is to create inspiring entertainment experiences for every guest.
The past twelve months have seen the rapid growth of Odeon Luxe, the Group’s premium cinema brand. All Odeon Luxe cinemas feature cutting edge technology, luxury recliner seats and a premium food and drink offering.
In addition, premium large-format screens remained in clear focus for the Group through the year. In 2019 Odeon built 10 new iSense screens, seven Imax screens, and three new Dolby Cinemas, bringing the total number of PLF screens to 123.
Funimation Films, the theatrical division of Sony Pictures Television’s Funimation, is teaming up domestically with MediaMation to bring My Hero Academia: Heroes Rising to life by giving audiences a truly immersive experience in select MX4D theaters equipped with MediaMation’s EFX theater seats.
Through a combination of full motion, rumbling, water and air blasts, back and seat pokers, leg and neck ticklers, and wind, MediaMation’s EFX theater seat puts audiences in the center of the action. Atmospheric effects in the auditorium include snow, scents, lighting, fog, rain, and bubbles. This mix of anime and MX4D has proven to be wildly popular in Japan.
My Hero Academia: Heroes Rising will be released on February 26 in more than 1,000 theaters across the U.S., Canada, and the U.K. as a limited theatrical engagement in both Japanese (with English subtitles) and English dub. Advanced tickets are open for pre-sale on the film’s official website.
My Hero Academia has captivated audiences beyond the core anime and Japanese entertainment fans through unique storytelling around the global superhero phenomenon. The series has introduced a number of diverse characters who each have their own special “Quirk” (a special superhuman ability). My Hero Academia: Heroes Rising serves as a standalone film that will continue bringing superhero action and adventure to a wide range of audiences.
The world’s not hurting for Jane Austen adaptations. Your nowhere-near comprehensive list includes: Last year’s Sanditon miniseries, from Austen vet Andrew Davies (Pride and Prejudice, 1995; Sense and Sensibility, 2008). Three years earlier came Whit Stillman’s Love & Friendship (“How jolly! Tiny green balls.”), based on Austen’s early novella Lady Susan; Stillman’s 1990 film Metropolitan is a loose adaptation of Austen’s Mansfield Park, which was tackled in a more straightforward fashion by Patricia Rozema in 1999. Pride and Prejudice had zombies that one time. And, in what is still the best Jane Austen adaptation ever made, Alicia Silverstone reminded us that it does not say ‘RSVP’ on the Statue of Liberty.
Joining this august company (uh, except the zombies one) is Autumn de Wilde’s Emma, with which its youthful flair and fun vibe puts it in the top echelon of Austen adaptations. Out in limited release now from Focus Features, the film will expand to wide release on March 3.
Emma marks a feature debut for de Wilde, a photographer and director who’s worked extensively in the world of music videos, commercials, and portraiture. The bold, bright visual style she honed through that earlier work finds a perfect outlet in Emma, the story of a young woman—“handsome, clever, and rich,” Austen tells us right off the bat—who, out of pride and a lack of anything better to do, inserts herself into the romantic lives of her neighbors. Emma is “a mean girl who doesn’t realize she’s men, which is a really specific type of person” opines de Wilde. “They think that everything they’re doing is for the betterment of others. But it’s really for themselves.”
Emma runs her father’s (Bill Nighy) household and is rich enough that she feels no pressure to get married. She’s the town’s queen bee and its tastemaker; in a wonderful bit of storytelling-by-clothing from costume designer Alexandra Byrne (Elizabeth, The Avengers, 300), Emma’s poor, orphaned protege, Harriet (Mia Goth), begins to dress more and more like her mentor over the course of the film. de Wilde recalls one of Byrne’s costumes for Emma in particular: a dress with a high, ruffled collar that nonetheless leaves ample cleavage exposed. “[Screenwriter Eleanor Catton] was like, ‘Oh my God, it’s like the night before she told Harriet, “Let’s wear high collars.’ So Harriet is covered to here. And Emma’s covered to here, but showing here.”
Also an Emma highlight: A very, very on-point fancy bonnet game.
Photo Credit: Focus Features
“There was a hair story and a costume story” for every character, de Wilde recalls. “Emma starts out very like a little girl, with her doll’s hair. Her curls start moving back, and she becomes more of a hot mess as wheels come off the wagon.”
And off the wheels do come. Because Emma, rich and powerful within her own little universe as she may be, is still a young woman with a flair for the dramatic. It’s de Wilde’s appreciation of that fact that puts her Emma more in line with Clueless—which imagines Emma as a pampered valley girl ruling over her Beverly Hills high school—than Staid, Sophisticated BBC Jane Austen Adaptation #345.
Photo credit: Dustin Stefansic
“That’s why Clueless is such an incredible movie. Because [writer/director Amy Heckerling] understood that [the characters are] basically in high school,” de Wilde argues. “Emma is 21 and has never gone to school with other girls. And Harriet is the first girl that isn’t her paid companion…. [Emma] is a romantic fantasy, but it’s also that fantasy of that asshole friend of yours amending their ways. Because everyone has that friend who treated you terribly, and there’s a fantasy that they’ll realize they’re wrong.”
de Wilde’s Emma, played by The Witch star Anya Taylor-Joy, has a fun edge that other incarnations of the character often lack. Though ultimately a sympathetic character, she lacks the angelic sweetness of, say, a young Kate Beckinsale (Emma, 1996). You get the sense that this Emma genuinely believes she’s fundamentally better than other people. de Wilde believes that in a “successful high school movie, [you] have some sympathy for a tormentor. You sort of love the main cheerleader, even though you’re rooting for the underdog that’s at the heart of it.” (Cady Heron may be the main character in Mean Girls, but you’d be pressed to find someone who doesn’t love Regina George more.)
Emma, of course, eventually does get her comeuppance; she realizes that maybe she does have some character defects of her own to work on, one of which is her insistence on meddling in other people’s love lives. On that point—the unraveling of the web of romance lingering just beyond Emma’s awareness—de Wilde calls Austen’s novel “one of the most important novels ever written. It’s the first detective novel. Agatha Christie based her style on Emma. All the clues are in the book, but you don’t realize you’ve read them until… some secrets are revealed. And when you go back and read it a second time, you realize that you were told everything that was a secret. You just didn’t notice it. Christie based her detective novel style on that work. The second time around, the clues were there.”
Photo credit: Focus Features
Helping Emma along on her path towards maturity—though de Wilde is careful to note that she nudges him right back—is Mr. Knightley, played by musician/actor Johnny Flynn. The pair has an electric chemistry that comes to a head not in the proposal scene (uh—spoiler that there’s a proposal scene in a Jane Austen movie) but in a post-ball scene that sees Mr. Knightley running through the streets of Highbury to Emma’s house after realizing he has romantic feelings for her. “We called that my Jason Bourne moment. I told my editor this. I told Johnny when we were filming him: ‘This is the only action part of this movie.’”
It’s a scene with practically no dialogue, which “you might not realize,” says de Wilde, is true of several sequences in Emma. If that seems like an odd choice for an adaptation of one of Western literature’s greatest dialogue-writers, de Wilde makes it work.
Photo Credit : Focus Features
Her early work in photography and music videos lends itself to visual storytelling; later on, when she wanted to get into commercials, she found that “I could never get a script with words in it. They didn’t think I could handle it. So I started writing very complicated stories with no words. All the actors had all this stuff that was being unsaid going on. And I got really good at telling a lot of story without words.” At that time, de Wilde notes, the worlds of photography and commercials were largely “male-dominated.They don’t want to give you the job unless you’ve shown that you can do it [already]. …Honestly, I benefited from that, because I had to work around these things to convince people. I started getting jobs based on things [where] I think they hadn’t realized there was no dialogue. Instead of letting it hinder me, I used it to advance in a strange way.”
Emma’s characters do trade witticisms, but they also dance, fidget, power dress (“No color is too bright as long as it looks delicious” was the rule on-set), and exchange a scorching look or two: “It’s so exciting to play with the restrictions of the time period. You can imagine the intensity of desire when you can’t show it all. That sort of restriction, to me, is very sexy.”
They also cry quite a lot. “I remember one person [who saw] the early cut was like, ‘Is there too much crying?’ And I’m like, ‘No. This is what it’s like to be a young woman.’ There’s a lot of different types of crying. There’s shame. There’s true regret. There’s petulant hurt, when you’re like a child who’s done something wrong, and you’re mad that you’ve gotten caught, and that makes you cry. Anya’s such a brilliant actor. We planned out the types of crying”—all the way up to (gasp) a reversal, where it’s not Emma but Mr. Knightley who’s letting some distinguished tears fall into his cravat. “I love that she thinks it’s funny that’s he’s crying. It was really important to me and Anya and Eleanor, who wrote the screenplay,… that Emma’s not tamed. It’s not The Taming of the Shrew.”
Michael B. Jordan will receive this year’s CinemaCon Male Star of the Year Award, Mitch Neuhauser, Managing Director of CinemaCon, announced today. CinemaCon, the official convention of NATO, will be held March 30-April 2 at Caesars Palace in Las Vegas. Jordan will be presented with this special honor at the “CinemaCon Big Screen Achievement Awards” ceremony taking place on the evening of Thursday, April 2, at The Colosseum at Caesars Palace, hosted by The Coca-Cola Company, the official presenting sponsor of CinemaCon.
“From the moment Michael B. Jordan appeared onscreen in Fruitvale Station, he put movie audiences on notice that he would be a force to be reckoned with in the industry for many years to come,” noted Neuhauser. “With his dynamic performances in a wide range of roles from Adonis Creed in the Creed films to Erik Killmonger in Black Panther and everything in between, Jordan has shown that he brings a depth of passion and dedication to telling a story like no other and we could not be more thrilled then to honor him as CinemaCon’s Male Star of the Year.”
Releasing in theatres nationwide on September 18, 2020 via Paramount Pictures, Without Remorse sees Jordan star as John Clark, a rogue ex-Navy Seal who is offered a chance at redemption when the U.S. government releases him from prison to lead a Black Ops mission targeting the people responsible for killing his team and family. Based on a Tom Clancy novel, with a screenplay by Taylor Sheridan, Without Remorse also stars Jodie Turner-Smith and Jamie Bell and is directed by Stefano Sollima.
Since first breaking out on the big screen in Fruitvale Station, Jordan has gone on to star in such films as Black Panther and most recently the critically acclaimed Just Mercy, which he also produced. He is set to star in David O. Russell’s next feature film, as well as star in and produce the Denzel Washington-directed feature Journal for Jordan and re-team with Ryan Coogler on Wrong Answer.
In 2016, Jordan launched Outlier Society, a production company focused on bringing an eclectic and inclusive lineup of diverse stories and voices to market. In 2018, Outlier Society inked a first look film deal with Warner Bros Studios and under the helm of President of Production Alana Mayo, Outlier Society has co-produced the Emmy-nominated adaption of Fahrenheit 451. Their forthcoming projects include a film adaption of the fantasy novel Black Leopard,Red Wolf, an untitled original monster movie from Kong: Skull Island filmmaker Jordan Vogt-Roberts; a WWII action drama The Liberators, the series 61 Street, as well as second seasons of David Makes Man and Raising Dion. In 2019, they launched the Outlier Society Fellowship program with the support of the Obama Foundation and My Brother’s Keeper to create opportunities for the next generation of media, arts and entertainment industry leaders from underrepresented backgrounds or communities.
One of the great strengths of mega-successful Pixar Animation Studios is its willingness to let its artists tell very personal stories. Pete Docter based his Oscar-winning Inside Out on the sudden change in his ebullient young daughter’s personality as she began to mature. Domee Shi’s Oscar-lauded 2018 short Bao was inspired by her memories of being like “an overprotected little steamed bun” as an only child. And Bobby Rubio’s lovely Disney+ “SparkShort” Float is a metaphorical tale of the challenges faced by his autistic son.
Pixar’s latest feature, Onward, also has deep meaning for its director, Dan Scanlon (Monsters University). “In development, I knew I wanted to do something personal this time. And so I just started asking questions of other filmmakers here and telling them about my life. And they helped me pull out
certain personal things. My dad passed away when I was a year old and my brother was three. So that was a biggie. I think a lot of times movies are questions or should start off as questions. And my question was, who was he and how am I like him? Where am I going? That’s where the idea came from and we thought, well, wouldn’t it be amazing if you had one day with that person—and what would you say?”
To make that premise work, some kind of magic would need to enter the picture. But Scanlon didn’t want to make a period piece set in a fantasy world. “And then I thought, why can’t it be modern and be a fantasy, magical place?”
Thus was born the world of Onward, in which high-tech conveniences have been so embraced by its community of elves, sprites, centaurs, trolls, gnomes, and other fanciful creatures that they’ve let some of their magical powers dissipate. At the center of the story are two elf brothers, awkward Ian (voiced by current Spider-Man Tom Holland) and his boisterous older sibling, Barley (Chris Pratt). On his 16th birthday, Ian is presented with a gift from the late father he never knew: a letter containing a magic spell, plus a staff and a special gemstone, which will give him the power to resurrect his dad for one day. But the spell goes terribly awry: Dad comes back, all right, but only from the waist down. To complete the process, Ian and Barley must embark on a frantic quest to find another gem within the next 24 hours.
Scanlon says, “It’s great that Pixar wants to tell personal stories, or at least stories that start off with a seed of truth and honesty and then maybe are dramatized after that. If something has happened to you and you have real questions about it, chances are other people are going to have similar questions, even if they don’t have the same story. I like to believe that’s why a lot of the Pixar stories have endured the test of time.”
Four months before Onward’s opening date on March 6, Boxoffice was invited to visit the Pixar campus in Emeryville, California, preview some scenes from the film, and hear from an array of Onward’s enthusiastic craftspeople about their contributions to the project. It’s a handsome and convivial complex, with the company’s many Oscars and other awards proudly on display and life-size (and beyond) replicas of their most beloved characters (The Incredibles, Buzz and Woody, etc.) poised near the entrance.
The “Onward” art gallery and atrium art as seen on October 28, 2019 at Pixar Animation Studios in Emeryville, Calif. (Photo by Deborah Coleman / Pixar)
During a Q&A session, Scanlon talked about the challenge of working with so many gifted collaborators. “If anything makes it really, really hard, it’s that everyone here is very smart and great filmmakers and I respect their opinions. And that makes it difficult to make a choice. … We’ve got five, six years to make these films, but there’s always a gate closing. You check these different ideas against [one another], and then you say, all right, we’re going to go with this—until we’re not.”
Producer Kori Rae added, “It’s amazing how open Dan and everyone is during the process, because we really just want to make the best choices for the film. … All we do all day long is make choices and decisions and try to move everything forward. … But if anybody is questioning any decision that we make, we encourage them to come and talk to us about it.”
Disney and Pixar arranged four sessions with the heads of various departments, revealing how incredibly detailed and meticulous the process of developing and nurturing an animated feature is.
Character supervisor Jeremie Talbot seemed to relish the challenge of creating a brand-new world filled with wild characters—the final count was 13 species, 240 characters, and 100 variants—and building something more subtle from concepts that were initially “too simple, too graphic.” Character-shading lead Ana Lacaze talked about the intricacies of her work (How shiny? How soft?) and how she applied patterns and elements that represented fantasy and “a touch of whimsy.”
Directing animator Allison Rutland, who oversaw a team of 85 animators, noted how “every character had a history that influenced how they evolved.” One of the most fascinating is the manticore—part human, part lion, part bat, part scorpion—played by Octavia Spencer. This fierce creature is now the harried manager of a family-style restaurant, and Rutland wanted to make sure that even though she wears tight clothes and high heels, “inside she’s still a great beast,” about to be liberated. For another character, a centaur whose upper half is an overweight cop, the Pixar team watched reference footage of a horse brought inside a room and wreaking havoc.
As for Dad, “It was an incredibly fun challenge to have a character who’s just a pair of pants. How do you express emotions?” Rutland said. By trial and error, her team found a way to make his walk communicate surprise and apprehension.
Crowd supervisor Sequoia Blankenship proved the value of his department, showing how animated background extras enrich the action. One sequence that cries out for the big screen has an army of biker sprites taking over a convenience store—each one earns a laugh, if you’re quick enough to spot them. Blankenship joined in the praise for director Scanlon: “Dan is a really collaborative and generous director who allows the artists to bring something to the table and have their own voice.”
In another session, a quartet of speakers addressed the challenges of refining Onward’s particular blend of fantasy and contemporary reality. For production designer Noah Klocek, it was a matter of building “a visual language that helps the audience accept that world.” Originally, painters from heartland America, like Grant Wood, were a touchstone, but the artists ultimately opted for a setting more like Los Angeles. The general ratio the designers arrived at was 70 percent familiar and 30 percent fantasy. “We had to massage almost every shot” to maintain the right balance, Klocek revealed.
The “Onward” art gallery and atrium art as seen on October 28, 2019 at Pixar Animation Studios in Emeryville, Calif. (Photo by Deborah Coleman / Pixar)
Adam Habib, director of photography/lighting, described how he developed different camera styles for each brother (e.g., a wider lens for the manic Barley) and how “the emotion of each moment guides the camera choices”—including simulated handheld for the movie’s most chaotic scenes.
Editor Catherine Apple said she was on the project for four years through its many stages, from temp dialogue tracks to sound effects to temp music score and on to the final score. And lighting supervisor Jonathan Pytko displayed a big board with a small image of every single shot, to demonstrate how the emotional arcs of the story are subtly communicated through color and lighting. Pytko’s biggest challenge: “Blue skin is difficult to make appealing.”
Our third session kicked off with story artist Louise Smythe revealing how the various spells uttered in the movie were a team effort fueled by word-association games. Effects supervisor Vincent Serritella explained how those spells took up varying amounts of screen space depending on their potency. And graphic art director Paul Conrad tallied the overwhelming design details that go into a fantasy project like this, from whimsical grocery products to highway signs to rock-band logos. Even the Quests of Yore adventure guide book the brothers use is designed to the last detail.
The final session was led by story supervisor Kelsey Mann and story lead Madeline Sharafian. Mann shared a photo of himself with a single index card tacked to the wall on Onward’s first day of pre-production—in 2013. “The reason it takes so long is we have such a high bar at Pixar,” he said. “We make sure the story is not just good, but great. We start in a very scary place, which is an empty story room. And we don’t start making the film till the last year, year and a half.”
Eventually, the rough script is sent over to story artists. Over the course of production, according to Mann, there will be about eight screenings of various storyboarded scenes, with 35 to 40 scenes per screening. “It’s a bit like a play,” Mann said. “We’re trying to give everybody in the room the sense that they’re watching a movie. Is the scene good? Is it doing what it needs to do?” To give a sense of the atmosphere, Sharafian used animated storyboards while performing a key sequence involving an invisible “trust bridge.” (The press was later invited to cross the vertiginous trust bridge by donning virtual-reality helmets.)
A Pixar tradition is the gathering of the “brain trust,” a group of the studio’s top artists. “Each one of these filmmakers has their own thing they’re doing,” Mann said, “and for one day they stop what they’re doing and help each other on their film.”
In a one-on-one interview later in the day, director Scanlon reflected on the lengthy process. “You start very alone, and then you build this wonderful crew that would die for the film, and you’d die for them. Three hundred people, and now you lose them all and you’re alone again. We’ve got a few folks still around, but that’s the emotional journey. You just think, wow, we were such a team and everyone worked so hard and everyone sacrificed time with their families, and now they all go to the wind and you’re back alone again. It’s emotional. We’re all really proud of the film, but you miss people. And you’re tired.”
Along with the many artisans who craft a Pixar feature, the voice actors are also an important component. “This was a challenging film, because we had a 16-year-old and a 19-year-old,” said producer Rae. “What age actor do you try to go out to? You want someone with solid acting chops, but someone who still sounds 16. The process was lengthy, and we designed the characters first. It’s not until we get closer to the actual start of production that we really aim to start recording them. Finding Tom Holland was fantastic. It took a little while for us, but once we met with him, and then cut in some test dialogue from his other films, we realized that he was just right for Ian, that he had the right amount of nervousness and shyness and yet is such a great actor that he can really do the emotional scenes. We needed actors who could both do comedy and the emotional scenes.”
Scanlon added, “And then Chris [Pratt] came after that, and everyone was saying Star-Lord and Spider-Man. We really didn’t give that a lot of thought. It was just that Chris embodied the chaotic, wild part of Barley and also that he has a charm that allows him to get away with being a little annoying, which he has to be at times, and he has that big-brother quality. It does help that they do know each other. That Chris is a little bit like a big brother to Tom helped a lot.”
In a change of pace from her self-absorbed TV characters Elaine Benes and Selina Meyer, Julia Louis-Dreyfus plays the nurturing mother to the two teens. “The reason we chose Julia was for her sardonic side, the humor side, the idea that she’s had a terrible thing happen in her life and she’s had to raise these two boys alone,” Scanlon explained. “And from my mom that sort of showed up in a don’t-sweat-the-small-things kind of sense of humor. And Julia has that in spades, where she rolls her eyes at things and moves on, commenting on all the idiots around her. That was the initial choice. But I didn’t think about how much of the movie is gentle and sweet. You know, she’s a mother of two boys herself, and she didn’t put any jokes into it. She just was sincere and sweet. Being able to see her switch back and forth is really cool, and I think it will be something people haven’t seen much from her.”
In casting Octavia Spencer as the formidable manticore named Corey, Scanlon said they found an actress with the range to be both flustered and vulnerable and “almost Shakespearean.” Rae added, “When she first saw the character design, she laughed and she kept chuckling.”
Pixar is known for setting itself technical challenges, from its very first miracle of a feature, Toy Story, in 1995. For Scanlon, the big challenge of Onward was “the amount of varied species in the movie—different walking styles and slithering styles and all of that. It’s difficult to populate a movie with this many characters—just the size of the world when doing a fantasy movie of this scope. And also a movie where they’re in a van traveling down the road—it’s a road picture, and they have to traverse a lot of different areas.”
“The colliding of the worlds, the modern fantasy, just tracking that and making sure it all made sense was a bit of a challenge from a pure story standpoint,” Rae added.
With all the painstaking detail that goes into a project like this, does it bother the filmmakers that some people will wind up watching Onward on their small screens?
“It used to bug me a lot more,” Rae responded.
“It doesn’t bug me anymore at all. I’m just glad they’re watching it,” Scalon said.
“Exactly. Now we understand; we’ve accepted that that is what’s going to happen. I just hope as many people see it as possible, whether they’re watching it on a phone or an iPad or in a theater.”
Added Scanlon, “I think they’ll get the best experience from a theater. Especially for this movie, because it’s a quest movie, and it’s big and dense. But, hey, I get it. I watch things on the phone because that’s all I have time for.”
With Onward finally about to hit screens, Scanlon and Rae are currently decompressing. But, said Rae, “probably [in the coming year] there’ll be another photo of us that says day one, in a blank room with white walls and no ideas. The same card that we had at the beginning of this one.”
Sony’s Jumanji: The Next Level earned an 11th weekend in the top 10, the first film to do so since The Lion King in September. Level came in ninth place, with a -48.1% decline to $2.8M.
If it spends a 12th frame in that top tier next weekend, it would be the first film to do so since Black Panther in May 2018. That definitely seems possible, especially since The Invisible Man will be the only new wide release.
Best Picture Leads to Box Office
Following its Academy Award win for Best Picture, Neon’s Parasite finally entered the top 10 last frame, on its 19th weekend of release. It ranked seventh place, or eighth if factoring in the extended weekend.
This frame it remained in the top 10, ranking in eighth place again, with a -47.0% decline to $3.0M.
That’s a milder drop than for several other Best Picture winners in their second weekend post-win, such as -56.2% for The Shape of Water, -60.8% for Moonlight, -47.3% for Spotlight, or -62.7% for Birdman.
However, it was a slightly steeper drop than -45.1% for last year’s winner Green Book.
Heeding the Call
Disney and 20th Century Studios’ animal adventure The Call of The Wild called out to second place with with $24.7M.
Compared to other animal-themed adventure movies, that’s +13.4% ahead of Dolittle and +15.2% ahead of Pete’s Dragon, though -35.6% behind The Legend of Tarzan.
Call came in higher than virtually all pre-release projections. On one popular box office prediction website, the highest that any user predicted was $19.0M.
Call‘s estimated audience was split exactly 50-50 between males and females, and was 62% age 25+.
Hedge Your Bets
Paramount’s Sonic the Hedgehogheld onto the top spot with a -54.8% decline to $26.1M.
Compared to other “video games in real life” movies, that sophomore drop was about even with Pokemon: Detective Pikachu at -53.8% and Tron: Legacy at -56.4%, but steeper than Ready Player One at -41.0%.
Joke’s on You
WarnerMedia’s Impractical Jokers: TheMovie, opened with $2.6M in 357 theaters. Its $7,302 per-theater average marked the weekend’s best average among films playing in more than 30 theaters.
Based on the truTV show where four best friends give each other increasingly audacious dares, the film plans to expand wider next weekend.
2006’s Borat, another television comedy adaptation which filmed real situations, started with $26.4M on 837 screens. Its $31,607 average more than quadrupled Jokers‘ average.
2002’s Jackass: The Movie, another television adaptation which featured best friends performing stunts and dares, opened with $22.7M on 2,509 screens. Its $9,072 average was a bit higher than Jokers as well.
Oh, Boy
STX’s horror sequel Brahms: The Boy IIdidn’t make much of a dent, opening in fifth place with $5.8M.
That’s -45.9% behind the opening of the original The Boy in January 2016, though it matches the original’s fifth place rank.
How’d This Weekend Compare?
Total box office this weekend was $102.2M. That’s -34.5% below last weekend. It’s also -20.1% behind this same weekend last year, when How to Train Your Dragon: The Hidden World led with $55.0M.
The Year So Far
Year-to-date box office stands at $1.43B. That’s +4.8% above this same date last year, down from +6.8% after last weekend.
While 2020 year-to-date is running ahead of 2019, it’s falling below 2018, 2017, 2016, and 2015 through the same point.
Most analysts project this year’s domestic box office will ultimately fall below last year, but the early trajectory is defying that prediction.
Studios
Sony is the top studio of the year so far, at $427.3M. Universal ranks second with $268.9M. Disney (including 20th Century Studios films) ranks third with $259.4M.
While it’s virtually certain that Disney will end the year as the top studio, they’re in third place right now.
Monday’s Weekend Actuals (Domestic)
FRI, FEB. 21 – SUN, FEB. 23
WIDE (1000+)
#
TITLE
WEEKEND
LOCATIONS
AVG.
TOTAL
WKS.
DIST.
1
Sonic The Hedgehog
$26,192,294
-55%
4,198
31
$6,239
$106,493,965
2
Paramount
2
The Call Of The Wild
$24,791,624
—
3,752
—
$6,608
$24,791,624
1
20th Century Studios
3
Harley Quinn: Birds of Prey
$6,802,003
-60%
3,565
-671
$1,908
$72,326,018
3
Warner Bros.
4
Bad Boys For Life
$5,843,978
-49%
2,972
-213
$1,966
$191,159,623
6
Sony / Columbia
5
Brahms: The Boy II
$5,823,006
—
2,151
—
$2,707
$5,823,006
1
STX Entertainment
6
Fantasy Island
$4,270,479
-65%
2,784
0
$1,534
$20,257,549
2
Sony Pictures
7
1917
$4,216,890
-48%
2,725
-359
$1,547
$151,804,359
9
Universal Pictures
8
Parasite
$3,010,526
-47%
1,803
-198
$1,670
$48,832,019
20
NEON
9
Jumanji: The Next Level
$2,875,302
-48%
2,126
-284
$1,352
$310,839,725
11
Sony Pictures
10
The Photograph
$2,785,655
-77%
2,516
0
$1,107
$17,630,295
2
Universal Pictures
11
Dolittle
$1,850,385
-62%
2,265
-604
$817
$74,494,675
6
Universal
12
Downhill
$1,438,219
-69%
2,311
10
$622
$7,410,479
2
Fox Searchlight
13
The Gentlemen
$1,231,117
-55%
1,133
-669
$1,087
$33,628,459
5
STX Entertainment
LIMITED (100 — 999)
#
TITLE
WEEKEND
LOCATIONS
AVG.
TOTAL
WKS.
DIST.
1
Impractical Jokers: The Movie
$2,606,873
—
357
—
$7,302
$2,606,873
1
truTV
2
Las Píldoras De Mi Novio
$1,396,140
—
350
—
$3,989
$1,396,140
1
Lionsgate / Pantelion Films
3
Knives Out
$1,069,376
-50%
949
-205
$1,127
$163,708,563
13
Lionsgate
4
Little Women
$711,178
-54%
633
-402
$1,124
$106,953,449
9
Sony Pictures
5
Portrait of a Lady on Fire
$693,218
62%
130
108
$5,332
$1,428,332
12
NEON
6
The Lodge
$626,969
368%
322
301
$1,947
$923,251
3
Neon
7
Star Wars: The Rise Of Skywalker
$565,707
-59%
558
-434
$1,014
$514,129,079
10
Disney
8
Frozen II
$500,072
-41%
424
-292
$1,179
$476,576,425
14
Disney
9
Jojo Rabbit
$451,362
-54%
385
-99
$1,172
$32,713,966
19
Fox Searchlight
10
Gretel & Hansel
$318,226
-79%
733
-912
$434
$15,050,796
4
United Artists Releasing
11
Just Mercy
$261,802
-66%
423
-423
$619
$35,403,442
9
Warner Bros.
12
The Assistant
$216,294
4%
167
85
$1,295
$797,301
4
Bleecker Street
13
Spies in Disguise
$197,414
-59%
263
-256
$751
$66,167,073
9
20th Century Fox
14
Ford v. Ferrari
$171,643
-54%
214
-79
$802
$117,337,198
15
20th Century Fox
15
The Turning
$127,200
-77%
315
-295
$404
$15,345,435
5
Universal Pictures
16
A Beautiful Day in the Neighborhood
$57,325
-49%
112
-29
$512
$61,610,598
14
Sony Pictures
PLATFORM (1 — 99)
#
TITLE
WEEKEND
LOCATIONS
AVG.
TOTAL
WKS.
DIST.
1
Emma.
$234,482
—
5
—
$46,896
$234,482
1
Focus Features
2
CatVideoFest 2020
$217,927
—
30
—
$7,264
$217,927
1
Oscilloscope Laboratories
3
Bombshell
$65,707
-48%
80
-48
$821
$31,641,507
11
Lionsgate
4
Uncut Gems
$60,798
-65%
92
-126
$661
$49,929,594
11
A24
5
Seberg
$60,487
—
3
—
$20,162
$60,487
1
Amazon Studios
6
Underwater
$52,892
15%
85
8
$622
$17,183,099
7
20th Century Fox
7
The Traitor
$50,054
-1%
45
16
$1,112
$221,278
4
Sony Pictures Classics
8
Ordinary Love
$43,620
85%
22
19
$1,983
$74,880
2
9
Joker
$39,972
-47%
90
-75
$444
$335,395,131
21
Warner Bros.
10
Once Were Brothers: Robbie Robertson and The Band
$37,828
—
4
—
$9,457
$37,828
1
Magnolia Pictures
11
The Last Full Measure
$36,314
-59%
83
-38
$438
$2,853,208
5
Roadside Attractions
12
Beanpole
$30,979
91%
29
22
$1,068
$109,783
4
Kino Lorber Films
13
2020 Oscar-Nominated Short Films
$30,203
-85%
37
-98
$816
$3,262,539
4
Magnolia PicturesShortsTV w/ Magnolia Pictures
14
And Then We Danced
$29,571
27%
19
12
$1,556
$86,306
3
Muisc Box Films
15
The Times of Bill Cunningham
$29,178
-30%
8
6
$3,647
$81,673
2
Greenwich Entertainment
16
The Woman Who Loves Giraffes
$21,411
—
18
—
$1,190
$78,934
21
Zeitgeist Films
17
Weathering With You
$21,244
-68%
15
-17
$1,416
$7,758,333
6
GKIDS
18
Ride Your Wave
$19,643
—
12
—
$1,637
$320,432
1
GKIDS
19
The Grudge
$18,630
-64%
41
-30
$454
$21,216,148
8
Sony Pictures
20
Judy
$16,242
-33%
34
-9
$478
$24,285,724
22
Roadside Attractions / LD Entertainment
21
Come and See
$16,053
—
1
—
$16,053
$16,053
1
Janus Films
22
The Song Of Names
$15,416
-59%
25
-26
$617
$1,034,794
9
Sony Pictures Classics
23
Incitement
$13,819
-31%
11
-10
$1,256
$119,513
4
Greenwich Entertainment
24
Corpus Christi
$11,874
156%
5
4
$2,375
$35,176
2
Film Movement
25
Tread
$10,585
—
13
—
$814
$10,585
1
Gravitas Ventures
26
Premature
$9,909
—
4
—
$2,477
$9,909
1
IFC Films / Sundance Selects
27
Olympic Dreams
$9,655
4%
35
32
$276
$20,725
2
IFC Films
28
The Cordillera of Dreams
$6,311
42%
8
6
$789
$15,977
2
Icarus Films
29
Cunningham
$6,022
-6%
8
-4
$753
$252,454
11
Magnolia Pictures
30
Pain and Glory
$5,989
-67%
17
-2
$352
$4,562,322
21
Sony Pictures Classics
31
First Lady
$4,699
-92%
16
-52
$294
$85,350
2
ArtAffects Entertainment
32
Enter the Fat Dragon
$4,330
-80%
3
-8
$1,443
$42,891
2
Well Go USA Entertainment
33
Young Ahmed
$4,216
—
2
—
$2,108
$13,325
1
Kino Lorber Films
34
Buffaloed
$4,001
-71%
3
-6
$1,334
$25,383
2
Magnolia Pictures
35
Clemency
$3,861
-52%
8
2
$483
$361,721
9
Neon
36
Varda by Agnes
$3,221
223%
4
2
$805
$155,271
14
Janus Films
37
L’innocente
$2,884
-60%
1
0
$2,884
$17,876
2
Film Movement
38
Just One More Kiss
$2,420
—
2
—
$1,210
$2,420
1
Indican Pictures
39
You Go To My Head
$2,398
-52%
2
1
$1,199
$8,536
2
First Run Features
40
Ip Man 4: The Finale
$2,286
-43%
2
-2
$1,143
$3,956,031
9
Well Go USA Entertainment
41
Zombi Child
$2,001
170%
3
-1
$667
$19,712
5
Film Movement
42
Stuffed
$1,266
—
2
—
$633
$14,740
19
Music Box Films
43
Goldie
$1,200
—
10
—
$120
$1,200
1
Film Movement
44
Edie
$600
—
1
—
$600
$70,738
25
Music Box Films
45
The White Sheik
$437
—
1
—
$437
$46,508
9
Rialto Pictures
46
Kind Hearts and Coronets (2019 Re-Issue)
$205
-92%
1
-2
$205
$33,395
13
Rialto Pictures
47
Synonyms
$199
-41%
1
0
$199
$204,955
18
Kino Lorber
48
The Doors: Break On Thru – A Celebration Of Ray Manzarek
