EXCLUSIVE: Marvel Studios/Disney‘s Deadpool & Wolverine finally opens this weekend, not only further rebounding the post-strike box office to a healthy place, but also revitalizing the MCU’s brilliance. It was only last November that the studio fell on hard times with its lowest opening ever in The Marvels at $46.1M U.S./$110M worldwide. The current range
Exhibition
So, surprise, surprise, but Minions are the lords of Independence Day. Illumination/Universal’s Despicable Me 4 is looking at $28 million Wednesday, sans Tuesday previews (they weren’t held), which is high enough to get the movie to an estimated $120 million over its first five days through Sunday. That’s where tracking was spotting it, and it’s
NRG, Screen Engine and other three-week-in-advance box office tracking services are reporting a domestic box office opening for Disney/Marvel Studios‘ first R-rated movie, Deadpool & Wolverine, at $160 million-$165 million, which would not only be the best opening year-to-date but also a record start for a R-rated movie. The first Deadpool released in 2016 owns
Sources tell us that Disney/Pixar‘s Inside Out 2 is heading for a near $30 million Wednesday at the domestic box office — as big, if not bigger, than its $29.1M Tuesday, which was a record for an animated movie. Disney had no comment. As we always report, take the projection with a grain of salt,
After emerging from bankruptcy in the U.S. last summer, Regal parent Cineworld is exploring options for its UK business which could include a potential sale or restructuring, Sky News reported over the weekend. According to the report, the world’s second largest cinema operator has enlisted AlixPartners, which helped its lenders navigate bankrupcty, as consultant and
Sony‘s R-rated Bad Boys: Ride or Die did $5.875 million in domestic box office Thursday in previews that began at 3 p.m., a total that is actually only 8% off from the previews of the franchise’s previous long-awaited threequel, 2020’s Bad Boys for Life, which did $6.36M. That’s a great start for Bad Boys: Ride
In accepting the Palme d’Or today for his latest movie Anora, Sean Baker gave a shoutout for the survival of cinema. At the Cannes Film Festival awards presser he said he hopes his movie is “certainly one step toward helping” theaters. “You see theaters closing every day unfortunately. I follow a Twitter feed about theaters
Universal and Illumination‘s smash The Super Mario Bros Movie finishes No. 1 to make it a wrap on Deadline’s Most Valuable Blockbuster tournament for 2023. While the industry is still coming out of Covid and the aftermath of the strikes, there’s no question about the major motion picture studios’ embrace of the theatrical downstream model; steamers
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering
Amazon MGM Studios’ Challengers, starring Zendaya and directed by Luca Guadagnino, made $1.9M in previews, a figure $100K shy of what Universal’s Cocaine Bear did. The tennis sexy romcom is hoping to open to $15M for the weekend. Lionsgate and Kingdom Story’s Unsung Hero made $1.67M in previews. It’s important to note that for both
Lionsgate is calling their all-in previews for Guy Ritchie’s The Ministry of Ungentlemanly Warfare at $1.45M, however that includes around $600K in advance shows from last weekend in addition to Thursday’s cash. Which means Universal’s Radio Silence vampire movie, Abigail, won Thursday previews with $1M. Meanwhile, Sony Crunchyroll’s anime movie Spy x Family Code: White
EXCLUSIVE: Amazon MGM Studios has begun the countdown for Project Hail Mary, its Ryan Gosling-starring, Phil Lord- and Christopher Miller-directed space adventure, which has been given a March 20, 2026 release date. No other wide entries are on that weekend. Producers are Amy Pascal, Gosling, Lord, Miller, Aditya Sood, Rachel O’Connor and Andy Weir. The
With spring break simmering to 8% K-12 on break, and 1% colleges off, it’s hodgepodge at the weekend box office until 20th Century Studios’ Kingdom of the Planet of the Apes arrives to a $50M+ opening during the second weekend of May. A24’s Civil War, which currently counts $27M through Monday after $1.9M yesterday, will
Yes, this just happened — to big cheers. Producer Graham King showed up to close Lionsgate CinemaCon session in a big way Wednesday showing off an emotional first trailer for the Michael Jackson biopic Michael, the movie that hits theaters on April 18, 2025. Director Antoine Fuqua is still shooting the movie, but a first-look
Australian filmmaker George Miller, whose origins story Furiosa will world premiere at the Cannes Film Festival next month before Warner Bros begins its global rollout May 22, says he’s still making Mad Max movies “because they’re very addictive.” Miller was speaking at CinemaCon on Monday in Las Vegas where he received the International Career Achievement in Filmmaking Award. During
Apes are hot these days coming off of Godzilla x Kong: The New Empire, and beast fever will spill over into the weekend of May 10-12 when 20th Century Studios‘ Kingdom of the Planet of the Apes is looking to open to $54 million-$61 million. That’s the latest forecast from tracking service Quorum, which reports
No dart gun, or First Omen, or Monkey Man will put Legendary/Warner Bros’ Godzilla x Kong: The New Empire to sleep this weekend. The pic, after an unexpected $80 million Easter weekend start, will continue to rumble with a 55%-60% second-weekend drop to between $32M-$36M. Through four days, the Adam Wingard-directed Monsterverse title stands at
FRIDAY UPDATE: Dune: Part Two added 42 international box office markets on Thursday, taking the offshore cume on the Denis Villeneuve-directed sequel to $20.8M in a total 55. This includes two full-days of play and previews in those markets. The Warner Bros/Legendary Entertainment sci-fi spectacular is the No. 1 U.S. title in all markets and
Moviegoing is slowly going back into fashion today with Paramount’s Bob Marley: One Love biopic seeing an estimated $12M. For a movie playing on Valentine’s Day midweek, that’s a record besting the $11.6M made by the 2012 Channing Tatum and Rachel McAdams romance, The Vow. Sony/Marvel’s Madame Web trails with $5M-$5.5M today. Projecting out six-days
Super Bowl weekend, despite its damper on Sunday business, used to be a box office frame that could still yield results, even for films aimed at dudes. Like in 2015, when the sixth weekend of American Sniper drummed up $30.7 million, or in 2020, when the third weekend of Bad Boys for Life did $17.6M.
With Apple and Amazon Studios embracing theatrical distribution to enhance their content on streaming, is Netflix far behind? Despite the streamer dipping its toes in the water with a $15 million-grossing limited release of Glass Onion: A Knives Out Mystery during Thanksgiving 2022, and a hot title in the July 3 release of Eddie Murphy’s
Apple Original Films‘ third movie to go wide in theaters, the $200M Matthew Vaughn directed Argylle, hits cinemas this weekend via a distribution deal with Universal and a mid-teens start is expected. As the old saying goes in distribution, ‘It would be nice if it had a 2 in front of it,’ meaning a $20M+
EXCLUSIVE: Sony, which kicked off CinemaCon last year, is skipping this year’s exhibitor-studio conference in Las Vegas, NV which runs April 8-11 at Caesar’s Palace. This happens from time to time when a major studio will sit out, and it’s not a diss to theater owners. The last time Sony didn’t attend CinemaCon was back
Vue International, Europe’s largest independent movie theater operator, is in discussions with its shareholders and lenders on a fresh debt-for-equity restructuring. This comes after last year’s dual WGA and SAG-AFTRA strikes caused production delays and pushed a number of titles off of the 2023 and 2024 release calendars. Overall, the industry is facing a severe
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