Dom and the family join the million smacker club! Gene Scallop here on this week’s box office report. Last time, Fast 8 was on fire when it made 900 million smackers worldwide. Now with the flick currently holding on for the 3rd weekend in a row with 19 million as audience attendance drops, looks like the family will get a sequel to Fast 8 as promised as well as Fast 10 ASA next year. With Star Lord and the rest of the Galaxy Guardians await their return this week, let’s see how it managed to reach 1 million smackers.
While it’s no small feat that The Fate of the Furious finished atop the box office for a third weekend in a row while crossing $1 billion worldwide, Pantelion’s How to be a Latin Lover and Great India Films’ Baahubali 2: The Conclusion are stealing some of the spotlight as the two films finished in second and third place at the domestic box office, despite the fact the two films played in just over 1,500 theaters combined. Additionally, Guardians of the Galaxy Vol. 2 got off to a healthy start overseas, one week ahead of its domestic debut.
With an estimated $19.3 million, Fate of the Furious sees its domestic cume grow to $192.7 million, earning a third weekend atop the domestic box office. Of course, the bigger story is the film became Universal’s fifth title to top $1 billion worldwide, joining the ranks of Jurassic World ($1.67 billion), Furious 7 ($1.52 billion), Minions ($1.16 billion) and Jurassic Park ($1.04 billion). This weekend Furious 8 is estimated to have brought in $68.4 million from 69 markets bringing its international total to $867.6 million. The only new opener this week was Japan where the film delivered an estimated $7.5 million, the largest opening for a Fast film in Japan.
Second place belongs to Lionsgate’s release of Pantelion’s How to be a Latin Lover starring Eugenio Derbez and Salma Hayek. The film played in just 1,118 theaters and delivered an estimated $12 million for a $10,750 per theater average. This is the largest opening for a Pantelion film to date and the “A” CinemaScore grade from opening day audiences is sure to aid its legs moving forward. Additionally, the film played to an audience that was 55% female, 75% of the overall audience was 25 years or older and 89% were Hispanic.
In third is the mammoth release of the Tollywood sensation, Baahubali 2: The Conclusion distributed by Great India Films in North America. Playing in a mere 425 theaters the film brought in an estimated $10.1 million, a whopping $23,855 per theater average and nearly three times as much as the opening for the 2015 original. This is the largest opening for an Indian film domestically and we are still hoping to get a full report regarding its performance outside North America.
Finishing in fourth is STX’s The Circle, the first film in the studio’s three-year deal with Europacorp and it came up light compared to expectations, delivering an estimated $9.3 million from 3,163 theaters. Reviews didn’t help the film which scored a 43 on Metacritic, a sentiment that was echoed by opening day audiences, which gave the film a dismal “D+” CinemaScore. Exit polls show 62% of the opening weekend audience for the film was female and 44% was between the ages of 18 and 34. While the budget was a reported $18 million for the feature, Europacorp acquired the title for $8 million.
Rounding out the top five was Fox’s The Boss Baby, which held on nicely once again, dropping 29% in its fifth weekend in release, delivering an estimated $9.05 million as its domestic cume is now just shy of $150 million.
Outside the top ten Universal and Blumhouse’s Get Out is doing everything it can to stay in theaters as the film found itself adding 598 locations in its tenth week in release where it grossed an estimated $1.7 million as its domestic cume now stands at $172.5 million. Worldwide it’s still only getting started but it’s international cume is now up to $21.4 million as the $4.5 million production is nearing $200 million globally.
In other Blumhouse news, the latest BH Tilt release, Sleight, debuted this weekend in just 565 theaters where it brought in a somewhat satisfying $1.7 million. The film was made on a tiny, $250,000 budget, and was picked up by Blumhouse and WWE Films out of Sundance last year.
In limited release China Lion’s Battle for Memories brought in an estimated $210k from 42 theaters ($5,000 PTA); Oscilloscope’s One Week and a Day opened with an estimated $9,500 from 3 theaters ($3,167 PTA); Well Go’s Buster’s Mal Heart brought in $7,800 from one location; and Abramorama’s Bang! The Bert Berns Story also debuted in just one theater where it brought in an estimated $4,227.
Next weekend belongs to Guardians of the Galaxy Vol. 2, which got off to a strong start internationally this weekend, bringing in an estimated $101.2 million from ~58% of the overall international market. The film was #1 in all markets in which it opened outside of Portugal, Turkey and Vietnam and all markets topped the opening performance for the original Guardians of the Galaxy. Estimated results include the UK ($15.5M), Australia ($11.6M), Germany ($8.3M), France ($7.9M), Mexico ($7.6M), Brazil ($6.9M), Italy ($4.1M), Indonesia ($3.4M), Spain ($3.3M), Philippines ($3.2M), Thailand ($2.7M), Taiwan ($2.4M), Malaysia ($2.0M) and New Zealand ($2.0M).
As for how this performance compares to previous Marvel releases, Disney estimates the opening is +57% ahead of the original Guardians which ended with $440.2 million internationally, +50% ahead of Captain America: Winter Soldier ($454.5M internationally) and +19% ahead of Thor: The Dark World ($438.2M internationally) when comparing the same suite of territories and all at today’s exchange rates. The film has still yet to open in Russia, Korea, China and Japan.
As for Guardians 2‘s domestic debut, the film will open in ~4,200 theaters and while it was originally expected Fate of the Furious would become 2017’s second $100+ million opener until it fell short, Guardians most certainly will cross that mark as an opening around $150 million is within reach.
To recap, Fast 8 is still rolling in 1st, Baahubali 2 debuts 2nd as well as How to be a Latin Lover in 3rd, The Circle makes its case in 4th, while The Boss Baby drops in 5th.
In our last encounter, we took a colorful look at Genius Brands’ Rainbow Rangers as longtime brand Fisher-Price was picked for pitching in for their latest toy line. As for the show itself Danny, who pitched in for their newest preschool series based on it?
Danny Angelfish (via Animation World)- Genius Brands International has licensed exclusive U.S. and Caribbean Basin broadcast rights for season one of its new CGI-animated production, Rainbow Rangers, to the No. 1 rated kids’ network, Nickelodeon. Currently in development (52 x 11’ episodes), the mission-based action adventure series is expected to air on Nickelodeon’s preschool channel, Nick Jr. The deal follows Genius Brands’ recent announcement of the appointment of Mattel Inc.’s Fisher-Price Toys as Global Master Toy Partner for the brand, further demonstrating the high level of confidence that the property is well positioned for breakout success in the global market.
Rainbow Rangers, which is expected to air on Nickelodeon’s preschool channel Nick Jr., boasts a unique and highly-accomplished team of creators from the animated motion picture world, including Rob Minkoff (the director of Disney’s The Lion King), Shane Morris (the co-writer of Disney’s Frozen), Tim Mansfield and New York Times bestselling author and Emmy-nominated writer Elise Allen (Dinosaur Train, Lion Guard, Barbie specials) who is serving as head writer and co-creator. Genius Brands’ Chairman and CEO and multiple Emmy-winning producer of more than 5,000 episodes of children’s programming, Andy Heyward, serves as executive producer, with legendary Disney alum Ruben Aquino creating key designs. Aquino is responsible for the design and animation of many of Disney’s most iconic characters from award-winning films including The Lion King, Beauty and the Beast, The Little Mermaid, Mulan and Frozen.
“We’ve assembled an unprecedented team of creative talent to bring Rainbow Rangers to life and are committed to selecting partners of the same caliber that have a shared passion for the brand,” said Heyward. “Nickelodeon has introduced so many of the most beloved and exciting characters to kids and families across the globe.”
Rainbow Rangers is an empowering, exciting, behind-the-curtain peek at the real lives of superheroes – Earth’s First Responders. The series seamlessly blends fantasy and action-adventure with relatable, accessible stories about friendship and saving the environment. The Rainbow Rangers – seven girls, each a different color of the rainbow, each with her own wildly unique personality and powers – band together to save the day whenever there’s trouble for the people, animals or natural wonders of the Earth. Every storyline is designed to show viewers the importance of working together and that actions both big and small can make the world a better place.
As a flagship property for Genius Brands in its strategy to build global properties, the new animated series has received strong interest from broadcast and licensing partners since its debut at MIPJunior in Cannes last October. Fisher-Price, the world leader in the preschool category, will lead the licensing and merchandising program with a broad range of preschool products in the toy category.
“Rainbow Rangers is an exciting content series that we believe will strike a relevant cord with its mission based adventures and message of empowerment for preschool girls,” said Susie Lecker, EVP & Chief Brand Officer, Mattel’s Toy Box. “Bringing Rainbow Rangers to life through engaging product allows us to address the opportunity in the preschool toy aisle for a girl-targeted, heroic, action-focused line. We’re looking forward to the continued collaboration with Genius Brands and the incredible pedigree of talent behind the development of the series, to realize the full potential of a compelling toy line.”
Genius Brands is actively developing its global merchandising, licensing and retail program across all key categories to coincide with the series launch.
“Combining Genius Brands’ unique business model and expertise in creating highly engaging cross-platform content with Nickelodeon and Mattel’s pedigree and industry-leading position in the global market gives Rainbow Rangers the fuel it needs to lead in the preschool space,” said Stone Newman, President of Global Consumer Products, Worldwide Content Sales & Marketing. “Our partnerships can be seen as indicators of the growth potential for this property and its ability to generate significant revenue streams across multiple categories.”
Rainbow Rangers will be the finest addition to Nick Jr.’s current preschool schedule once it makes its debut soon.
An achievement was made last Wednesday across the pond as Cbeebies’ Sarah and Duck reached 100 episodes. This BAFTA winning series, currently seen on Sprout, managed to join other UK TV shows who surpassed this goal, Shaun The Sheep not withstanding. To commemorate 100 episodes Dan, what did British kiddy viewers see last week?
Dan Barry (via Animation World)- Karrot Entertainment’s BAFTA-award winning pre-school series Sarah & Duck reached a milestone yesterday with its 100th episode on CBeebies. The animated series about a seven-year-old girl, Sarah, who lives with her best friend, Duck, launched in 2013, and continues to be an on-air favorite.
The show marked the occasion with a special episode featuring a musical dream sequence, starring the popular Duck at the core of the story. Inspired by his afternoon of playtime with Sarah, discovering the narrator’s old toy robots, Duck drifts into a flight-of-fancy naptime dream, imagining himself exploring a quirky and fun robotic world, with an electronic, bouncy soundtrack.
“We’re thrilled to have reached this milestone of 100 stories about the unique world of Sarah & Duck,” says series producer Jamie Badminton. “The show has featured gentle continuity from the very first episode, which helps explain the amazing dedication shown from our young and old fans. It really does feel like Sarah and Duck, as characters, have grown up and made friends within their world, in front of our very eyes.
“We have had great success with two previous dream sequences set to music but this is the first time we time we have done one from Duck’s perspective,” he adds. “It is one of our richest and most striking stories so far.”
“It is a privilege to be a part of this beautifully animated, wonderful and funny show,” says Henrietta Hurford-Jones, director of children’s content, BBC Worldwide. “From seeing Sarah & Duck befriend the Shallots in the very first episode, to the heart-warming moment the duo meet in Duck Flies, all the way to the forthcoming 100th episode it has been fantastic to see this series go from strength to strength, winning the hearts — and awards — of audiences all over the world.”
The 100th episode aired as part of a new batch of 10 episodes on the channel, which include a guest appearance from British actor Simon Callow, alongside series regulars Roger Allam and Lesley Nicol. New locations include the reveal of a new kitchen space at the Bakery, allowing Sarah & Duck to join in with imaginative cooking alongside popular characters Bread Man and Cake.
Sarah & Duck is a Karrot Entertainment production for CBeebies U.K. and BBC Worldwide. It was co-created by Karrot Entertainment’s creative director Tim O’Sullivan and designer/writer Sarah Gomes Harris.
On TV this week, see Alvin and The Chipmunks in 4 new episodes on Nick. Meanwhile on Cartoon Network, catch the newest editions of Ben 10 and Teen Titans Go!.
And so ends April for this week. As we jump towards May, season finale sweeps are in play as Summer 2017 fast approaches. We’ll keep a close eye if the Galaxy Guardians hit pay dirt like they did back in 2015. We’ll also inform you if your favorite animated shows survive or take a hike as fan viewership intensifies. As for us, we have 8 months left before our desktop entertainment studio closes down, but things could change ASAP. But for now, this is Gene Scallop saying see you next edition on Gene Scallop’s box office report.