The LEGO Batman Movie tops 55 million, Fiifty Shades Darker moves 2nd; Zootopia wins 6 Annie’s including best animated feature; Disney attributes 100 million for animation crisis
It’s great to be Batman! Gene Scallop here on this week’s box office report. The dark knight faces off against The Joker, but this time, he’s not alone. With 55 million smackers, with Robin and Batgirl by his side, it’s going to take a superhero team big enough to take down the clown prince of crime. Let’s check it out:
It was the best weekend at the 2017 box office so far, led by WB’s The LEGO Batman Movie along with fellow newcomers Fifty Shades Darker and John Wick: Chapter Two topping the box office in that order. But along with the new releases, five of the weekend’s holdovers, especially Lion, held on extremely well, dropping 35% or less compared to last weekend. Overall the weekend top twelve came in just a fraction below our overall expectation of $180 million as the top twelve combined for an estimated $176.9 million.
At #1, WB’s second film in their LEGO franchise, The LEGO Batman Movie, delivered an estimated $55.6 million, which is well below Mojo’s forecast and even a bit below the $60 million the studio was expecting. However, opening day audiences gave the film a strong “A-” CinemaScore, which plays well with the strong critical reception the film received. Of that audience, 48% were males vs. 52% females and 48% were over the age of 25.
Looking ahead, outside of Lionsgate’s acquisition of Rock Dog due in theaters in a couple weeks, there isn’t a lot of competition in terms of animated films in the near future and the extended holiday weekend next weekend should ensure LEGO Batman holds on nicely. As for its overall domestic performance, after a $69 million opening, The LEGO Movie delivered a $257.7 million domestic total. A similar performance for LEGO Batman would mean a $207+ million run, which means we’ll be keeping an eye out to see if this one can top $200 million.
Outside of North America, LEGO Batman brought in an estimated $37 million from 60 overseas markets for a combined, $92.6 worldwide opening. Some highlights include an estimated $9.3 million opening in the U.K. along with openings in Mexico ($2.6m), Germany ($2.3m), Russia ($2.2m), Brazil ($2m), France ($1.6m), Spain ($1.5m) and Italy ($1.2m). Looking ahead, the film opens in China on March 3 followed by openings in Australia (March 30) and Japan (April 1).
In second position is Universal’s Fifty Shades Darker, which topped the box office on Friday and held on well over the weekend, finishing with a slightly stronger than expected $46.79 million from 3,710 theaters. Opening day audiences gave the film a “B+” CinemaScore and of that audience 70% was female vs. 30% male. The age breakdown saw 56% of the audience coming in under the age of 30 and 34% of the audience was Caucasian, 21% Hispanic and 14% African American.
Looking ahead, while this opening is nearly $40 million less than 2015’s Fifty Shades of Grey, that was to be expected and how it plays this week with Valentine’s Day on Tuesday and next weekend’s four-day holiday weekend will be the true test as Fifty Shades of Grey dipped a massive 74% in its second weekend while Darker should play a little more traditionally. What does that mean? Well, proportionally, Fifty Shades Darker’s opening compared to Fifty Shades of Grey is spot on when compared to the performance of Sex and the City to its sequel, which dropped 60% in its second weekend, ending its run just shy of $100 million, a number that would appear to be the bar to keep an eye domestically with $125 million looking like the ceiling for this release.
Overseas, Fifty Shades Darker delivered an estimated $100.1 million from 57 markets, the fourth largest international opening weekend ever for an R-rated film, behind Fifty Shades of Grey ($157.1m), Deadpool ($132.2m) and The Matrix Revolutions ($117.6m). Top markets include Germany ($11m), U.K. ($9.7m), France ($8.7m), Brazil ($7.5m), Russia ($6.7m), Italy ($6.5m), Australia ($5.9m), Spain ($5.6m) and Mexico ($2.7m). The film has four more territories in which it will be released, the last of which being Japan on June 23.
Third place belongs to Lionsgate’s John Wick: Chapter Two, which more than doubled its predecessor’s opening with an estimated $30 million from 3,113 theaters. Heading into the weekend we were wondering if the R-rated actioner could manage to cross $30 million and with estimates it appears it just barely made it. Opening day audiences scored the film with an “A-” CinemaScore (the first received a “B”) to go along with its 76 Metacritic score (the first received a 68). The opening day audience was 64% male vs. 36% female, identical to the first film.
Looking ahead, the question now is to wonder if John Wick 2 can approach $90 million domestically. The first film delivered a 2.98x multiplier, which would suggest a nearly $90 million domestic run for the sequel. Based on the CinemaScore, opening weekend and R-rating a run closer to $73 million would trend closer to the average, but don’t be surprised if Wick 2 crosses $80 million if not a little bit higher.
Internationally, John Wick 2 debuted in 41 markets with an estimated $10.6 million of which Russia was the only major market release where it brought in an estimated $2.5 million, just $100,000 shy of the first John Wick feature in the country. Other openers included estimated results in the Philippines ($1.3m), Taiwan ($775k), Malaysia ($754k) and Hong Kong ($525k). The next major markets set to release later this week are Brazil and Germany on February 16 and the UK a day later.
Universal’s Split finished in fourth, dropping just 35.4% for an estimated $9.3 million as its domestic cume climbs to $112.3 million. The film will soon pass The Village’s $114.2 million domestic total to become M. Night Shyamalan’s fourth largest domestic release.
Rounding out the top five is the continued strong performance of Hidden Figures with an estimated $8 million, dropping just 21.5% in its eighth week since its limited, Christmas Day debut. Its domestic cume now stands at an impressive $131.4 million, currently the highest grossing domestic release of the 2016 Best Picture nominees.
Elsewhere in the top ten, Lionsgate’s La La Land grossed an estimated $5 million (-32.2%) for a total domestic cume of over $126 million. Additionally, the film brought in an estimated $11.5 million internationally bringing its worldwide total to an estimated $294.3 million through Sunday.
The best holdover in the top ten was the Weinstein’s Lion, which saw a 9% bump compared to last weekend despite dropping 68 theaters. The Oscar contender delivered an estimated $4 million this weekend as its domestic cume now stands at $30.3 million since its limited bow 12 weeks ago.
Outside the top ten, other new openers include FIP’s Jolly LLB 2, which brought in an estimated $780k from 173 theaters ($4,509 PTA); Magnolia’s release of The Oscar Nominated Short Films 2017 brought in an estimated $660k from 184 theaters ($3,587 PTA); China Lion’s Duckweed debuted in 27 theaters with an estimated $160k ($5,926 PTA); Fox Searchlight’s A United Kingdom delivered an estimated $70k from four theaters ($17,500 PTA) and Sony Classics’ Oscar contender Land of Mine debuted with an estimated $15,758 from three theaters ($5,253 PTA). Lastly, Oscilloscope’s Kedi delivered the best per theater opening average of the year so far as it brought in an estimated $40,510 from one theater this weekend.
Additional highlights this weekend include the release of xXx: The Return of Xander Cage, which brought in a whopping $61.9 million in China this weekend from 6,600 locations. It’s the largest opening for a Hollywood film in February and with $6 million it delivered the second largest IMAX February opening in China behind The Monkey King 2. The film’s international cume now stands at an estimated $186.5 million for a worldwide total nearing $230 million, placing it second to 2002’s xXx within the franchise. Return of Xander Cage will release in Japan on February 24.
This weekend also saw Illumination and Universal Pictures’ Sing top $500 million worldwide as it brought in an estimated $7.5 million from 61 overseas markets this weekend bringing its overseas cume to $235.5 million. Combined with $265.3 million domestically the film’s worldwide cume stands at $500.8 million.
Next weekend sees the release of Universal’s The Great Wall into 3,200+ theaters on the heels of the film already grossing $224.6 million internationally. Other openers include the WB comedy Fist Fight into ~3,000 theaters and Fox’s A Cure for Wellness into 2,700 theaters.
For a look at this weekend’s estimated results click here and we’ll be updating the charts with weekend actuals on Monday afternoon.
Until next bat time, let’s see if the dark knight’s plan pays off.
Zootopia’s been on a roll since their Golden Globe win. The flick scored big time at the Annie’s last week. Let’s see if their winning streak continues.
Disney’s ‘Zootopia’ wins best animated feature at the 44th Annie Awards.
LOS ANGELES — Walt Disney Animation Studios’ Zootopia takes the top honor as Best Animated Feature at ASIFA-Hollywood‘s 44th Annual Annie Awards, Saturday evening at UCLA’s Royce Hall. Zootopia also received an Annies trophy for Outstanding Storyboarding – Dean Wellins; Outstanding Character Design – Cory Loftis; Outstanding Voice Acting – Jason Bateman as Nick Wilde; Outstanding Writing – Jared Bush & Phil Johnston; and Best Directing – Byron Howard & Rich Moore. Best Animated Feature – Independent was presented to the film, The Red Turtle (Studio Ghibli/Wild Bunch/Why Not Productions).
LAIKA’s Kubo And The Two Strings garnered three Annies for Outstanding Achievement in Character Animation, Production Design and Editorial; Best Animated Special Production was awarded to Pear Cider and Cigarettes (Massive Swerve Studios and Passion Pictures Animation); Best Animated Short Subject Piper (Pixar Animation Studios); Best Animated TV/Broadcast Commercial Loteria ‘Night Shift’ (Passion Pictures Ltd.); Best General Audience Animated TV/Broadcast Production for Preschool Children Tumble Leaf – Mighty Mud Movers/Having a Ball (Amazon Studios and Bix Pix Entertainment); Best Animated TV/Broadcast Production for Children Adventure Time – Bad Jubies (Bix Pix Entertainment, Cartoon Network, Frederator Studios); Best Animated TV/Broadcast Production for a General Audience Bob’s Burgers – Glued, Where’s My Bob? (Bento Box Entertainment); and Outstanding Achievement for Character Animation in a Live Action Production: The Jungle Book (Walt Disney Pictures).
“It was a big year for animation all around. We saw a huge number of projects, great diversity of subjects and styles and increasing international participation,” remarked Frank Gladstone, Annie Awards executive producer. “Animation’s positive impact on communities worldwide was evident throughout the evening. It was a great night.”
Presenting the coveted Annie trophies this year were Lakers basketball legend, Kobe Bryant; actress Jenna Elfman; animator and film director, Patrick Osborne; Auli’l Cravalho – voice of Moana; animator, author and illustrator, Glen Keane; actor and comedian, Tom Kenny; Paige O’Hara – 25th Anniversary of Beauty and the Beast; actor & director, James Hong; directors Travis Knight – Kubo and the Two Strings and Michael Dudok de Wit – The Red Turtle; comedian Stephen Kramer Glickman and actress Chelsea Kane, along with ASIFA-Hollywood President, Jerry Beck and Executive Director, Frank Gladstone.
ASIFA-Hollywood was thrilled to have all three Winsor McCay recipients in attendance. The Winsor McCay recipients this year are legendary animator Dale Baer; independent animation champion Caroline Leaf; and influential anime director Mamoru Oshii for career contributions to the art form. The Ub Iwerks Award was presented to Google Spotlight’s Virtual Reality Platform for technical advancement; and the Special Achievement Award was presented to Life, Animated, a documentary about animation’s effect on one young autistic man’s journey. The June Foray Award was presented to Bill & Sue Kroyer for their career-long benevolent and public-spirited influence within the animation community. Certificate of Merit awards were presented to ASIFA-Hollywood volunteer coordinator Leslie Ezeh, and ASIFA-Hollywood’s office manager Gary Perkovac.
The Annie Awards honor overall excellence as well as individual achievement in a total of 36 categories from best feature, best feature – independent, production design, character animation, and effects animation to storyboarding, writing, music, editing and voice acting, and have often been a predictor of the annual Academy Award for Best Animated Feature. The ceremony was live-streamed again this year at http://www.annieawards.org/watch-it-live where animation enthusiasts and those unable to attend the event, could watch the show.
The complete list of winners at the 44th Annual Annie Awards is shown below:
Best Animated Feature
Directing in an Animated Feature Production
Byron Howard, Rich Moore
Walt Disney Animation Studios
Directing in an Animated Television/Broadcast Production
Google Spotlight Stories/Evil Eye Pictures
Best Animated Feature-Independent
The Red Turtle
Studio Ghibli – Wild Bunch – Why Not Productions
Best General Audience Animated Television/Broadcast Production
Episode: Glued, Where’s My Bob?
Bento Box Entertainment
Best Animated Television/Broadcast Production For Children
Episode: Bad Jubies
Bix Pix Entertainment Cartoon Network Frederator Studios
Best Animated Television/Broadcast Production For Preschool Children
Episode: Mighty Mud Movers / Having a Ball
Amazon Studios and Bix Pix Entertainment
Writing in an Animated Feature Production
Jared Bush, Phil Johnston
Walt Disney Animation Studios
Writing in an Animated Television / Broadcast Production
Lizzie Molyneux, Wendy Molyneux
Episode: The Hormone-iums
Bento Box Entertainment
Voice Acting in an Animated Feature Production
Auli’i Cravalho as Moana
Walt Disney Animation Studios
Jason Bateman as Nick Wilde
Walt Disney Animation Studios
Voice Acting in an Animated Television / Broadcast Production
Carlos Alazaraqui as Ponce de León
The Mr. Peabody & Sherman Show
Episode: Ponce de León
DreamWorks Animation Television
Best Animated Television/Broadcast Commercial
Loteria, “Night Shift”
Passion Pictures Ltd
Best Animated Special Production
Pear Cider and Cigarettes
Massive Swerve Studios and Passion Pictures Animation
Production Design in an Animated Feature Production
Nelson Lowry, Trevor Dalmer, August Hall, Ean McNamara
Kubo and the Two Strings
Pearl production design winner Tuna Bora gets a play-off after dropping her Annie trophy, having a nice recovery and, as a first-generation immigrant “from a predominantly Muslim country,” hails inclusion in the animation community. It’s clear that President Trump doesn’t have many if any fans here tonight.
Production Design in an Animated Television / Broadcast Production
Google Spotlight Stories/Evil Eye Pictures
Character Animation in an Animated Feature Production
Kubo and the Two Strings
Character Animation in an Animated Television / Broadcast Production
Episode: Becoming, Part 1
DreamWorks Animation Television
Character Animation in a Live Action Production
Andrew R. Jones, Peta Bayley, Gabriele Zucchelli, Benjamin Jones
The Jungle Book
Walt Disney Pictures
Character Animation in a Video Game
Jeremy Yates, Almudena Soria, Eric Baldwin, Paul Davies, Tom Bland
Uncharted 4: A Thief’s End
Word games with presenter Kobe Bryant is getting laughs, but the real score is how good his onstage delivery is.
Character Design in an Animated Feature Production
Walt Disney Animation Studios
Character Design in an Animated Television / Broadcast Production
Victor Maldonado, Alfredo Torres, Jules Rigolle
Episode: Win, Lose or Draal
DreamWorks Animation Television
Music in an Animated Feature Production
Hans Zimmer, Richard Harvey, Camille
The Little Prince
Netflix and On Animation Studios
Music in an Animated Television / Broadcast Production
Scot Stafford, Alexis Harte, JJ Wiesler
Google Spotlight Stories/Evil Eye Pictures
Animated Effects in a Live Action Production
Georg Kaltenbrunner, Michael Marcuzzi, Thomas Bevan, Andrew Graham, Jihyun Yoon
Doctor Strange – MIRROR DIMENSION
Animated Effects in an Animated Feature Production
Marlon West, Erin V. Ramos, Blair Pierpont, Ian J. Coony, John M. Kosnik
Walt Disney Animation Studios
Best Animated Short Subject
Pixar Animation Studios
Best Student Film
Director: Andreas Feix
Editorial in an Animated Feature Production
Kubo and the Two Strings
Editorial in an Animated Television / Broadcast Production
Disney Mickey Mouse
Episode: Sock Burglar
Disney Television Animation
Storyboarding in an Animated Feature Production
Walt Disney Animation Studios
Storyboarding in an Animated Television / Broadcast Production
DreamWorks TrollhunteEpisode: Win, Lose or Draal
DreamWorks Animation Television
Winsor McCay Awards
Ub Iwerks Award
Google Spotlight’s Virtual Reality Platform
June Foray Award
Bill & Sue Kroyer
Special Achievement Award
Life, Animated documentary feature
The animation crisis has gone on since 2014 and it looks like Disney has come up with a few smackers to cover it. Let’s check out how much:
Disney has agreed to a $100 million settlement in the class-action lawsuit filed in December 2014 claiming that it and other Hollywood studios violated antitrust laws by conspiring to suppress the wages of animation and VFX artists.
According to a report by Variety, the settlement — which was disclosed in a court filing on Tuesday — covers Disney, Pixar, Lucasfilm and Two Pic MC, formerly known as ImageMovers. The Disney settlement follows a $50 million settlement with DreamWorks Animation, $13 million with Sony Imageworks and $5.95 million with 20th Century Fox-owned Blue Sky coming out of the same legal action.
The class-action lawsuit alleges that Disney, Pixar, DreamWorks Animation and other studios violated antitrust laws by conspiring to suppress the wages of animation and VFX artists via non-poaching agreements. The complaint filed by lighting artist Georgia Cano, character effects artist Robert Nitsch and production engineer David Wentworth accuses the studios of suppressing wages since 2004 by refraining from cold-calling employees and sharing news of job offers.
The suit contends that the roots of the anti-poaching agreements go back to the mid-1980s, when George Lucas and Ed Catmull, the president of Steve Jobs’ then-newly formed company Pixar, agreed to not raid each other’s employees. Other companies later joined conspiracy, the suit alleges, including Sony ImageMovers, Lucasfilm and Blue Sky Studios.
Arrangements to freeze wages and not poach employees were the subject of a separate investigation and lawsuit by the U.S. Justice Department in 2010. Several companies agreed to a prohibition against enforcing anti-poaching pacts for a period of five years, which ended the DOJ review, but in 2011, a class-action lawsuit was brought against Pixar, Lucasfilm, Apple, Google, Adobe and Intuit. The first two companies settled claims for $9 million while the other companies have gone to an appeals court after Koh rejected a $325 million settlement as insufficient.
The U.S. District Court in San Jose has scheduled a hearing on the Disney settlement for March 9th, 2017.
And with that said like Batman, let’s stay inside the shadow next time on Gene Scallop’s box office report.
Split dominates Super Bowl weekend with 14 million; Bunsen With a Beast makes its premiere February 21st; Sony Pictures takes 1 billion write down on Ghostbusters 2016 and hacking attack
Split tackles some newbies at the box office. Gene Scallop here for this week’s edition of Gene Scallop’s box office report. Super Bowl week comes to a close as the big game approaches. For the 3rd weekend in the box office, Split’s 14 million smackers were enough to score a touchdown! Paramount’s Rings continues were The Ring left off, and A Space Between Us creates friendship between a girl and a male Martian. Will Split be able to slice through The Lego Batman Movie next weekend? Let’s see what happened last weekend:
Not many surprises this Super Bowl weekend as Universal’s Split finished #1 for a third straight weekend in a row while the new releases struggled out of the gates. Between the new releases, Paramount’s Rings did manage a second place finish despite largely negative reviews while STX’s The Space Between Us, floundered and finished well below expectations. Overall, the top twelve grossed an estimated $81.1 million, a bit below the $82 million the top twelve combined for over last Super Bowl weekend, though actuals could show a bump as studios could be playing it a bit conservative with Sunday estimates ahead of this evening’s big game.
With an estimated $14.6 million, M. Night Shyamalan‘s Split is the #1 movie for the third weekend in a row as the film’s domestic cume climbs to $98.7 million. This is the first time Shyamalan has had a film top the weekend box office three weeks in a row since 1999’s The Sixth Sense and will shortly be his fifth film to top $100 million at the domestic box office. Combined with an estimated $44 million internationally, the film’s worldwide total currently stands at $142.7 million.
Finishing in second is the first of the weekend’s new wide releases, Paramount’s Rings, the third film in the Ring franchise and the worst opener of the trilogy with an estimated $13 million from 2,931 theaters. In addition to its domestic opening, Rings brought in an estimated $15.2 million internationally from 35 markets for a $28.2 million worldwide debut.
It’s hard to say the film’s opening is a surprise as it had bounced around the release schedule after it was originally set to hit theaters in November of 2015 and upon release, reviews were embargoed until Friday morning. At that point the flood gates opened and the film scored a dismal 5% on Rotten Tomatoes and a 24 on Metacritic.
Looking ahead, opening day audiences gave Rings a “C-” CinemaScore. The audience was 46% male vs. 54% female of which 67% were under the age of 25. At this point it might be a struggle for this one to climb much higher than $27 million, similar to how last year’s Blair Witch could only manage a 2.16x multiplier after opening with $9.57 million.
Universal’s A Dog’s Purpose finished third, dropping 41% from its opening weekend with an estimated $10.8 million. This result comes on the heels of news that an investigation by the American Humane organization into alleged on set animal abuse found no injuries or cruelty took place. The report also states the 2015 video that was released online ahead of the film’s opening weekend was deliberately edited to mislead the public. The film’s domestic cume now stands at $32.9 million, but there is no telling what kind of effect the pre-release controversy may have had on the feature.
In fourth, Hidden Figures continues its impressive run, bringing in an estimated $10 million this weekend as its cume is now just shy of $120 million domestically. Attempting to find satisfying comparisons for the film has not been easy given its initial limited release. That said, we put together a group of films that had similar release patterns and Hidden Figures continues to hold its own.
Rounding out the top five, La La Land finished its march through awards season as it brought in an estimated $7.45 million domestically as its cume is now just shy of $120 million. It also brought in an estimated $20.1 million internationally as its worldwide total has reached $268 million.
A little further down the list, the Weinstein’s Oscar contender, Lion expanded into 1,405 theaters (+830) and finished in eighth with an estimated $4 million as its cume now stands at $24.7 million.
Finishing ninth is the weekend’s other new wide release, STX’s The Space Between Us, which finished well below the $8-10 million, pre-release industry expectations with an estimated $3.8 million. The film received a bit of a critical drubbing as it scored a 33 on Metacritic and an 18% on Rotten Tomatoes. Opening day audiences didn’t quite agree with reviews, giving the film an “A-” CinemaScore. Of that audience 69% were female moviegoers vs. 31% male, of which 33% of the audience was under the age of 18.
In moderate release, Sony Classics opened The Comedian in 848 theaters where it brought in an estimated $1.12 million.
In limited release, Magnolia debuted Raoul Peck‘s well-reviewed documentary I am Not Your Negro into 43 theaters with the Film Forum and Film Society of Lincoln Center in New York on target to break house records for opening weekend gross as they have sold out every show this weekend. Magnolia is currently estimating a $709,500 opening for a $16,500 per screen average. Yet, that isn’t the per screen champion this weekend as Jamal Joseph‘s Chapter & Verse brought in an estimated $32,713 from one theater, Harlem’s MIST Theater. Looking ahead, both films will be expanding over the coming weeks.
Also in limited release, Mr. Gaga: A True Story of Love and Dance brought in an estimated $24,685 from two theaters ($12,343 PTA); Good Deed’s Growing Up Smith brought in an estimated $18,947 ($3,789 PTA); and Janus’ release of The Lure into one theater brought in an estimated $6,500.
To recap, Split slices again 1st, Rings scares in 2nd, A Dog’s Purpose is under investigation in 3rd, Hidden Figures moves down in 4rh, and La La Land stays put in 5th.
Last week, we said hello to Nick Burbank studios as Nick’s current shows are inside as we speak. The first Nicktoon from the studio Bunsen is a Beast was given a sneak peek before its official debut. 3 times were definitely the charm for creator Butch Hartman thanks to Fairly Odd Parents, Danny Phantom, and TUFF Puppy. Will a 4th time prove to be the charm for Bunsen Danny?
Danny Angelfish (via Animation World)- A beast and a human form an unlikely friendship in Nickelodeon’s newest animated series Bunsen is a Beast, premiering Tuesday, Feb. 21, at 5:30p.m. (ET/PT). Created and executive produced by Butch Hartman (The Fairly OddParents), the 20-episode series follows the adventures of Bunsen, the first beast to attend a human grade school, and his best friend Mikey. The series will air at 5:30 p.m. (ET/PT) through Friday, Feb. 24, and continue with premieres in its regular timeslot of Saturdays at 10:30 a.m. (ET/PT) on Nickelodeon. Bunsen is a Beast is produced by Nickelodeon in Burbank, which officially opened the doors to its newly expanded building — a more than 200,000 square-foot, state-of-the-art, sustainable complex on January 11.
Bunsen is a Beast tells the story of Bunsen and Mikey, two new friends who embark on endless fun and adventures in their town of Muckledunk. As the first beast ever to attend a middle school for human kids, Bunsen feels the pressure to succeed and prove to the world that monsters can live among humans…and they won’t eat everyone for lunch. With help from Mikey, Bunsen will learn how to accomplish human world tasks, like, doing homework, eating ice cream, and riding the bus. In turn, Mikey will learn to navigate the Beast World and meet all the weird and wonderful beasts that reside there.
In the series premiere, “Bearly Acceptable Behavior,” Amanda tries to get Bunsen kicked out of school when he brings a dangerous bear to class. Next during, “Beast Busters,” Bunsen and Mikey have to save Amanda from mischievous Sneeze Beasts that escape from Bunsen’s nose.
The Bunsen is a Beast voice cast includes: Jeremy Rowley (iCarly) as Bunsen, the first beast ever to attend a middle school for human kids; Ben Giroux (Henry Danger) as Mikey, a sweet and quirky kid and Bunsen’s best friend; Cristina Milizia (Monster High) as Darcy, Bunsen and Mikey’s homeschooled friend; Kari Wahlgren (The Fairly OddParents) as Amanda Killman, the rigid and rule bound beast hater; comedy legend Cheri Oteri (Saturday Night Live) as Miss Flap, Mikey and Bunsen’s eccentric teacher; Jeff Bennett (Jake and the Neverland Pirates) as Bunsen’s Dad; and Jennifer Hale (The Powerpuff Girls) as Bunsen’s Mom. Additionally, Wahlgren and Rowley also voice Mikey’s Mom and Dad.
If you thought Paramount and MGM had the worst time with the reboot of Ben-Hur, take a look at Sony Pictures. They suffered big time with Ghostbusters 2016 and most importantly, the 2014 hack attack. But of the good side, The Angry Birds Movie was spared from the write-down. With Sony’s movie schedule still intact, how many smackers did the studio lose altogether Dan?
Dan Barry (via Animation World)-Sony Corporation is taking a $1 billion write-down on its feature films business, according to a statement released by the company on Monday, with the Los Angeles Times writing that the move is “an extraordinary step for a major Hollywood player that highlights the deepening financial challenges facing the nearly century-old Culver City studio.”
According to a statement from Sony, “the impairment charge resulted from a downward revision in the future profitability projection for the Motion Pictures business within the Pictures segment.” The primary reason for the charge was “due to a lowering of previous expectations regarding the home entertainment business, mainly driven by an acceleration of market decline.”
The news sent Sony shares tumbling four percent Monday afternoon, according to a report by The Wrap and other sources, raising speculation about a possible sale of the studio. This newest development comes on the heels of the upcoming departure of Sony Entertainment CEO Michael Lynton announced earlier in January.
Sony features accounted for eight percent of U.S. and Canadian ticket sales in 2016, ranking fifth among major Hollywood studios, according to the Box Office Mojo website. This year, Sony will be releasing Spider-Man: Homecoming, which it is co-producing with Marvel Studios, the animated Smurfs: The Lost Village and a live-action version of Jumanji starring Dwayne Johnson.
The full press release is shown below:
Tokyo, January 30, 2017 – As a result of revising the future profitability projection for the Pictures segment, Sony Corporation recorded an impairment charge against the goodwill of the Pictures segment of 112.1 billion yen in the third quarter ended December 31, 2016. This non-cash impairment charge is included within operating income (loss). A majority of the goodwill that was impaired was originally recorded at the time of the acquisition of Columbia Pictures Entertainment, Inc. in 1989.
The impact on the consolidated results forecast for the fiscal year ending March 31, 2017 (April 1, 2016 to March 31, 2017) of this impairment and other factors is currently being evaluated and will be disclosed at the earnings announcement for the third quarter ended December 31, 2016 scheduled to be held on February 2, 2017.
The impairment charge resulted from a downward revision in the future profitability projection for the Motion Pictures business within the Pictures segment. The downward revision was primarily due to a lowering of previous expectations regarding the home entertainment business, mainly driven by an acceleration of market decline. Underlying profitability projections of film performance were also reduced, but the adverse impact of that reduction is expected to be largely mitigated by measures that have been identified to improve the profitability of the Motion Pictures business.
Profit in the Pictures segment overall is expected to grow due to measures currently being undertaken to improve the profitability of the Motion Pictures business and further expansion of the Television Productions and Media Networks businesses. The Pictures segment continues to be an important business of Sony.
Impairment Testing Process
Goodwill impairment tests are conducted for each reporting unit through the following two-step process. In the first step, an estimated fair value of the reporting unit is calculated and a determination is made as to whether that fair value exceeds the amount of net assets (carrying value) of the reporting unit, including its goodwill. If the estimated fair value of the reporting unit does not exceed the carrying value, a second step is conducted to determine the amount of goodwill impairment, if any. In the second step, each asset and liability in the reporting unit is valued as if the reporting unit were being acquired at the estimated fair value, and the implied fair value of the goodwill is then recalculated. If the implied fair value of the goodwill is below the carrying value of the goodwill, an impairment loss is recognized for the excess.
Background and Reason for the Impairment
The Pictures segment has two reporting units for goodwill: Production & Distribution (which includes the Motion Pictures and the Television Productions businesses) and Media Networks. As a part of its regular process of reviewing the future profitability projections of all of its business segments, in the third quarter ended December 31, 2016, Sony adopted a new profitability projection for the Pictures segment for the three fiscal years ending March 31, 2018 through March 31, 2020 which took into consideration the actual past results of the segment, changes in the operating environment and other factors. When step one was conducted using this new profitability projection, the estimated fair value of the Production & Distribution reporting unit was determined to be below its carrying value. This was because the future profitability projection was revised downward primarily for the reasons mentioned above.
Consequently, step two was conducted. Each asset and liability was valued as if the reporting unit were being acquired at the estimated fair value. The assets of Production & Distribution include capitalized film costs (including the value of the film library), intangible assets (including trade names and licensing agreements), and tangible assets (including land and buildings). In the revaluation, the fair value of these assets, among others, was determined to be above their carrying value. As a result, no portion of the fair value of the reporting unit was allocable to goodwill, and the carrying value of goodwill was determined to be zero. Consequently, the entire amount of the goodwill in Production & Distribution, 112.1 billion yen, was impaired, and an operating loss was recorded in the Pictures segment in the third quarter ended December 31, 2016. The fair value of the assets and liabilities calculated in step two is only used for the purpose of the goodwill impairment test process and is not reflected on the balance sheet of Sony and is not recognized as profit from an accounting perspective.
We visit Elmore this week as 5 new episodes of Gumball continue the exploits of the Watterson’s. After that, new episodes of Teen Titans Go, Clarence, Mighty Magiswords, and Steven Universe find the rest of the crew in new and decent situations.
We enter the love boat as February feels the love with more of last year’s biggest hits. Here’s some of your favorites you’ll enjoy this month:
- Almost Christmas
- Bad Kids of Crestview Academy
- Billy Lynn’s Long Halftime Walk
- American Pastoral
- The Eagle Huntress
- The 9th Life of Louis Drax
We’ll keep you locked on with more toon celeb news this month before we leap ahead in March. I hope we’ll find love and romance next time on Gene Scallop’s box office report.
S0uth Park creators Trey Parker and Matt Stone promise not to mock President Trump after negative reactions from the show’s fans
Backlash from South Park viewers cause the show to change plans for season 21. Gene Scallop here with this breaking news story. South Park suffered big trouble last night just as season 20 ended last year with Mr. Garrison posing as Donald Trump as president of the U.S. While the town dealt with the threat of Web Trolls, Garrison had to change his personality since PC Principal arrived. He was the elephant in the room behind Principal Victoria’s firing which changed South Park students lives forever.
Coinciding with the election, Garrison need a disguise to help him breeze through it easily, a disguise none other than Donald Trump. And the reason behind this, a pack of Member Berries, talking grapes that cause major throwbacks from culture’s past.
And you thought the show had made a mistake last season, it sure did folks. Stone and Parker wanted Hillary Clinton to win, but thanks to the Donald’s win, the show was to change the episode title. Now both creators say they want Garrison out of the picture for the upcoming season because of dismayed comments from South Park fans. What do they want in return for Parker and Stone Angie?
Angie Angelfish (via Dateline Hollywood)- You know we’re in a new world order when the new political reality is even too ridiculous for South Park to make fun of.
Season 20 of South Park reflected the political rise of Donald Trump via Trump-esque character Mr. Garrison. But the comedy became more challenging as the season went on.
“It’s really hard to make fun of and in the last season of South Park, which just ended a month-and-a-half ago, we were really trying to make fun of what was going on but we couldn’t keep up and what was actually happening was much funnier than anything we could come up with. So we decided to kind of back off and let them do their comedy and we’ll do ours,” said Parker.
“Yeah, let everyone in government do their comedy for a bit,” added Stone.
“People say to us all the time, “Oh, you guys are getting all this good material,” like we’re happy about some of the stuff that’s happening.” Stone continued.” ‘But I don’t know if that’s true. It doesn’t feel that way. It feels like they’re going to be more difficult. We’re having our head blown off, like everybody else.’
There likely will have to be some kind of follow, however. Last season ended with Trump satirical surrogate Mr. Garrison becoming President of the United States. Stay tuned.
We’ll see the reason what Parker and Stone have in mind when South Park season 21 premieres soon on Comedy Central. Until then, this is Gene Scallop saying so long from entertainment central and see if the show’s creators can make good on their promise.
Split dominates box office with 26 million, A Dog’s Purpose debuts 18 million after Dennis Quaid criticizes PETA boycott; Powerpuff Girls merchandise to debut in Great Britain; Zootopia nominated for best animated feature
Shyamalan triumphs again! Gene Scallop here for this week box office report. Split kept moviegoers at bay as it added 26 million smackers. There was trouble at Universal as A Dog Purpose, a man who changes dog breeds for as long as 50 years, founded itself with a snag. It was so bad the premiere had to be shelved. To make matters worse, a video surfaced which got PETA’s attention. Luckily, both Amblin and Universal did what was best for the flick and managed to show it anyway. Let’s see what else’s going on:
M. Night Shyamalan‘s Split dominated in its second weekend at the box office, dropping only 34% to take the #1 spot for a second weekend in a row. As a result, Universal held the #1 and #2 spots this weekend with Split and their release of Amblin and Walden Media’s A Dog’s Purpose, which topped the list of newcomers for a second place finish. Meanwhile, Screen Gems’s Resident Evil: The Final Chapter didn’t blow the doors off domestically, delivering the lowest domestic opening for any film in the franchise, but the combined worldwide gross for this latest installment pushed the global cume for the six-film franchise over the $1 billion mark worldwide*. Additionally, Oscar frontrunner La La Land jumped 43% after nominations earlier this weekend as its global total now tops $220 million and Hidden Figures climbs over $100 million domestically.
With an estimated $26.26 million, Universal’s Split delivered an impressive sophomore session, dropping a mere 34% and outperforming our weekend forecast by a wide margin for a second week in a row. Heading into the weekend we drew comparison to a selection of films that enjoyed similar opening weekends, three of which dropped over 63% in their second weekends and the other, The Grudge, dropped only 42%. Split bested them all as its domestic cume now climbs to just shy of $78 million after just ten days in release.
In terms of a comparison, looking at last year’s horror films, Don’t Breathe had the best second weekend performance, dropping 40%, but that was over the extended Labor Day weekend and second to that was The Shallows, which dropped 48%. The short of it is this is an outstanding performance for a film audiences are clearly enjoying and getting the word out and will deliver M. Night Shyamalan his fifth film to cross $100 million domestically, and his first since 2010’s The Last Airbender.
Internationally, Split brought in an estimated $14.8 million from 31 territories for an early international total of $23.7 million. This weekend included #1 openings in Germany and Spain with $2.6m and $2.1m debuts respectively. The film’s global cume currently stands at $101.7 million.
In second is Universal’s A Dog’s Purpose, which had to overcome some controversy in its opening weekend and ultimately delivered on expectation. The film premiered in 3,059 theaters and opened with an estimated $18.38 million. Opening day audiences liked what they saw and gave the film an “A” CinemaScore, which could help it push toward a $61 million domestic run.
A Dog’s Purpose played to an audience that was 56% female vs. 44% male, of which 53% of the audience were general moviegoers ages 13 and older. Additionally, 47% of the audience consisted of families with children under age 13 (32% of attendees) and their parents (15% of attendees). The opening weekend audience was 59% Caucasian, 22% Hispanic, 11% African American and 6% Asian.
Screen Gems’s Resident Evil: The Final Chapter wasn’t able to secure a spot in the top three in its opening weekend as Fox’s Hidden Figures narrowly edged it out with an estimated $14 million as it has now topped $100 million domestically on a $25 million budget. As for Resident Evil, the film delivered an estimated $13.85 million from 3,104 theaters, the smallest opening for any film in the franchise, a distinction previously held by the original 2002 film which opened with $17.7 million.
Final Chapter is the sixth film in the long-running franchise adapted from the video game of the same name and along with this latest film’s $64.5 million from 42 international markets its global cume stands at $78.35 million propelling the six film franchise above the $1 billion mark worldwide in collective box office receipts*. Looking ahead, the film received a “B” CinemaScore from opening day audiences, which is a slight improvement over recent installments, and it played to an audience that was 56% male vs 44% female, of which 45% were under the age of 25. All that said, it will likely finish its run somewhere around $35 million or so.
Rounding out the top five is this year’s front-runner at the Oscars, La La Land, which scored a record-tying 14 nominations on Tuesday and expanded its nationwide reach to 3,136 theaters (+1,271). The film brought in an estimated $12 million this weekend as its domestic cume now climbs to $106.5 million. Internationally, La La Land added an estimated $23.4 million in 73 markets for an international cume of $117 million through Sunday, pushing its global cume over $223 million.
Finishing in tenth position is the last of the weekend’s new wide releases, the Weinstein’s Gold starring Matthew McConaughey. The film debuted in 2,166 theaters and heading into the weekend wasn’t looking to make much of an impact and it ultimately delivered on that promise, opening with an estimated $3.47 million. The film scored a “B-” CinemaScore from opening day audiences and a domestic run at or just below $10 million seems likely.
Outside the top ten several Oscar-nominated features saw a bump this weekend as several expanded their nationwide reach, some for a second time. The release that saw the largest bump was Hacksaw Ridge, which was playing in 502 theaters (+377) and saw a 431% increase for a $415k weekend as its cume now stands at $65.9 million. Outside of La La Land, Paramount’s Arrival saw the largest expansion of the weekend as it played in 1,221 theaters (+1,041) and brought in an estimated $1.47 million as it continues to scratch and claw along, hoping to reach the century mark with a domestic cume that now stands at $97.3 million.
Tied with Arrival for the second largest number of Oscar nominations (8), A24’s Moonlight expanded to its widest screen count to date in its 15th week of release and grossed an estimated $1.5 million from 1,104 theaters as its cume now stands at $17.7 million.
Of the weekend’s new limited releases, Zee TV’s debut of Raees began on Wednesday and this weekend it brought in an estimated $1.85 million from 265 theaters as its cume stands at $2.4 million after five days in release. Lionsgate’s release of Pantelion’s Un Padre No Tan Padre brought in an estimated $1 million from 312 theaters; China Lion’s Buddies in India debuted with $190k from 55 theaters; Well Go’s Kung Fu Yoga opened with $112,300 from 14 theaters; and Cohen Media’s release of Asghar Farhadi‘s The Salesman into three theaters topped the weekend’s theater averages with an estimated $71,071, $23,690 per theater.
* It should be noted that while Sony is reporting the Resident Evil franchise has topped $1 billion globally BoxOfficeMojo currently only shows a $994.3 million worldwide total for the franchise. We have reached out to Sony for further clarification and have yet to hear back.
To recap, Split continues to spook 1st, A Dog’s Purpose leaps in 2nd, Hidden Figures stays at 3rd, Resident Evil 6 goes full circle in 4th, and La La Land continues dancing in 5th.
Last fall, we first reported that the Powerpuff Girls were prepared to gear up for their advertising journey. The girls made their first stop last week highlighting their toy line. Where did they end up first Danny?
Danny Angelfish (via Animation World)- The revival of Cartoon Network’s enduring original franchise The Powerpuff Girls made a spectacular debut on TV screens across EMEA in April 2016. Now, as London Toy Fair prepares to open its doors, Cartoon Network details the U.K. launch plans for the new The Powerpuff Girls range from global toy partner, Spin Master.
Kicking off the U.K. merchandise roll-out, Saturday, January 21st saw the debut of Spin Master’s innovative toy range with Argos launching the first SKUs, including the Storymaker playset and plush through their catalogue and online. The launch is being supported by a heavy-weight TV and digital campaign.
Hot on the heels of the Argos launch, The Entertainer is also currently ramping to introduce the toy range to its stores and online on the 26th January. The Entertainer will proactively back the launch with a comprehensive marketing campaign including “The Powerpuff Girls Super Saturdays” initiative that will see stores filled with branded activities, exclusive discounts and competitions for four consecutive weeks. To drive consumer footfall to stores, the promotion will be supported by tagging in TV advertising, online activities and competitions.
“I think it’s fair to say that The Powerpuff Girls is well and truly back in action! Performance figures demonstrate that the show is striking a chord with girls (and mums) across the UK and we’re seeing interest in the brand surge thanks to the increased exposure that the recent free-to-air broadcast launch has generated,” commented Johanne Broadfield, VP, Cartoon Network Enterprises EMEA. “With retailers proactively backing the brand, it’s looking promising that we’re going to make big waves in the girls’ market and successfully extend the power of PPG off-screen.”
Following the debut of the toy range, a robust line-up of fashion, accessories, gifting, home wares, personal care, FMCG and back-to-school products will also begin hitting shelves from spring 2017.
The Powerpuff Girls is delivering consistently strong ratings and, since its launch, 38 million people have tuned in to watch the adventures of Blossom, Bubbles and Buttercup on Cartoon Network across EMEA. What’s more, in Q4 2016 The Powerpuff Girls was the #1 commercial kids’ show for girls 4-9 in the UK following its launch on free-to-air channel CITV.
Following the debut of the toy range, a robust line-up of fashion, accessories, gifting, homewares, personal care, FMCG and back-to-school products will also begin hitting shelves from spring 2017.
Following the debut of the toy range, a robust line-up of fashion, accessories, gifting, homewares, personal care, FMCG and back-to-school products will also begin hitting shelves from spring 2017.
The Powerpuff Girls is delivering consistently strong ratings and, since its launch, 38 million people have tuned in to watch the adventures of Blossom, Bubbles and Buttercup on Cartoon Network across EMEA. What’s more, in Q4 2016 The Powerpuff Girls was the #1 commercial kids’
Fresh off its Golden Globe win, Disney’s Zootopia is gunning for another win at the Oscars for best animated flick. But a big surprise might derail that chance. Let’s check out what the flick’s up against Dan.
Dan Barry (via Animation World)- LOS ANGELES – Academy President Cheryl Boone Isaacs, joined by Oscar-winning and nominated Academy members Demian Bichir, Dustin Lance Black, Glenn Close, Guillermo del Toro, Marcia Gay Harden, Terrence Howard, Jennifer Hudson, Brie Larson, Jason Reitman, Gabourey Sidibe and Ken Watanabe, announced the 89th Academy Awards nominations today.
Nominees for Best Animated Feature are Kubo and the Two Strings, directed by Travis Knight and produced by Arianne Sutner, Moana, directed by John Musker and Ron Clements and produced by Osnat Shurer, My Life as a Zucchini, directed by Claude Barras and produced by Max Karli, The Red Turtle, directed by Michael Dudok de Wit and produced by Toshio Suzuki, and Zootopia, directed by Byron Howard and Rich Moore and produced by Clark Spencer.
Nominees for short animation are Blind Vaysha by Theodore Ushev, Borrowed Time by Andrew Coats and Lou Hamou-Lhadj, Pear Cider and Cigarettes by Robert Valley and Cara Speller, Pearl by Patrick Osborne and Piper by Alan Barillaro and Marc Sondheimer.
On the visual effects side, nominees are Deepwater Horizon (Craig Hammack, Jason Snell, Jason Billington and Burt Dalton), Doctor Strange (Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould), The Jungle Book (Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon), Kubo and the Two Strings (Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff) and Rogue One: A Star Wars Story (John Knoll, Mohen Leo, Hal Hickel and Neil Corbould).
On the visual effects side, nominees are Deepwater Horizon (Craig Hammack, Jason Snell, Jason Billington and Burt Dalton), Doctor Strange (Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould), The Jungle Book (Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon), Kubo and the Two Strings (Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff) and Rogue One: A Star Wars Story (John Knoll, Mohen Leo, Hal Hickel and Neil Corbould).
Congratulations to all the nominees!
See the full list of nominations for the 89th Academy Awards below:
Performance by an actor in a leading role
Casey Affleck in Manchester by the Sea
Andrew Garfield in Hacksaw Ridge
Ryan Gosling in La La Land
Viggo Mortensen in Captain Fantastic
Denzel Washington in Fences
Performance by an actor in a supporting role
Mahershala Ali in Moonlight
Jeff Bridges in Hell or High Water
Lucas Hedges in Manchester by the Sea
Dev Patel in Lion
Michael Shannon in Nocturnal Animals.
Be sure to see who wins at the Oscars on Sunday February 28th.
- On TV this week, catch the newest episodes of Power Rangers Ninja Steel and Regal Academy on Nick. On CN this week, catch the new episode of Teen Titans Go!
January comes to the end of the line as we’re currently in Super Bowl week. This is Gene Scallop saying so long in February on Gene Scallop’s box office report!
Split scares box office with 40 million; Nick opens Burbank studio to expand animation boards with their current and new shows; Zoe Saldana joins cast for the My Little Pony movie
M. Night Shyamalan strikes again with another scary flick. Gene Scallop here for this week’s box office report. The master of terror once again brought out his newest scary hit Split. The flick scored 40 million smackers just as Xander Cage returned in XXX3: The Return of Xander Cage, 12 years after XXX: State of the Union. Let’s see how they both match up this week:
M. Night Shyamalan has delivered a second hit in a row as his latest film, Split, is estimated to have delivered a top five January opening, leading the weekend charge with a three-day opening four times as big as its reported $10 million budget. Meanwhile, Paramount’s xXx: The Return of Xander Cage delivered as expected while the Weinstein’s The Founder scored a top ten finish. Additionally, Disney’s Rogue One: A Star Wars Story has become the 28th film to top $1 billion worldwide.
With an estimated $40.18 million, Split is currently the fourth largest January opening of all-time, just ahead of 2008’s Cloverfield, which debuted with $40 million and went on to gross $80 million domestically. This is also a dramatic improvement over Shyamalan’s well-received 2015 thriller The Visit, which opened with $25.4 million and went on to gross over $65 million. Should Split be able to pull off a 2.5x multiplier we’d be looking at Shyamalan’s first $100 million domestic earner since The Last Airbender brought in $131.7 million back in 2010.
Split received a “B+” Cinema Score from opening day audiences, of which 52% were female vs. 48% male and 52% were under the age of 25. Additionally, 50% of the opening weekend audience was Caucasian, 23% Hispanic, 19% African American and 5% Asian.
Internationally, Split debuted in 20 overseas markets and brought in an estimated $5.8 million. This includes an estimated $3.1 million from the UK and Ireland. Split will continue to roll out in over 40 more markets over the next few months including openings in Austria, Croatia, Denmark, Germany, Greece, Italy, Romania, Spain, German-Switzerland, Australia, Pakistan and Paraguay next weekend.
In second is Paramount’s release of xXx: The Return of Xander Cage, which brought in an estimated $20 million from 3,651 theaters. The film also brought in an estimated $50.5 million internationally this weekend, finishing #1 in 32 of the 53 markets it opened in for an estimated $70.5 million worldwide debut. Of that international opening, $7.3 million came from India (including previews) followed by Russia ($5.5m), France ($3.1m), Germany ($2.8m), Mexico ($2.8m), Australia ($2.3m), Brazil ($2.2m) and the UAE ($1.9m). The film still has 21 international markets in which it will open including South Korea on February 9, China on Feb 10 and Japan on Feb 24.
In third is Fox’s breakout release of Hidden Figures, which brought in an estimated $16.25 million as its domestic cume is now just shy of $85 million.
Rounding out the top five, Lionsgate’s La La Land brought in an estimated $8.35 million from 1,865 theaters as its domestic cume nears $90 million ahead of next weekend’s Oscar nominations, following which it will expand into even more theaters nationwide. The film also brought in an estimated $16.6 million from 57 international markets, lifting its international cume to $83.7 million for a worldwide total over $173 million.
Finishing just outside the top five is Disney’s release of Rogue One: A Star Wars Story, which brought in an estimated $7 million this weekend as its domestic cume climbs to $512.2 million plus an additional $9 million internationally. This brings the film’s international gross to $499.1 million for a worldwide gross over $1 billion, making Rogue One the 28th film to have ever grossed over $1 billion worldwide and Disney’s fourth 2016 release to cross the milestone.
Inching into the top ten is The Weinstein Co.’s release of The Founder, which premiered in 1,115 theaters and brought in an estimated $3.75 million for a ninth place finish. Additionally, A24’s expanded release of 20th Century Women into 650 theaters (+621) brought in an estimated $1.4 million as its cume now stands at $2.3 million.
Speaking of expansions, after Martin Scorsese‘s Silence added 696 theaters last weekend and managed $1.98 million from 747 locations, Paramount added another 833 theaters this weekend and things didn’t get much better. From 1,580 locations, Silence brought in a mere $1.15 million as the film’s domestic gross has so far limped over $5 million.
The last of the weekend’s new wide releases is High Top’s faith-based feature The Resurrection of Gavin Stone, which the studio was hoping would bring in $3 million this weekend from 887 theaters, but it could only muster $1.35 million. This is on par with last year’s Hillsong – Let Hope Rise, which went on to gross $2.39 million domestically.
In limited release, Sony Classics debuted The Red Turtle in three theaters where it brought in an estimated $21,811.
Next weekend sees the release of Gold from The Weinstein Co., Screen Gems will debut Resident Evil: The Final Chapter and Universal will be releasing A Dog’s Purpose, which has had its own share of controversy lately and how that will affect its opening weekend is yet to be seen. Additionally, Pantelion will release Un Padre No Tan Padre into ~300 theaters.
To recap, Split sees multiple personalities 1st, XXX3 fights again in 2nd, Hidden Figures moves 3rd, while Sing and La La Land stay put in 4th and 5th.
2 weeks ago, Nick officially opened its new animation studio in Burbank after being in a temporary studio since 2004 after first leaving the city back in 1998. The network’s shows including the new Nicktoon Bunsen is a Beast, will he housed inside as animators across the board continue working on their newest ideas and projects this year. We took a first glimpse of the new studio just after it opened. Perch Perkins was on the scene as the Burbank studio was open for business.
Perch Perkins (via ToonZone)- Burbank California has been Nickelodeon’s West Coast headquarters since 1998 and has only grown in that time. Their original 72,000 square-foot studio was insufficient to house all their productions, and they have now expanded into a new building. The new state-of-the-art is over 200,000 square feet, serving over 700 employees hard at work on over 20 show productions. The ribbon cutting ceremony of the new facility took place on January 11, 2017, and Nickelodeon opened its doors to members of the press for a guided tour followed by the ribbon cutting ceremony.
The press gathered in a newly created art gallery. A multipurpose room for various events, the room was filled with works of over 50 artists. The displays rotate monthly and serve to advertise new shows and talent. Outside, a 23,000 square foot courtyard connects the new building to the old one. A new reception area stands beside a Zen Garden with a 400 pound statue of Stimpy as a Buddha in a tranquil pose. Although the courtyard was set up for the event, it will have stone benches etched with quotes and sketches, wire character sculptures, and flagpoles that will fly banners of current live-action and animated shows in production.
Each the building’s five floors has its own color. With all this new space, Nickelodeon was able to centralize more of their productions, moving Teenage Mutant Ninja Turtles and Hey Arnold!: The Jungle Movie to Burbank. The building’s ground floor contains the archive library. Nearly 40 years of Nickelodeon history lives there, from original sketches and storyboards to Marvel’s Ren & Stimpy comic books from the 90’s to old copies of Nickelodeon magazine.
With executive offices on the fifth floor, we went up to see the work space on the fourth floor. Each floor is an open space working gallery. There are no corner offices. Instead, the corners have a community space/lounge areas themed with different Nickelodeon shows. A Butch Hartman-themed lounge area has artwork from such shows as Fairly OddParents and Danny Phantom with seating, a TV, and video games. White board walls and chalk board walls for doodling line the halls, and every floor has a main conference room and a pantry.
The tour stopped at one of two Maker’s Rooms. David Steinberg, SVP of Production for Nick Animation, showed us inside the more traditional maker’s room, which he called a creative sandbox for artists to work on new ideas and create pitches for Nickelodeon using paper and pencil along with paints and pastels. The other maker’s room is more technology oriented, containing a digital lab and animation software.
We got to pop our heads into the office of Chris Savino, currently working on The Loud House. Savino began at Nick in 1991 with Ren & Stimpy and loves his new work space. To him, the best part of the new building is having the dry erase walls and chalk boards. Although they are making cartoons, being able to draw on the wall for themselves is kind of a break in and of itself and a form of expression. According to Savino, the old building was oddly compartmentalized, and now he can wander out into the space and run into people on different shows that he wouldn’t interact with before.
Although we didn’t get to see everything, we passed an 88-seat screening room with an Old Hollywood meets today design. The building also has three voiceover studios, a fitness room, and space for playing musical instruments and video games. The final stop on the tour was a Nickelodeon VR experience. The goal of the folks who work in alternative animation is to reach audiences through new platforms. We got to step into Slime Zone, a social VR experience that allows users to pick an avatar of a Nickelodeon character and wander around a virtual space, play games, watch cartoons and, of course, shoot slime at each other.
You can enter a café called Hoek & Stimpson Coffee Co. through the splat at the end of a giant Nick marquis. In front of this is where the ribbon cutting ceremony took place. The event was kicked off by SpongeBob SquarePants himself, Tom Kenny, along with Bill Fagerbakke, the voice of Patrick. They greeted everyone and then introduced Jess Talamantes, the Mayor of Burbank. Talamantes presented Nickelodeon with a certificate of recognition and thanked them for choosing Burbank as their home and creating more jobs. Next at the podium was Cyma Zarghami, President of the Nickelodeon Group, who has been with the company for 31 years and was there when the Burbank studio opened in 1998. She thanked everyone involved and called it a symbol of Nickelodeon’s achievements, saying “Our mission is to make the world a more playful place.” Zarghami then introduced Shari Redstone, Vice Chair of the Board, who says it’s easy to be enthusiastic because they have a great team and a great company. Kenny, Fagerbakke, and other Nickelodeon stars from the shows Game Shakers and The Thundermans held out a green ribbon with orange Nickelodeon lettering for Zarghami to cut to the roaring applause of everyone in attendance.
We’ll bring you the news from Nick Burbank just as soon as everything gets situated.
Last year, Hasbro officially unveiled the newest title in the MLP franchise, My Little Pony: The Movie. The upcoming flick takes place during season 7 up towards season 8. Just like the company’s previous generation in the 80’s, the franchise promised more surprises in store. In this generation, the Mane 6 face their biggest challenge ever. To do so, a current Galaxy guardian from Star-Lord’s squad has joined the 6 ponies on their quest. Who managed to join them Perch?
Perch Perkins (via ToonZone)- Actor Zoe Saldana has joined the cast of My Little Pony: The Movie, joining the original “Mane 6” actors Andrea Libman, Tara Strong, Ashleigh Ball, Tabitha St. Germain and Cathy Weseluck, and celebrity actors Kristin Chenoweth, Emily Blunt, Taye Diggs, Liev Schreiber, Sia, Uzo Aduba, and Michael Peña. In addition to her credits in nerd-franchise favorites Guardians of the Galaxy and Star Trek, Ms. Saldana also provided the voice for Maria in The Book of Life. The official logo for the movie was also released, with the original cast of My Little Pony: Friendship is Magic taking center stage.
We’ll bring you the plot of the flick just as soon as we get it.
On TV this week, Cartoon Network originals are back in business as the heroes for hire continue on their quest to find rare monsters and more Magiswords, but this week belongs to Jake and Finn as they both venture into 5 new episodes of Adventure Time. Then, catch up with the Magisword heroes on this week’s Mighty Magiswords. And with Regular Show in the books, the Titans work double overtime with back-to-back episodes of Teen Titans Go on CN’s Friday night lineup. On Nick, It’s the newest episode of Regal Academy, followed closely by Power Rangers Ninja Steel.
We jump aboard the love boat in February as we start warming up after a brutal freeze. Not to worry folks, because love’s in the air with new episodes, which will warm your heart for sure! So long in February for this week’s box office report!
Hidden Figures performs triumphantly with 30 million going towards MLK weekend, Star Wars: Rogue One tops 500 million; Disney announces 2017 animation schedule; Zootopia wins best animated feature at the Golden Globes
The women innovators behind the Apollo missions pass with flying colors. Gene Scallop here in this MLK weekend edition of Gene Scallop’s box office report. Last time we left, Star Wars: Rogue One and Hidden Figures were neck and neck until Hidden Figures blasted off to their best performance earning 30 million smackers after knocking off Rogue One off the top spot. Standing in their way was Paramount and Nick new flick Monster Trucks which was delayed after the studio made room for the green machine’s comeback in TMNT 2: Rise from the Shadows and Transformers: The Last Knight, while Lionsgate was busy with their new flick Patriot’s Day, the event behind the Boston Bombing. And let me tell you folks, it wasn’t the best performance these 2 flicks had wanted:
It wasn’t necessarily an exciting Martin Luther King weekend, though it is rather astonishing to see how poorly all but one of the weekend’s new and expanding wide releases performed. The weekend’s successes find Hidden Figures leading the way for a second weekend, followed by Golden Globe juggernaut La La Land while it was STX’s The Bye Bye Man that over performed against tracking and delivered the best new opening among the weekend’s new and expanding releases, more than doubling the film’s production budget over the four-day weekend.
At #1 for a second weekend in a row, Fox’s Hidden Figures delivered an estimated $20.4 million for the three-day and is expected to finish over $25 million for the holiday weekend as its domestic cume will near $60 million by end of day Monday.
Finishing in second for the three-day is Lionsgate’s La La Land, delivering an impressive $14.5 million for the three-day (+43.1%) from 1,848 theaters (+333), including 148 IMAX theaters, and expected to top $17 million for the four-day weekend as its domestic cume nears $80 million. Additionally, the film scored an estimated $17.8 million internationally which includes its opening weekend in the UK with $7.3 million and a #1 finish. The film’s international cume has now reached $54.8 million as its worldwide gross climbs to over $130 million through Monday. La La Land will next hit theaters in Brazil on the 19th followed by France, Italy, Belgium and Sweden the following week. Domestically the next major expansion is expected to be the weekend after next, following the Oscar nominations.
The first of the weekend’s new releases finds STX’s The Bye Bye Man with a fifth place finish for the three-day as it took advantage of its Friday the 13th release date. The PG-13 chiller outperformed expectations, delivering an estimated $13.38 million over the three-day weekend and is expected to top $15 million for the four-day, which would more than double the film’s $7.4 million production budget. Internationally the film debuted in eleven markets and brought in an estimated $1.3 million including a seventh place opening in the UK with an estimated $700k. The film will debut in Brazil on February 9 followed by releases in Mexico (March 17), Italy (April 19), Germany (April 20) and Spain (May 5).
Looking ahead domestically, STX has proven to be powerful marketers when it comes to low budget horror following The Gift and The Boy. Should Bye Bye Man follow suit it would be looking to top $40 million for its domestic run. Of course, The Forest debuted last January with $12.7 million and only went on to gross $26.5 million. Bye Bye‘s “C” CinemaScore matches that of The Forest (rather than the “B” range for both The Gift and The Boy) leading us to believe the film’s overall run is likely to settle around $34 million. Bye Bye Man‘s opening weekend demographics showed the film playing to an audience that was 61% female with 75% of the overall audience coming in under the age of 25.
Next we come to Patriots Day, which fell well short of both industry and Mojo’s weekend expectations as it grossed an estimated $12 million for the three-day weekend in its expansion into 3,120 theaters following a three-week limited run in seven theaters. The film is expected to gross just over $14 million for the four-day as its inability to reach the $20 million four-day many anticipated is most likely due to it not quite catching on as well as expected in middle America. The question now is just how good its legs will be as it did score an “A” CinemaScore during its limited run and an “A+” during its national breakout this weekend. At this time comparisons are being made to Hacksaw Ridge and 13 Hours, which would mean the difference between an overall run over $50 or around $40 million respectively. At this time a run ending around $43 million seems about right.
Paramount’s release of Monster Trucks opened with an estimated $10.5 million for the three-day and is expected to gross just over $14 million for the four-day weekend. The film cost a reported $125 million and caused parent company Viacom to take a $115 million write-down last year. The film did manage to score an “A” CinemaScore from opening day audiences of which 60% was under 25 and gave the film an “A+”. The opening weekend’s audience was 47% female vs. 53% male and, if it’s lucky, it might be able to eek out a $35-40 million domestic run.
Internationally, Monster Trucks has opened in 17 overseas markets so far and brought in an estimated $4 million this weekend bringing its international gross to $14.7 million.
Finishing in eighth position is Open Road’s corrupt cop thriller Sleepless, which opened with an estimated $8.46 million for the three-day and is expected to gross just over $10 million for the four-day weekend. The film scored a “B+” CinemaScore and could be looking at a run around $26 million.
Missing the top ten and delivering truly disastrous results is Ben Affleck‘s Live by Night, which brought in an estimated $5.4 million as it expanded into 2,822 theaters after playing in only four theaters since Christmas Day. The film also debuted internationally this weekend in 25 territories where it brought in an estimated $3.3 million including $873,000 from the UK, $720k from Russia and a $265k opening in Taiwan. The film will open this Wednesday in France followed by releases in Australia (Jan 26), Spain (Jan 27) and Germany (Feb 2).
Also expanding this weekend was Martin Scorsese‘s Silence, playing in 747 theaters (+696) and brought in an estimated $1.9 million for the three-day and is expected to finish around $2.3 million for the four-day weekend.
Finally, this weekend saw Rogue One: A Star Wars Story become the #1 release of 2016 with an estimated $13.8 million for the three-day which will climb to over $17 million by Monday, at which time it will become the only 2016 release to top $500 million domestically and only the seventh film of all-time to reach that mark.
Next weekend will see the return of Vin Diesel as the title character in Paramount’s xXx: The Return of Xander Cage and M. Night Shyamalan‘s Split, both debuting in ~3,000 theaters along with The Weinstein Co.’s The Founder and High Top’s The Resurrection of Gavin Stone, both opening in over 1,000 theaters. Additionally A24 will expand 20th Century Women nationwide while releasing Trespass Against Us into limited theaters.
To recap as we continue towards MLK weekend, Hidden Figures zooms past 1st, Golden Globe winner La La Land dances in 2nd, Sing stays singing in 3rd, Star Wars: Rogue One moves 4th, and The Bye Bye Man terrorizes in 5th.
As we reported last week, Disney notched up 7 billion smackers which help move the box office with 11.4 million smackers capping off a successful 2016 thanks to Captain America: Civil War, Zootopia, Finding Dory, and the live-action edition of The Jungle Book. The house mouse also previewed Disney/Pixar’s Coco and Cars 3. And with this coincidence, these 2 flicks got the peek through it wanted as well as other surprises in store. How many flicks is Disney readying this year Danny?
Danny Angelfish (via Animation World)- On Thursday the Walt Disney Studios presented its full slate of new Disney movies hitting theaters in 2017, with an overview of all the upcoming movie release dates and synopses. 2017 will be filled with live-action fairytales like Beauty and the Beast, trips back to the universe of Cars and plenty of Marvel superheroes:
Beauty and the Beast – March 17
The story and characters audiences know and love come to spectacular life in the live-action adaptation of Disney’s animated classic Beauty and the Beast, a stunning, cinematic event celebrating one of the most beloved tales ever told. Beauty and the Beast is the fantastic journey of Belle, a bright, beautiful and independent young woman who is taken prisoner by a Beast in his castle. Despite her fears, she befriends the castle’s enchanted staff and learns to look beyond the Beast’s hideous exterior and realize the kind heart of the true Prince within.
The film stars Emma Watson as Belle and Dan Stevens as the Beast. Luke Evans stars as Gaston, the handsome, but shallow villager who woos Belle; Oscar winner Kevin Kline as Maurice, Belle’s eccentric, but lovable father; Josh Gad as Lefou, Gaston’s long-suffering aide-de-camp; Golden Globe nominee Ewan McGregor as Lumiere, the candelabra; Oscar nominee Stanley Tucci as Maestro Cadenza, the harpsichord; Oscar nominee Ian McKellen as Cogsworth, the mantel clock; and two-time Academy Award winner Emma Thompson as the teapot, Mrs. Potts. Directed by Oscar winner Bill Condon based on the 1991 animated film, Beauty and the Beast is produced by Mandeville Films’ David Hoberman and Todd Lieberman, with eight-time Oscar-winning composer Alan Menken, who won two Academy Awards (Best Original Score and Best Song) for the 1991 animated film, providing the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three-time Oscar winner Tim Rice.
Disney Nature: Born In China – April 21
Disneynature’s new True Life Adventure film Born In China takes an epic journey into the wilds of China where few people have ever ventured. Following the stories of three animal families, the film transports audiences to some of the most extreme environments on Earth to witness some of the most intimate moments ever captured in a nature film. A doting panda bear mother guides her growing baby as she begins to explore and seek independence. A two-year-old golden monkey who feels displaced by his new baby sister joins up with a group of free-spirited outcasts. And a mother snow leopard — an elusive animal rarely caught on camera — faces the very real drama of raising her two cubs in one of the harshest and most unforgiving environments on the planet. Featuring stunning, never-before-seen imagery, the film navigates China’s vast terrain — from the frigid mountains to the heart of the bamboo forest — on the wings of red-crowned cranes, seamlessly tying the extraordinary tales together.
Opening in U.S. theaters on Earth Day 2017, Born in China is directed by accomplished Chinese filmmaker Lu Chuan, and produced by Disney’s Roy Conli and renowned filmmakers Brian Leith and Phil Chapman.
Guardians of the Galaxy Vol. 2 – May 5
Set to the all-new sonic backdrop of Awesome Mixtape #2, Marvel’s Guardians of the Galaxy Vol. 2 continues the team’s adventures as they traverse the outer reaches of the cosmos. The Guardians must fight to keep their newfound family together as they unravel the mystery of Peter Quill’s true parentage. Old foes become new allies and fan-favorite characters from the classic comics will come to our heroes’ aid as the Marvel Cinematic Universe continues to expand.
Marvel’s Guardians of the Galaxy Vol. 2 is directed by James Gunn and stars Chris Pratt, Zoe Saldana, Dave Bautista, featuring Vin Diesel as Groot, Bradley Cooper as Rocket, Michael Rooker, Karen Gillan, Pom Klementieff, Elizabeth Debicki, Chris Sullivan, Sean Gunn, Tommy Flanagan, Laura Haddock and Kurt Russell. Kevin Feige is producing, and Louis D’Esposito, Jonathan Schwartz, Victoria Alonso, Nik Korda and Stan Lee are the executive producers. The screenplay is by James Gunn.
Pirates of the Caribbean: Dead Men Tell No Tales – May 26
Johnny Depp returns to the big screen as the iconic, swashbuckling anti-hero Jack Sparrow in the all-new Pirates of the Caribbean: Dead Men Tell No Tales. The rip-roaring adventure finds down-on-his-luck Captain Jack feeling the winds of ill-fortune blowing strongly his way when deadly ghost sailors, led by the terrifying Captain Salazar (Javier Bardem), escape from the Devil’s Triangle bent on killing every pirate at sea — notably Jack. Jack’s only hope of survival lies in the legendary Trident of Poseidon, but to find it he must forge an uneasy alliance with Carina Smyth (Kaya Scodelario), a brilliant and beautiful astronomer, and Henry (Brenton Thwaites), a headstrong young sailor in the Royal Navy. At the helm of the Dying Gull, his pitifully small and shabby ship, Captain Jack seeks not only to reverse his recent spate of ill fortune, but to save his very life from the most formidable and malicious foe he has ever faced.
Pirates of the Caribbean: Dead Men Tell No Tales also stars Kevin R. McNally as Joshamee Gibbs, Golshifteh Farahani as the sea-witch Shansa, Stephen Graham as Scrum, David Wenham as Scarfield and Geoffrey Rush as Captain Hector Barbossa.
Espen Sandberg & Joachim Rønning are directing Pirates of the Caribbean: Dead Men Tell No Tales with Jerry Bruckheimer producing. The executive producers are Mike Stenson, Chad Oman, Joe Caracciolo, Jr. and Brigham Taylor. Jeff Nathanson wrote the screenplay. Pirates of the Caribbean: Dead Men Tell No Tales drops anchor in U.S. theaters on May 26, 2017.
Cars 3 – June 16
Blindsided by a new generation of blazing-fast racers, the legendary Lightning McQueen (voice of Owen Wilson) is suddenly pushed out of the sport he loves.
To get back in the game, he will need the help of an eager young race technician, Cruz Ramirez, with her own plan to win, plus inspiration from the late Fabulous Hudson Hornet and a few unexpected turns. Proving that #95 isn’t through yet will test the heart of a champion on Piston Cup Racing’s biggest stage!
Cars 3 is directed by Brian Fee (storyboard artist Cars, Cars 2) and produced by Kevin Reher (A Bug’s Life, La Luna short).
Thor: Ragnarok – November 3
In Marvel Studios’ Thor: Ragnarok, Thor is imprisoned on the other side of the universe without his mighty hammer and finds himself in a race against time to get back to Asgard to stop Ragnarok — the destruction of his homeworld and the end of Asgardian civilization — at the hands of an all-powerful new threat, the ruthless Hela. But first he must survive a deadly gladiatorial contest that pits him against his former ally and fellow Avenger — the Incredible Hulk!
Thor: Ragnarok is directed by Taika Waititi and returns Chris Hemsworth starring as Thor and Tom Hiddleston reprising his role as Loki. They are joined by Cate Blanchett, Idris Elba, Jeff Goldblum, Tessa Thompson and Karl Urban, with Mark Ruffalo and Anthony Hopkins.
Coco – November 22
Despite his family’s baffling generations-old ban on music, Miguel (voice of newcomer Anthony Gonzalez) dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz (voice of Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector (voice of Gael García Bernal), and together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.
Star Wars: Episode VIII – December 15
Rey took her first steps into a larger world in Star Wars: The Force Awakens and will continue her epic journey with Finn, Poe, and Luke Skywalker in the next chapter of the continuing Star Wars saga, Star Wars: Episode VIII.
Disney’s Zootopia has been on a roll since the flick performed well in the box office last year. This year, it’s been on its winning ways as it received high marks from Globe voters last weekend. Did it perform well at the Golden Globes Dan?
Dan Barry (via Animation World)- The Hollywood Foreign Press Association’s Golden Globe Awards were held Sunday night in Beverly Hills, with Walt Disney Animation Studio’s Zootopia taking home the award for best animated feature film.
Directed by Byron Howard and Rich Moore, the CG-animated Zootopia beat out LAIKA’s Kubo and the Two Strings, fellow Disney feature Moana, Swiss director Claude Barras’s My Life as a Zucchini, Illumination Entertainment’s Sing, and DreamWorks Animation’s Trolls.
To date, Zootopia has won the New York Film Critics Circle Award for Best Animated Film and the Critics’ Choice Movie Award for Best Animated Feature, and was recently named Film of the Year by the American Film Institute. Zootopia has also been nominated for 11 Annie Awards, including for outstanding achievement in writing, editorial, production design, character design, character animation, animated effects, and best animated feature.
Nominations for the Academy Awards will be announced on Tuesday, January 24, and — as this year’s animated front-runner — it’s a safe bet that Zootopia will be included among the nominees.
The full list of nominations and winners of the 2017 Golden Globes is shown below:
Best supporting actor in a motion picture
- Mahershala Ali, Moonlight
- Jeff Bridges, Hell or High Water
- Simon Helberg, Florence Foster Jenkins
- Dev Patel, Lion
- WINNER: Aaron Taylor-Johnson, Nocturnal Animals
Best actor in a TV Series, drama
- Rami Malek, Mr. Robot
- Bob Odenkirk, Better Call Saul
- Matthew Rhys, The Americans
- Liev Schreiber, Ray Donovan
- WINNER: Billy Bob Thornton, Goliath
Best actress in a TV series, comedy
- Rachel Bloom, Crazy Ex-Girlfriend
- Julia Louis-Dreyfus, Veep
- Sarah Jessica Parker, Divorce
- Issa Rae, Insecure
- Gina Rodriguez, Jane the Virgin
- WINNER: Tracee Ellis Ross, Black-ish
Best TV series, comedy
- WINNER: Atlanta
- Mozart in the Jungle
Best actress in a limited series or TV movie
- Felicity Huffman, American Crime
- Riley Keough, The Girlfriend Experience
- WINNER: Sarah Paulson, The People v. O.J. Simpson
- Charlotte Rampling, London Spy
- Kerry Washington, Confirmation
Best TV movie or limited series
- American Crime
- The Dresser
- The Night Manager
- The Night Of
- WINNER: The People v. O.J. Simpson: American Crime Story
Best supporting actor in a series, limited series or TV movie
- Sterling K. Brown, The People v. O.J. Simpson: American Crime Story
- WINNER: Hugh Laurie, The Night Manager
- John Lithgow, The Crown
- Christian Slater, Mr. Robot
- John Travolta, The People v. O.J. Simpson: American Crime Story
Best original score, motion picture
- Nicholas Britell, Moonlight
- WINNER: Justin Hurwitz, La La Land
- Johann Johannsson, Arrival
- Dustin O’Halloran and Hauschka, Lion
- Hans Zimmer, Pharrell Williams and Benjamin Wallfisch, Hidden Figures
Best original song, motion picture
- “Can’t Stop the Feeling,” Trolls
- WINNER: “City of Stars,” La La Land
- “Faith,” Sing
- “Gold,” Gold
- “How Far I’ll Go,” Moana
Best supporting actress in a motion picture
- WINNER: Viola Davis, Fences
- Naomie Harris, Moonlight
- Nicole Kidman, Lion
- Octavia Spencer, Hidden Figures
- Michelle Williams, Manchester by the Sea
Best supporting actress in a series, limited series or TV movie
- WINNER: Olivia Colman, The Night Manager
- Lena Heady, Game of Thrones
- Chrissy Metz, This Is Us
- Mandy Moore, This Is Us
- Thandie Newton, Westworld
Best actor in a motion picture, musical or comedy
- Colin Farrell, The Lobster
- WINNER: Ryan Gosling, La La Land
- Hugh Grant, Florence Foster Jenkins
- Jonah Hill, War Dogs
- Ryan Reynolds, Deadpool
Best screenplay, motion picture
- Hell or High Water
- WINNER: La La Land
- Nocturnal Animals
- Manchester by the Sea
Best animated feature film
- Kubo and the Two Strings
- My Life as a Zucchini
- WINNER: Zootopia
Best motion picture, foreign language
- WINNER: Elle
- The Salesman
- Toni Erdmann
Best actor in a limited series or TV movie
- Riz Ahmed, The Night Of
- Bryan Cranston, All the Way
- WINNER: Tom Hiddleston, The Night Manager
- John Turturro, The Night Of
- Courtney B. Vance, The People v. O.J. Simpson
Best TV series, drama
- WINNER: The Crown
- Game of Thrones
- Stranger Things
- This Is Us
Best actress in a TV series, drama
- Caitriona Balfe, Outlander
- WINNER: Claire Foy, The Crown
- Keri Russell, The Americans
- Winona Ryder, Stranger Things
- Evan Rachel Wood, Westworld
Best director, motion picture
- WINNER: Damien Chazelle, La La Land
- Tom Ford, Nocturnal Animals
- Mel Gibson, Hacksaw Ridge
- Barry Jenkins, Moonlight
- Kenneth Lonergan, Manchester by the Sea
Best actor in a TV series, comedy
- Anthony Anderson, Black-ish
- Gael Garcia Bernal, Mozart in the Jungle
- WINNER: Donald Glover, Atlanta
- Nick Nolte, Graves
- Jeffrey Tambor, Transparent
Best actress in a motion picture, musical or comedy
- Annette Bening, 20th Century Women
- Lily Collins, Rules Don’t Apply
- Hailee Steinfeld, The Edge of Seventeen
- WINNER: Emma Stone, La La Land
- Meryl Streep, Florence Foster Jenkins
Best motion picture, musical or comedy
- 20th Century Women
- Florence Foster Jenkins
- WINNER: La La Land
- Sing Street
Best actor in a motion picture, drama
- WINNER: Casey Affleck, Manchester by the Sea
- Joel Edgerton, Loving
- Andrew Garfield, Hacksaw Ridge
- Viggo Mortensen, Captain Fantastic
- Denzel Washington, Fences
Best actress in a motion picture, drama
- Amy Adams, Arrival
- Jessica Chastain, Miss Sloane
- WINNER: Isabelle Huppert, Elle
- Ruth Negga, Loving
- Natalie Portman, Jackie
Best motion picture, drama
- Hacksaw Ridge
- Hell or High Water
- Manchester by the Sea
- WINNER: Moonlight
The combination of fun and adventure resumes tomorrow night as Cartoon Network determines the fate of the Park Boys in a epic final battle for the future of the universe in the epic season finale, A Regular Show Epic Final Battle part of the Regular Show in Space marathon. On Nick this week, catch the newest Nicktoon from Butch Hartman, Bunsen is a Beast, followed by the Nick original movie Rufus as well as the Nick movie sequel Rufus 2. And don’t miss Power Rangers Ninja Steel fighting alongside TMNT with brand new episodes. Its going to be a great week as we say so long on the next edition of Gene Scallop’s box office report.
The Park Boys reach full circle. Gene Scallop here with this breaking news story!
Last year, JG Quintel told us that this season would find Mordecai, Rigby, and the rest of the boys at the heavens of space. Since then, newer episodes have aired every Thursday in November to December to see what life’s like in space. As of next week, Quintel’s legacy with Regular Show comes to a close with the boys’ final mission. Come Monday night Dan, what are Mordecai and Rigby searching for as their friendship comes to an end?
Dan Barry (via Animation World)- After eight successful seasons, Cartoon Network’s Emmy Award-winning hit series Regular Show, from creator and executive producer JG Quintel, will conclude with an ultimate intergalactic battle of good versus evil this weekend.
Regular Show returns Saturday, January 14 with back-to-back episodes beginning at 12 p.m. (ET/PT) with “Kill ‘Em with Kindness,” leading into the hour-long, out-of-this-world series finale premiering Monday, January 16 at 6 p.m. (ET/PT).
In the episode “Kill ‘Em with Kindness,” Pops completes his training and begins to use his newfound strengths for good. Look for Freddy Kruger himself Robert Englund voicing Anti-Pops as he prepares his good counterpart to be friends with each other.
Here’s the schedule for the final episodes of Regular Show this weekend:
- Saturday, January 14: “Kill ’Em with Kindness” – Pops wants to be friends with someone.
- Saturday, January 14: “Meet the Seer” – The guys need to talk to someone smart.
- Monday, January 16: “Cheer Up Pops” – The guys want to cheer up Pops.
- Monday, January 16: “A Regular Show Epic Final Battle, Part 1” – An epic final battle begins.
- Monday, January 16: “A Regular Show Epic Final Battle, Part 2” – An epic final battle comes to its dramatic conclusion, and the fate of the universe is decided.
Remember folks, the 2-part season finale will determine the Park Boys’ fate including our favorites Mordecai and Rigby. Will their friendship end tragically or thanks in part to the Regular Show movie, can their friendship help the blue jay-raccoon duo protect their future?
The fate of the universe hangs in the balance as Cartoon Network prepares for battle starting this Saturday with the Regular Show in Space marathon! This is Gene Scallop wishing the Park Boys the best of luck this weekend.
Rogue One: A Star Wars Story gets a 21 million head start while Hidden Figures gains on them; Mireille Soria resigns from DreamWorks’ animation board; Disney hits 7 billion thanks to summer box office hits which boosted box office to a record 11.4 billion
The rebels gain the advantage! Gene Scallop here for this week’s box office report. After a long holiday break, the rebels continue on their mission to deliver the Death Star blueprints to the rebel alliance as Rogue One gets a head jumpstart with 21 million. As for Hidden Figures, which debuted last week, is a few smackers behind. With new flicks coming this week, let’s see if Rogue One can jump ahead:
Domestic weekend estimates are in, but the full story won’t be told until actuals arrive Monday afternoon as the top two films are within a mere fraction of one another as severe winter weather had a clear effect on this weekend’s grosses. For the time being Rogue One: A Star Wars Story holds the top spot over Fox’s expanded release of Hidden Figures by less than $200,000. The weekend’s lone new wide release, Screen Gems’s Underworld: Blood Wars, scored a fourth place finish while Focus’s expansion of A Monster Calls failed to generate much interest despite strong reviews and audience response, ultimately finishing outside the top ten.
Currently holding the #1 spot for the weekend is Disney’s Rogue One: A Star Wars Story, which dropped 55.7% and finished with an estimated $21.97 million as its domestic cume climbs to $477.2 million, placing it just $9 million behind Finding Dory as it is soon to become the highest grossing release of 2016.
In addition to its domestic gross, Rogue One added another $56.6 million internationally this weekend from 57 markets bringing its overseas total to $437.1 million for a global cume of $914.4 million. This places Rogue One ahead of Batman v Superman: Dawn of Justice and The Secret Life of Pets making it the fifth largest worldwide release of 2016, giving Walt Disney Studios the top five global releases for 2016.
Of that international haul this weekend, Rogue One opened in its last international territory this weekend, China, where it brought in an estimated $31 million for the three-day, only 61% of Star Wars: The Force Awakens‘ two-day opening weekend. Nevertheless it was the #1 film in China this weekend, pulling in an estimated 56% market share.
As for Rogue One‘s #1 finish, we’ll have to wait until actuals come in to see if it holds up as Rogue One‘s lead over current second place finisher, Hidden Figures, is a mere $172,000 and rival studios currently place Hidden Figures at #1.
Hidden Figures expanded nationwide this weekend into 2,471 theaters (+2,446) and finished with an impressive $21.8 million. One factor contributing to the questions surrounding not only its weekend gross, but the weekend gross for all films in release, is several theaters in New York, Philadelphia, Washington, Virginia and parts of the Deep South either closed early yesterday or shut down completely as a result of severe winter weather. Nevertheless, Hidden Figures is off to an excellent start and its future looks bright after receiving an “A+” CinemaScore from Friday audiences and a 5/5 from PostTrak. The films demographic breakdown as 64% female vs. 36% male with 56% of the audience coming in under the age of 35. Additionally, 43% of the audience was Caucasian, 37% African American and 13% Hispanic.
Finishing in third place and perhaps the film that looks to have been the most affected by the winter storm is Universal and Illumination’s Sing, bringing in an estimated $19.57 million. After Friday estimates it was looking like Sing could bring in as much as $25 million this weekend, which only means next weekend’s holds for the top three could make for a very good, extended Martin Luther King Jr. weekend. Sing‘s domestic cume currently stands at $213.3 million and with an additional $26.4 million coming in internationally this weekend its global cume is now $356.87 million.
In fourth we find Screen Gems’ Underworld: Blood Wars, which finished with an estimated $13.1 million domestically from 3,070 theaters. This is the lowest opening for any film in the Underworld franchise, including 2009’s Underworld: Rise of the Lycans. Yet, it did manage a “B+” CinemaScore and with the winter storm affecting the overall box office it could deliver a decent hold next weekend. The studio has yet to report international grosses for Blood Wars as of publication of this article.
Rounding out the top five is Lionsgate’s La La Land with an estimated $10 million as its domestic cume climbs to $51.6 million ahead of tonight’s Golden Globe Awards where it looks to take home a few top level awards in the Musical/Comedy division including Best Picture and Actress and Actor for its two leads, Emma Stone and Ryan Gosling. The film will continue to expand next weekend, including opening in select IMAX locations.
Finishing outside the top ten in its expansion weekend is Focus’ A Monster Calls, which expanded into 1,523 theaters and brought in an estimated $2 million. Commenting on the film’s performance, Lisa Bunnell, President Distribution for Focus said, “While we’re a little disappointed with the expansion this weekend, the CinemaScore (A), exit polls and reviews are all strong. There’s certainly a passionate audience that we hope can grow the film over the coming weeks. J.A. Bayona is one of the world’s most visionary filmmakers and has made an emotional, visually spectacular film with beautiful performances.”
Also expanding this weekend ahead of its nationwide expansion next weekend was Martin Scorsese‘s Silence, which played in 51 theaters (+47) and brought in an estimated $480,000 ($9,412 per theater). The film will be heading into approximately 750 theaters next weekend.
The second of next weekend’s wide expansions is Ben Affleck‘s Live by Night, which has had a tough go in limited release. The film has so far brought in just $170,000 from four theaters after 15 days in release and is looking to release in 2,700+ theaters next weekend. At this point we’ll be looking to 2013’s Gangster Squad and its $17 million January opening as a bar for comparison.
Finally, the last of next weekend’s expansions, and the one that seems to be making the most of its limited release, is Peter Berg‘s Patriots Day which has played in the same seven locations in New York, Los Angeles and Boston since its release 19 days ago and has so far amassed $870,414. It too was affected by the winter weather this weekend and as for next weekend it will be heading into ~2,900 theaters with early tracking suggesting a three-day performance anywhere from $15-20 million.
Otherwise, next weekend also features the wide release of STX’s horror feature The Bye Bye Man in ~2,300 theaters, Open Road’s Sleepless in ~2,000 theaters and Paramount’s Monster Trucks, which is already looking like the first bomb of the year after the studio took a $115 million write-down on the feature last September.
To recap, Rogue One is still hitting hard in 1st, Hidden Figures zooms close behind in 2nd, Sing is still singing after last week’s record breaking box office in 3rd, Underworld 5 hangs in as it comes full circle in 4th, and La La Land rebounds in 5th ahead of tonight’s Golden Globes.
DreamWorks was in deep trouble last year as 2015’s biggest flops forced the studio to take defensive measures. That’s when Mireille Soria and Bonnie Arnold stepped in and saved the animation board from sinking. Thanks to the success of Kung Fu Panda 3, the studio hooked Netflix to keep track of their shows such as All Hail King Julien, Peabody and Sherman, The Croods, Home with Tip and Oh, DreamWorks Dragons: Riders of Berk, Voltron: Legendary Defender, and new for 2017, Trollhunters. This week, Soria’s leaving as this year’s animation schedule finally comes in. But what of her co-pres. position Danny?
Danny Angelfish (via Animation World)-DreamWorks Animation exec Mireille Soria is stepping down from her post as co-president of the studio, according to a report by Variety. Bonnie Arnold, who shared the co-president title with Soria, will serve as president, while Soria will reportedly remain with DWA as a producer of the Madagascar franchise.
Soria and Arnold were named co-presidents of feature animation at DWA in January 2015, following the departure of Bill Damaschke as chief creative officer. In August 2016, in the wake of Comcast’s $3.8 billion DWA purchase, they were both named co-presidents of the studio.
Prior to stepping into her executive role at DreamWorks Animation, Soria produced Spirit: Stallion of the Cimarron, Sinbad: Legends of the Seven Seas, and 2005’s Madagascar and its various sequels and spinoffs for the studio. As an exec, she was involved in overseeing the upcoming 2017 releases The Boss Baby and Captain Underpants.
Universal Pictures chairman Donna Langley informed DWA staffers that Soria would be leaving her executive role to focus on producing in a memo distributed on December 12:
I am writing to let you know that Mireille has decided to return to focusing solely on producing and will be transitioning out of her executive role as Co-President as we wrap up both Boss Baby and Captain Underpants in the new year. Bonnie will remain President, with full oversight of development and production for the feature animation group.
As we are all fortunate to know firsthand, Mireille is an incredibly passionate and talented filmmaker who has contributed to the DreamWorks Animation legacy. She has shepherded a successful slate of films during her tenure at the studio, including the Madagascar franchise, of which she will continue to be involved as a producer.
I want to personally thank both Mireille and Bonnie for their guidance and stewardship during this time of transition. As we close out 2016, we are energized for the New Year and looking forward to accomplishing great things together in 2017.
DreamWorks Animation, which has seen nearly 400 layoffs following its acquisition by Comcast-owned NBCUniversal, announced in November that it would no longer be making The Croods 2. Earlier in December How To Train Your Dragon 3 was delayed to March 1, 2019, while Oriental DreamWorks feature Everest has been set for release on September 27, 2019.
In the meantime, DreamWorks Animation’s The Boss Baby is due for arrival from former distribution partner 20th Century Fox on March 31, 2017, followed by Captain Underpants on June 2. Universal will release Larrikins on February 16, 2018.
While we were busy with our holiday break, the box office was on a tear as it continued near a record breaker set last year. Thanks to the continued efforts of Rogue One and Sing, the box office officially broke through with 11.4 million smackers! But more importantly, Disney set the biggest record in studio history. As of December last year Dan, what’s the final tally?
Dan Barry (via Animation World)- On Monday The Walt Disney Studios became the first studio ever to reach the $7 billion threshold at the global box office, setting a new industry record. With a powerful $290 million global debut for Rogue One: A Star Wars Story, Disney’s year-to-date grosses are $6,988.3 million from Jan. 1 through Dec. 18, 2016, including $2,700.4 million domestically, also an industry record, and $4,287.9 million internationally, a Disney record.
These phenomenal box office results are driven by films from Disney, Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, and Lucasfilm, representing the first time that all five of these world-class brands have released films in the same calendar year.
“This historic achievement is possible because all of our film studios are bringing their absolute best to the table, telling great stories of all kinds that resonate with audiences across borders, gender, and generations,” said Alan Horn, Chairman, The Walt Disney Studios. “These films work because each one has not only something for everyone, but everything for someone. It’s our honor to be able to create these experiences for audiences, and we’re thankful to them for continuing to come out to the theater with us.”
Currently, Disney holds five of the top 10 films of the year globally, domestically, and internationally, including the top four global, with three topping $1 billion and a fourth over $960 million, as well as the top three international and the top two domestic. All 12 Disney-produced domestic releases this year earned A-range CinemaScores from audiences, with seven additionally earning critics scores over 90% on Rotten Tomatoes. Four releases opened above $100 million, more than any other studio in a single calendar year. With Captain America: Civil War’s $179.1 million debut, Disney now holds five of the top six domestic openings in industry history; four are Marvel Cinematic Universe films. With Finding Dory and Zootopia, Disney holds four of the top five animated films of all time. Also this year, both Pixar and Marvel Studios crossed $10 billion in combined lifetime grosses for their films.
Captain America: Civil War (Marvel Studios) is the #1 global and international and #2 domestic film of the year. Released domestically on May 6, its $179.1 million debut is the #5 opening of all time, and it went on to earn $408.1 million domestically and $745.1 million internationally for a global total of $1.15 billion, ranking as the #12 industry release of all time.
Finding Dory (Pixar Animation Studios) is the #1 domestic and #2 global release of 2016. Released on June 17, it posted the biggest animated debut of all time with $135 million and went on to earn $486.3 million to become the #7 industry release of all time domestically. Internationally, it has taken in $541.3 million for a global total of $1.028 billion.
Zootopia (Walt Disney Animation Studios) is the #3 global and #2 international release of the year. It opened to $75 million domestically on March 4, ultimately earning $341.3 million for an outstanding 4.5 domestic multiple. It earned $682.5 million internationally, including $235 million in China where it is the #1 animated release of all time (admissions), for a global total of $1.024 billion. Named among American Film Institute’s top 10 movies of the year, it is Disney’s best reviewed film of the year with 98% on Rotten Tomatoes.
The Jungle Book (Disney) is the #3 international and #4 global and domestic release of 2016. It debuted in the US/Canada on April 15 with $103 million, going on to earn $364 million domestically, $602.6 million internationally, and $966.6 million globally. It is the biggest Western release of all time in India.
Doctor Strange (Marvel Studios), the second Marvel Cinematic Universe release in 2016, is the #9 film of the year domestically and internationally and the #10 film of the year globally. Still in release and not yet opened in Japan, it debuted domestically on Nov. 4 with $85 million and has earned $226.2 million domestically and $426.6 million internationally for a global total of $652.8 million to date.
Rogue One: A Star Wars Story (Lucasfilm) began its global rollout on Dec. 14, opening domestically Dec. 16 with $155.1 million and a global day-and-date debut of $290 million in five days of release. The film is yet to open in South Korea (Dec. 28) and China (Jan. 6).
Additionally, Disney’s 2016 grosses have been bolstered by Star Wars: The Force Awakens, which debuted in December 2015 and earned $736.6 million of its $2 billion global total during the 2016 calendar year, as well as new release Moana, the second Walt Disney Animation Studios’ release of the year, which opened domestically on Nov. 23, becoming the #2 Thanksgiving debut ever with $82 million and earning $162.9 million to date in the US/Canada. Internationally, it has only opened in approximately 53% of territories, with debuts in Germany, Italy, and Australia over the next week and Brazil, South Korea, and Japan still to come in 2017.
Let’s see what the mouse house has up its sleeve this year since the 7 billion smacker record breaker when we get to it next time.
We’re not through with winter just yet folks, looks like old man winter just sent us a big chill on us. But don’t worry, we’ve got the newest DVD’s in store this month:
What a great start to 2017 folks. We should be looking out for the last episodes of Regular Show as well as the brand new series Power Rangers Ninja Steel as fans saw the cliffhanger of Power Rangers Dino Super Charge last year. What does the future hold for the franchise? We’ll be here to find out. Until then, see you soon for another edition of Gene Scallop’s box office report.
Rogue One: A Star Wars Story tops box office with 115 million, earns third best open with 257 million; Disney’s The Lion King and Who Framed Roger Rabbit added to National Film Registry; All new cast for DuckTales reboot unveiled
The rebels go undercover! I’m Realistic Fish Head. Following Star Wars: The Force Awakens, the story continues with Rogue One: A Star Wars Story which broke the biggest box office record with 115 million, clinching Disney’s biggest open for December with 257 million, the third highest ever! In a follow up to the 1977 Star Wars film, the allies hatch a plan to steal the blueprints of the empire’s biggest weapon, The Death Star. As Disney still holds the record for record breaking debuts for the year Gene, can Rogue One continue fighting on for the rest of the month?
Disney and Lucasfilm’s Rogue One: A Star Wars Story top-lined the fourth largest December three-day weekend ever, delivering the third largest opening of 2016, the twelfth largest opening of all-time and became only the second December opener to debut over $100 million behind last year’s monster opening for Star Wars: The Force Awakens. Fellow new wide release, New Line’s Collateral Beauty, didn’t fare quite so well, delivering the worst wide opening for a Will Smith-led feature ever, though La La Land continued to impress following last weekend’s strong limited debut as it expanded into 200 theaters this weekend.
Debuting with an estimated $155 million domestically from 4,157 theaters, Rogue One: A Star Wars Story is off to a strong start as it is already the 15th highest grossing release of 2016 after just three days. It will, however, soon find itself competing for audience attention over the upcoming holiday season, which features no fewer than five new wide releases as well as the continued expansion of films contending for Oscar attention. As a result, Rogue One‘s performance will be interesting to track as it is something of an unprecedented release given it’s only the second movie to have ever opened over $100 million in December and yet it won’t likely have the sheer staying power of its predecessor, The Force Awakens.
Films such as The Hunger Games, Catching Fire and The Dark Knight dropped 61.6%, 53.1% and 53.5% respectively after similar openings, but none of them were December releases and none of them faced as much competition as Rogue One will see beginning as early as this Wednesday. To put those second weekends into perspective, after a nearly $250 million opening Force Awakens dropped only 40% in its second weekend in the face of four new wide releases, the limited release of Quentin Tarantino’s The Hateful Eight and the expansion of The Big Short. By comparison, Rogue One will be up against Passengers, Assassin’s Creed and Sing starting Wednesday.
All that said, this is still a Star Wars film and audience reaction has been strong. The film received an “A” CinemaScore across all demographics as it played to crowds that were 66% male versus 34% female of which 39% were under the age of 25. It also holds an 84% rating on Rotten Tomatoes and after its initial user rating on IMDb fell from 8.7 to 7.7 leading up to its release date, it saw a strong uptick as it currently holds an 8.3 rating as opening day audiences show their approval.
Of Rogue One‘s opening weekend total, only 38% came from 3D showings despite the fact 84% of its 4,157 opening weekend theaters were capable of exhibiting the film in 3-D. Unfortunately, there is no way of telling just how many showings were in 3-D vs. 2-D, which puts that 38% number into some perspective as the theaters capable of showing the film in 3-D most likely also had screens exhibiting the film in 2-D. A further breakdown of the numbers show the film brought in $19 million from over 400 IMAX screens and $17.9 million from 550 premium large format screenings.
Internationally the film made a splash with an estimated $135.5 million from 54 markets, delivering a $290.5 million worldwide release, finishing just outside the top twenty and currently positioned behind The Twilight Saga: Breaking Dawn – Part 1 at $291 million, though that could easily change once actuals are reported.
Of the film’s international opening, it brought in an estimated $21 million in the UK, $12.5 million in Germany, $10.8 million in Australia, $10 million in France, $7.9 million in Russia, $5.3 million in Brazil, $5.1 million in Mexico, $4.5 million in Spain, $3.5 million in Sweden and $3.1 million in Italy. Next weekend sees no new openings for the film, which began its run in ~71% of the international marketplace and still has openings in South Korea (Dec. 28) and China (Jan. 6) to look forward to.
Along with Rogue One, Disney also scored second position at the weekend box office as Moana brought in an estimated $11.6 million, bringing its domestic cume to $161.8 million as it leap frogs Star Trek Beyond to become the 12th highest grossing release of 2016.
Third place belongs to Paramount’s Office Christmas Party, which dipped 50% compared to its opening weekend as its domestic cume now stands at $31.5 million.
In fourth is where we find the weekend’s other new wide release and compared to Rogue One things weren’t quite so rosy for New Line’s Collateral Beauty. The debut of the sentimental holiday weeper in 3,028 theaters delivered the worst wide opening for a Will Smith-led feature ever with an estimated $7 million, well below the previous worst opening, which was last year’s $10.5 million debut for Concussion. Opening day audiences gave the film an “A-” CinemaScore as it played to crowds that were 41% male versus 59% female, of which 74% were over the age of 25. Looking ahead, the crowded upcoming marketplace doesn’t paint a very good picture for the film’s future prospects as it would have needed to make a far more impressive impact over its opening weekend to stand out in the crowd.
Collateral Beauty also made its international bow this weekend, pulling in an estimated $4.6 million from 16 markets including a $1.6 million opening in Mexico, $1.4 million debut in Russia and opened with $316,000 in the United Arab Emirates. Additional upcoming major markets include an opening in France on December 21 followed by releases in Spain (Dec 23) and the UK (Dec 26).
Rounding out the top five is WB’s Fantastic Beasts and Where to Find Them, which brought in an estimated $5 million as its domestic cume now stands at $207.6 million. The film also added another $14.5 million internationally this weekend from 66 markets as its oversees gross-to-date now stands just shy of $510 million for a worldwide total nearing $720 million.
In sixth position Manchester by the Sea was able to narrowly hold off La La Land by just $136,338 based on estimates. Given Manchester was playing in 1,008 theaters more than La La that only makes sense as it brought in an estimated $4.15 million from 1,208 theaters ($3,441 per theater) compared to La La Land‘s $4 million from just 200 theaters ($20,100 per theater).
Both films are now playing internationally as well, with La La Land bringing in an estimated $4.7 million from 14 markets for an early $11.3 million international cume. Manchester debuted in just its first international market this weekend, delivering an estimated $505,000 from 162 theaters in France for a ninth place finish.
In limited release this weekend, Paramount debuted Denzel Washington‘s Fences in four theaters in New York and Los Angeles where it brought in an estimated $128,000 for a $32,000 per theater average. The film, which carries a reported budget around $24 million, will expand nationwide on Christmas Day.
Additional limited releases this weekend include The Orchard’s release of Neruda, which brought in an estimated $28,265 from three theaters on the heels of its recent Golden Globe nomination for Best Foreign Language Film. The film will continue to play in NY & LA through Christmas, then expand to major markets in January.
Overall, the top twelve grossed a combined $204 million this weekend, making it the second largest December three-day weekend ever behind only the same weekend last year.
Looking ahead, next weekend is Christmas weekend and it’s the first time Christmas has fallen on a Sunday since 2011 and it’s going to be a wild time at the box office. Beyond being the second weekend for Rogue One, things get started on Wednesday with the release of Sony’s Passengers in ~3,300 theaters, the video game adaptation Assassin’s Creed debuts n ~3,000 theaters and Universal and Illumination’s animated feature Sing arrives in ~4,000 theaters. After that, Fox’s Why Him? debuts on Friday in ~2,800 theaters while Paramount will deliver expand Fences nationwide on Christmas day along with the limited release of Martin Scorsese‘s Silence.
Other limited releases include Ben Affleck‘s Live by Night, Julieta, Patriots Day, Hidden Figures and A Monster Calls. All that and the continued release of Rogue One makes forecasting how things will turn out incredibly difficult, but we’ll do our best in just a couple days.
To recap, Rogue One breaks out with record numbers 1st, Moana drops 2nd, Office Christmas Party continues to party in 3rd, Collateral Beauty struggles in 4th, and Fantastic Beasts catches up in 5th.
Last week, Zootopia was added to the AFI’s top 100 flicks of the year, but it didn’t stop there, not only computer animation advanced further, but it also gave the house mouse’s previous flicks a permanent spot in movie history. Which of the 2 made the cut in the National Film Registry Danny?
Danny Angelfish (via Animation World)-
Disney’s The Lion King and Who Framed Roger Rabbit are among 25 films that will be preserved by the Library of Congress.
Each year the library chooses films for preservation which are “culturally, historically or aesthetically significant.” To be eligible for preservation, films must be at least a decade old. This year’s 25 additions brings the total number of preserved films to 700.
“Disney Studios further solidified its position as the producer of modern-day animated masterpieces with this lyrical 1994 offering,” the Library of Congress writes in its citation of The Lion King (which is due to be remade as a live-action film directed by Jon Favreau):
“The story of a young lion cub destined to become King of the Jungle, but first exiled by his evil uncle, The Lion King was a triumph from the moment of its release and has charmed new generations of viewers. Like Disney’s beloved Bambi, The Lion King seamlessly blends innovative animation with excellent voice-actors (Jonathan Taylor Thomas, James Earl Jones, Moira Kelly, Nathan Lane, Matthew Broderick and Whoopi Goldberg) and catchy, now-classic songs by Sir Elton John and Tim Rice. It is the film’s storytelling that resonates — funny, innovative, suspenseful — for both children and adults. Since its release, the film has spawned an animated TV series, two made-for-video sequels and a highly imaginative Broadway show.”
The citation for director Robert Zemeckis’s groundbreaking hybrid live-action/animation film Who Framed Roger Rabbit, meanwhile, evokes the Golden Age of Animation to which the movie paid homage:
“Described by Roger Ebert as ‘not only great entertainment but a breakthrough in craftsmanship,’ Who Framed Roger Rabbit introduced a new sense of realism into the interactions between cartoons and live-action characters on screen. In this film noir comedy, set in a 1940s Hollywood where cartoon characters are real, private investigator Eddie Valiant (Bob Hoskins) is hired to prove the innocence of the accused murderer and uncontrollably crazy ‘toon’ Roger Rabbit (voiced by Charles Fleischer), with memorable appearances by Roger’s voluptuous wife, Jessica Rabbit (voiced by Kathleen Turner), and the chillingly evil Judge Doom (Christopher Lloyd). The film evokes a love for the golden age of animation, represented through the construction of Roger Rabbit himself, who embodies Disney’s high-quality animation, Warner Bros.’ character design and Tex Avery’s sense of humor. The spirit of the film is artfully summarized in this one line: ‘I’m not bad, I’m just drawn that way.’ Executive producer Steven Spielberg worked tirelessly to negotiate the use of over 140 beloved cartoon characters in the film, making this the first time Warner Bros. and Disney characters shared the screen and the last time Mel Blanc voiced Bugs Bunny and Daffy Duck before his death in 1989.
Way back during summer, Disney XD was planning a reboot of Disney DuckTales continuing where the 90’s show left off. Since then the news spread like a plate of catfish dipped in tartar sauce. But back in November, the toon world lost Alan Young, the original Scrooge McDuck which put the refresh in doubt. XD solved the problem last night when they revealed the entire cast. There’s only one question Dan, now that Young’s gone, who gets to fill the money maker’s shoes in Duckberg?
Dan Barry (via Animation World)- Top-billed actors will bring the beloved characters of McDuck Manor to life in the all-new animated comedy series DuckTales, premiering in summer 2017 on Disney XD channels around the world. Leading the quack pack on globe-trotting adventures are David Tennant as Scrooge McDuck; Danny Pudi, Ben Schwartz and Bobby Moynihan as the voices of mischief-making Huey, Dewey and Louie, respectively; Beck Bennett as Launchpad McQuack; Toks Olagundoye as Mrs. Beakley; and Kate Micucci as Webby Vanderquack. The cast was revealed today in a video of the actors singing a rendition of the original “DuckTales” theme song.
Other beloved characters slated to appear are Donald Duck, Flintheart Glomgold, Gyro Gearloose, Duckworth, Gizmoduck, Magica DeSpell, Gladstone Gander, and Ma Beagle and the Beagle Boys.
Based on the Emmy Award-winning series treasured by a generation of viewers, the new DuckTales is produced by Disney Television Animation. Annie Award nominee Matt Youngberg (Ben 10: Omniverse) is executive producer. The story editor and co-producer is Francisco Angones (Disney XD’s Emmy Award-nominated Wander Over Yonder) and the art director is Sean Jimenez (Disney XD’s Annie Award-winning Gravity Falls).
Coming up this week, CN’s got a brand new series My Knight and Me with the first 5 new episodes. We’ll see if it lands on the Thursday night lineup. Then catch Nick’s Friday night holiday party starting with The Loud House all the way to Full House. Also catch up this week with fun galore as your favorite friends celebrate Christmas with your favorite holiday movies an TV specials.
There’s one last reminder folks, this is the last report for 2016 as we head home for some holiday shopping to cap off the year before Santa’s arrival. But we’ll be back soon for some surprises for 2017. Who knows? Maybe there’s something on the horizon for our departing cartoon shows and making room for new arrivals and refreshes. Until then, this is Gene Scallop for Fish Head as we say farewell to 2016!
Moana stays on track with 18 million; Super Wings heads to Germany en route towards merchandising world tour; Disney/Pixar’s Coco reveals plot and cast of characters
The surf princess surfs up a three-peat! I’m Realistic Fish Head. Moana continued on her way towards box office waves as she avoids a wipeout from DreamWorks and Paramount’s Office Christmas Party with an 18 million lead. The office party attempted to throw off the Hawaiian princess, but to no avail. Both DreamWorks and Paramount had suffered too many setbacks since the remake Ben-Hur disappointed as well as TMNT: From Out of the Shadows which brought out the original TMNT cartoon franchise in 1984 featuring the villains Rocksteady, Bebop, and Krang as well as the Technodrome, the base of the evil genius himself. As for Moana herself, can she hold on for what’s coming far, far away Gene?
Disney’s Moana was able to fend off Paramount’s Office Christmas Party to secure a third weekend at #1 as all films prepare to make way next weekend for Rogue One: A Star Wars Story and a tidal wave of anticipated holiday releases over the coming weeks. This weekend also saw a couple of major awards season contenders in Manchester by the Sea and La La Land deliver terrific performances along with the strong expansion of Focus’ Nocturnal Animals as well as the not-so-strong expansion of EuropaCorp’s Miss Sloane.
With an estimated $18.8 million, Disney’s Moana finished #1 for the third weekend straight as its domestic cume now stands at $145 million. Internationally the animated title brought in an estimated $23.5 million as its overseas gross grows to $93.8 million for a global cume of $238.8 million.
Coming in second position, and ahead of Paramount’s conservative estimates heading into the weekend is the ensemble comedy Office Christmas Party with an estimated $17.5 million. Opening day audiences gave the film a “B” CinemaScore, which is on par with last year’s R-rated December comedy Sisters, a comparison used in our weekend preview, but don’t expect this one to have the same kind of legs that film had. While the holiday season will likely help its performance along the way, this opening is on par with previous 2016 R-rated comedy releases such as How to be Single and Mike and Dave Need Wedding Dates, both of which went on to finish their domestic runs just over $46 million. Office Christmas Party played to an audience that was 56% male vs. 44% female, of which 83% were over the age of 25.
Office Christmas Party also kicked things off overseas, debuting in 49 markets where it brought in an estimated $16.4 million, led by a $2.3 million, second place finish in Russia. Other openers included Mexico ($855k), Italy ($648k), Brazil ($620k) and Colombia ($222k).
In third position, Fantastic Beasts and Where to Find Them dropped 40% in its fourth weekend, bringing in an estimated $10.78 million as its domestic gross now stands at $199.3 million. Internationally, the film brought in an estimated $33.1 million from 67 territories, bringing its international cume to $480.7 million and a worldwide total that tops $680 million.
Paramount’s Arrival continues to draw in audiences, dropping just 23% in its fifth weekend in release. The sci-fi feature brought in an estimated $5.6 million this weekend from 3,115 theaters (+200) as its domestic cume climbs to $81.4 million. Internationally the film added an estimated $5.76 million from 45 territories as its global cume is now just shy of $130 million.
Disney and Marvel’s Doctor Strange rounds out the top five with an estimated $4.6 million bringing its domestic total to $222.3 million. Internationally the film added $1.6 million, bringing its international total to $423.4 million, making it the tenth largest overseas release of 2016 after topping Suicide Squad ($420.5m) last week. Doctor Strange‘s worldwide total stands at $645.7 million, making it the seventh largest worldwide release in the Marvel Cinematic Universe having now passed Thor: The Dark World ($644.6m).
Moving to seventh position, Focus’ expanded release of Nocturnal Animals brought in an estimated $3.19 million from 1,262 theaters (+1,135) bringing the film’s cume to $6.2 million domestically. The film also brought in an estimated $1.2 million from 28 international markets, bringing its worldwide total to $16.2 million.
Coming in just behind Nocturnal Animals by just $38k, Roadside’s distribution of Amazon’s Oscar hopeful Manchester by the Sea had a strong weekend, bringing in an estimated $3.15 million from just 366 theaters as its cume now climbs to $8.3 million domestically. The film will expand nationwide next weekend into approximately 1,200 theaters.
Unable to secure a spot in the top ten, Europacorp’s Miss Sloane expanded into 1,648 theaters (+1,644) and could only manage to score an estimated $1.9 million, bringing the film’s cume to just over $2 million.
Another strong awards season contender did incredibly well this weekend as Lionsgate’s La La Land debuted in just five theaters and delivered an estimated $855,000 for a $171,000 per theater average, the tenth-largest opening per theater average of all-time (third largest for a live action film) and the best opening theater average of 2016. The film played to an audience that was 48% male vs. 52% female, of which 53% were 30-years old and over. La La Land will expand to 200 locations next weekend and even further on December 25th.
La La Land also kicked off its international release this weekend, bringing in an estimated $4.6 million, 87% of which came from South Korea where it brought in an estimated $4 million. The film will debut in the Netherlands on Dec. 22 followed by a release in Australia on December 26.
Continuing the awards season theme, Fox Searchlight’s Jackie expanded into 26 theaters (+21) this weekend and brought in an estimated $495,000. The film is looking to add another 14 markets next weekend, bringing its overall theater count to ~70 locations, followed by a continued expansion the following weekend into 250-300 theaters over the Christmas holiday.
Among international highlights not yet mentioned, Illumination Entertainment and Universal Pictures’ Sing debuted in 12 international markets this weekend, getting a jump start on the animated feature’s December 21 domestic release and pulled in an estimated $9.6 million. This includes a #1 opening in Germany with an estimated $4.8 million and a #1 opening in Austria with $813,000. Next weekend, the film opens in Greece, Netherlands and Romania.
Underworld: Blood Wars added another four markets this weekend and brought in an estimated $9.2 million internationally from 55 total territories, bringing the film’s overseas total to $34.7 million. The film premieres in North America on January 6, 2017.
Additionally, Jack Reacher: Never Go Back grossed $1.9 million from 30 markets this weekend as its international cume has now surpassed $100 million, though its nearly $160 million worldwide cume doesn’t come close to the $218.3 million for the first Reacher film.
Overall, the weekend was down 12.8% compared to last weekend while being up nearly 10% compared to last year as the top twelve grossed a combined $76.4 million.
Next weekend sees the release of Rogue One: A Star Wars Story into 4,000+ theaters as early expectations for the film continue to climb with some already suggesting an opening as much as $140-150 million domestically. We’ll have our weekend forecast in just a few days along with opening expectations for Will Smith‘s Collateral Beauty, debuting in 2,900+ theaters.
To recap, Moana keeps on surfing in 1st, Office Christmas Party parties on in 2nd, Fantastic Beasts moves up in 3rd, Arrival stays in position in 4th as well as Doctor Strange in 5th.
Team Jett’s world tour continued this week on their next stop, Germany, as the Super Wings craze continued. Their ongoing mission for the team, to bring the best merchandise to entertain the kiddies. As for the show itself Danny, when is Super Wings going to debut there?
Danny Angelfish (via Animation World)- Preschool animation series Super Wings, targeted at children aged 4 to 7 years, will premiere on Germany’s kids channel KiKA on January 25, 2017. The series will be aired daily from Monday to Sunday as a double feature during kids prime time at 6:15 pm. The global co-production is already successfully broadcasted in Europe, in France, Spain, Italy and Sweden. The series is co-produced by South Korea’s FunnyFlux, EBS and CJ E&M, US-based Little Airplane Productions, China’s QianQi Animation and German kids channel KiKA.
Meanwhile the licensing program for Germany is taking shape. The European distribution of Alpha’s master toy line has already successfully started in different markets, for instance in Italy where Giochi Preziosi distributes the line. There, Super Wings has already proven to be the fastest growing property in the preschool category. In the German-speaking territories the line will be distributed, marketed and promoted by Giochi Preziosi Germany – in strategic alliance with Stadlbauer Marketing + Vertrieb GmbH, who has the responsibility on sales. The toys will be presented at the upcoming International Toy Fair in Nuremberg and be available at retail from March 2017 – supported by a TV advertising campaign.
The brand management and media company m4e AG, responsible for the licensing & merchandising in the German-speaking territories, has already signed licensees for Super Wings including Clementoni for puzzles and games, Amijoc/Beluga for beach & outdoor toys, Procos for party goods and Famosa for plush.
Featuring a curriculum that supports cultural diversity and creative problem solving, Super Wings follows the adventures of Jett, a self-assured jet plane that travels around the world delivering special packages to children. Since its debut on EBS in 2014, the series has been sold to more than 40 countries worldwide, including the US, where the IP’s toy line has launched in April 2016. The brand enjoys enormous success in China, France, Spain and Italy among others.
Disney/Pixar unveiled last week the next flick in its historic journey, just before the house mouse also revealed a trailer for Cars 3, which is racing to theaters next year. But before that, the next stop in their world tour is Mexico. Any spicy surprising details Dan?
Dan Barry (via Animation World)-Pixar’s forthcoming Dia de los Muertos-themed feature Coco was first announced back in 2012, but few details about the project — the next original film to come from the studio — have been released since then.
Set for release on November 22, 2017, Coco is being directed by Lee Unkrich (Toy Story 3) alongside writer and co-director Adrian Molina and producer Darla K. Anderson. And now, Entertainment Weekly is reporting that Benjamin Bratt and Gael García Bernal will lead the voice cast alongside newcomer Anthony Gonzalez, who will voice the film’s main character, a 12-year-old Mexican boy named Miguel. Character actress Renée Victor also joins the cast as Abuelita, Miguel’s grandmother.
Coco follows the secret musical ambitions of Miguel, who lives in a lively Mexican village but comes from a family of shoemakers that may be the town’s only music-hating household. For generations, the Rivera’s have banned music because they believe they’ve been cursed by it; as their family history goes, Miguel’s great-great-grandfather abandoned his wife decades earlier to follow his own dreams of performing, leaving Imelda (Miguel’s great-great-grandmother) to take control as the matriarch of the now-thriving Rivera line and declare music dead to the family forever.
But Miguel harbors a secret desire to seize his musical moment, inspired by his favorite singer of all time, the late Ernesto de la Cruz (Bratt). It’s only after Miguel discovers an amazing link between himself and De la Cruz that he takes action to emulate the famous singer and, in doing so, accidentally enters the Land of the Dead.
In the underworld, Miguel encounters the souls of his own family — generations’ worth of long-dead but no less vivacious Rivera ancestors, including great-great-grandmother Imelda. Still, given the opportunity to roam around the Land of the Dead, Miguel decides to track down De la Cruz himself. He teams up with another friendly spirit — a trickster named Hector, voiced by Bernal — to find De la Cruz, earn his family’s blessing to perform, and return to the Land of the Living before time runs out.
“It was important to us from day one that we had an all-Latino cast,” Unkrich tells EW. “It focused us, and we ended up with a fantastic mix of people — some from Mexico and some from Los Angeles.”
We’ll have more on Disney/Pixar’s Coco as we head towards 2017 real soon. In the meantime, we have next year’s programming notes for you.
South Park just completed season 20 last week as both the presidential election and trolling on the Web dominated the season. The war on trolling proved that we need to keep ourselves safe from them through social media and the rest of the Web so that our privacy needs to be kept under wraps in order to stop them from tracking us, hence the web browser’s Do Not Track feature. And the presidential election which stunned the world, also proved that we need to be more vigilant than ever since Donald Trump won the election last month. Thus, South Park will soon have its 200th episode between seasons 21-23. Legends of Chamberlin Heights also completed season 1. Time will tell if the Legends will return for season 2.
Join Uncle Grandpa and crew for a week’s worth of new episodes! On Nick this week, catch the best of SpongeBob every afternoon as well as the return of Albert. This is Realistic Fish Head saying, the fun always keeps going!