Box Office

IMAX Returns to Fury Road

tomhardy_furyroadHow can you resist that pout, those eyes… wait, what were we talking about? (Photo via Vox)

I just noted that the International Federation of Film Critics opted to honor George Miller’s Mad Max: Fury Road with this year’s Grand Prix. While this decision emphasizes critics’ passionate support for the film, I speculated that Warner Bros. might need to give a genre film like this some kind of rerelease if the distributor has Oscar hopes for the actioner beyond crafts categories like visual effects and cinematography.

Well, wouldn’t you know it, Fury Road will hit IMAX locations in 3D again next weekend (Sept. 11). The film hit U.S. theaters the following day, and has amassed a worldwide total of $374,136,441 – including a domestic cume of $153,036,441 – to date. This is more financial than anything else, obviously, but it’s difficult to separate this from the film’s Grand Prix win. Scott Mendelson of Forbes points out that the film hardly got a fair shake with IMAX screens:

Walt Disney […] had the screens booked for Avengers: Age of Ultron and then on Memorial Day weekend for Tomorrowland. It was possible to find showings of Max Max: Fury Road at certain IMAX theaters and during certain not-so-optimal showtimes, especially after Tomorrowland underperformed. But it never really got its proverbial moment in the IMAX sun between its release on May 15th and the all-consuming force of Jurassic World on June 12th.

Wolf Totem (Sony/Columbia) – China’s foreign-language submission – gets a limited IMAX release the same weekend, thus compromising Fury Road’s second IMAX engagement. Baltasar Kormákur’s Venice opener Everest (Universal) will take over IMAX locations the following weekend – and also hit premium large-format auditoriums – before going nationwide on Sept. 25.

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Box Office: War is Hardly Friendly

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Straight Outta Compton held the top spot for a third consecutive weekend with $13.134 million, becoming only the third film this year to do so, after Furious 7 and Jurassic World. With a domestic cume of $134.02 million, F. Gary Gray’s N.W.A biopic became the highest-grossing music biopic at the domestic box office before adjusting for ticket-price inflation – and the third-highest after making such adjustments.

Scott Mendelson of Forbes notes that Compton should pass Walk the Line’s (2005) inflated domestic cume of $151 million in the coming weeks, but should fall short of Coal Miner’s Daughter’s (1980) inflated $202 million. Both biopics took best-actress Oscars; while Compton won’t do the same (the film lacks substantial female roles), the raves, audience love, and a successful motion-picture academy screening suggest it could go far in the race.

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Box Office: Hardly Ultra

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With a take of $26.36 million, Straight Outta Compton enjoys a second weekend on top. This exceeds the debuts of all three new wide releases (Sinister 2 – $10.54 million, Hitman Agent 47 – $8.33 million, American Ultra – $5.45 million) combined, more than doubles the weekend grab of runner-up Mission: Impossible – Rogue Nation ($11.45 million), and can only help its Oscar campaign as awards season is right around the corner.

At the specialty box office, Paul Weitz’s Grandma $115,540 from four locations. Lily Tomlin has scored fantastic notices for her work in the Sundance dramedy. That the word “Oscar” pops up in a lot of reviews means critics hope this small film gets Tomlin to the podium – or at least to the Dolby. But will she stand out enough for that to happen? An Emmy win for Grace and Frankie next month could certainly boost her campaign.

Check out the weekend top 10 below.

  1. Straight Outta Compton: $26.36 million
  2. Mission: Impossible – Rogue Nation: $11.45 million
  3. NEW!!! Sinister 2: $10.54 million
  4. NEW!!! Hitman Agent 47: $8.33 million
  5. The Man from U.N.C.L.E.: $7.32 million
  6. NEW!!! American Ultra: $5.45 million
  7. The Gift: $4.28 million
  8. Ant-Man: $4.055 million
  9. Minions: $3.83 million
  10. Fantastic Four: $3.73 million

Oscar Picks: Compton Dominates

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Hey all! Back for my first predictions update in about two weeks!

In case you missed them, here are some news bits that may prove relevant during the awards season:

Straight Outta Compton topped the U.S. box office this past weekend. With a massive opening of $60.2 million and rave reviews, F. Gary Gray’s N.W.A. biopic looks to get the campaign treatment from Universal Pictures. At this point, Jason Mitchell’s turn as Eazy-E looks like Compton’s safest bet for a nomination.

Joel Edgerton’s The Gift surprised the prior weekend. The film opened to about $11.85 million from a production budget of $5 million. The psychological thriller scored some strong critical reception, too. Maybe writer-director Edgerton’s supporting performance gains some traction?

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Box Office: Campaign for Compton

compton_picThe primary cost of F. Gary Gray’s Straight Outta Compton (via Forbes)

No big surprises at the weekend box office, as F. Gary Gray’s Straight Outta Compton’s massive $56.1 million bow took the top spot at the weekend box office with ease.

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Box Office: The Gift Surprises

joeledgerton_thegiftLow costs and smart filmmaking make for a Gift that should keep on giving (via AceShowbiz)

Sure, last week’s No. 1 debut, Mission: Impossible – Rogue Nation, holds the top spot over newcomer Fantastic Four, but that’s hardly the only box-office stunner this weekend.

Perhaps the best surprise is Joel Edgerton’s directorial debut, The Gift. The film, which also features Edgerton as an eccentric man whose intentions may or may not be insidious, ranks third with an estimated $12 million. Given its production budget of $5 million and marketing costs of roughly $2.5 million, The Gift already enters the books as a success – more so than any other nationwide debut, easily. (But more on those other nationwide bows later.)

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Oscar Picks: Room for Truth?

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Hey all! Back for another predictions update!

In case you missed them, here are some news bits that may prove relevant during the awards season:

Beasts of No Nation, Black Mass, The Danish Girl, and Spotlight are all slated for the Venice Film Festival; Everest will open the fest. Meanwhile, the Toronto lineup includes the world premieres of Freeheld, The Martian, and Stonewall, the North American premieres of Danish and Youth, and the Canadian premieres of Mass, Brooklyn, Sicario, Son of Saul, and Spotlight.

The New York Film Festival selects Steve Jobs as its centerpiece gala; The Walk and Miles Ahead will open and close the fest, respectively.

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