UK/US Box Office June 7th-9th week 23

11-06-2019 20:06

 

 

  1. Aladdin – £3,929,625 –  £26,131,006

29.6% drop in its third weekend; taking £158,472 more than X-Men: Dark Phoenix opening in second over its 5-day opening but more than £1.2m Fri-Sun

Had the 4th biggest Disney reimagination third weekend after Beauty and the Beast, The Jungle Book, Alice in Wonderland taking 67.6% more than Dumbo third weekend (£2,345,046);

Disney reimgines UK June 11

Overtook Cinderella and Dumbo to become the 4th biggest Disney reimagination; will come short to overtaking Alice in Wonderland (£42,169,542) due to the arrival of Toy Story 4 in in two weeks’ time.

153rd biggest film in the UK between Sex and the City and The Lost World: Jurassic Park (close to The Croods, The Lego Batman Movie, Ratatouille and How to Train Your Dragon 2) and 239th inflation inflated biggest film between Hitch and Wreck-It Ralph (close to Elf, A Christmas Carol, Jumanji and Nanny McPhee).

36th biggest Disney film between The Pirates of the Caribbean and The Sixth Sense (close to A Bug’s Life, Monsters University, Dumbo and Zootropolis) and 47th biggest inflation inflated between A Christmas Carol and Wreck-It Ralph (close to Wall·E, Tarzan, Enchanted and Tangled).

Despite mixed buzz ahead of release Aladdin is performing as expected as the 1992 original animated was the second biggest film of 1993 after Jurassic Park despite opening in 1992; took £16,115,822 would be over £52m today.

Despite many people questioning the need for these reimagination they are attracting a younger audience to these films in a similar way Disney used to re-release their classic animated films ever 7 years in cinemas before they were all released on video.

Even when the films were released on video they were released for a limited time on video and then the film were still re-release a few years later.

If Disney were to re-release a classic animated film in cinemas now would they be so successful? Disney did re-release Frozen in cinemas with Olaf’s Frozen Adventure in 2017 opening with £1,115,689 all tickets were £1. The problem with re-releases now is ticket price, why would you pay £10 a seat to see a film in the cinema that you can watch at home, but as seen with Peppa Pig and Paw Patrol they can be successful if exhibitors are willing to lower prices.

In 6 weeks’ time Disney release The Lion King reimagination, the original animated film was the biggest film of 1994 taking over £34,077,997 (would be £108,944,735 today, the seventh biggest film in the UK between Lord of the Rings: The Fellowship of the Ring and Jurassic Park. Opening the start of the summer holidays it will open bigger than 2017’s Beauty and the Beast (£19.7m) and could be the biggest film of the year (£100m+).

The 11 Disney reimaginations have taken over £320m at the box of office and over £360m inflation inflated.

  1. X-Men: Dark Phoenix £3,771,153 –  NE

Took £1.1m from previews on Wednesday and Thursday  #1 on Wednesday and #3 on Thursday

355th biggest opening in the UK between The Mummy and Signs (close to Terminator: Genisys, Kick-Ass, Battleship and Warcraft: The Beginning) and 470th biggest inflation inflated opening between The Second Best Exotic Marigold Hotel and Sin City (close to The Day the Earth Stood Still, Ant-Man, What Lies Beneath and Captain America: The First Avenger).

68th biggest 20th Century Fox film between The Second Best Exotic Marigold Hotel and Ferdinand (close to Mr and Mrs Smith, Kingsman: The Secret Service, The A-Team and Alita: Battle Angel) and 82nd biggest inflation inflated opening between The Second Best Exotic Marigold Hotel and There’s Something About Mary (close to The Day the Earth Stood Still, The Beach, The League of Extraordinary Gentlemen and Daredevil).

56th biggest comic-book opening between Kick-Ass and 2005’s Fantastic Four (close to Fantastic Four: Rise of the Silver Surfer, Superman Returns, The Hulk and Watchmen) and 65th biggest inflation inflated comic-book opening between Ant-Man and Captain America: The First Avenger.

XMEN UK BO June 11

Had the lowest opening for X-Men film in the UK; previously lowest 2013’s The Wolverine (£4,694,092) and 2000’s X-Men (£4,749,241) opening similar to 2005’s Fantastic Four (£3,541,391). Dark Phoenix is far from a good comic-book movie but its not anywhere nearly as bad as Fantastic Four. 20th Century Fox originality dated it for November 2018, so they never saw it as a summer film, which is one of the biggest issues it has, the film is much darker than recent comic-book films and summer wasn’t the right time to release it.

In a very crowded marketplace and being the third Marvel comic-book film released this year Dark Phoenix was always going to suffer, the question was just how badly. 20th Century Fox repeated the same mistakes they did with X-Men: Apocalypse three years ago which also opened third after Batman Vs Superman and Captain America: Civil War.

Opened

72.53% less than Deadpool; 70.93% Deadpool 2; 60.07% Logan; 58.76% X-Men: Days of Future Past; 48.72% X-Men: Apocalypse; 46.82% X- Men Last Stand; 46.42% X2; 43.37% X-Men: Origins Wolverine; 30.66% X-Men First Class; 20.59% X-Men; 19.66% The Wolverine

And 6.49% more than Fantastic Four; 40.39% Fantastic Four; 93.08% Daredevil; 376.21% Elektra

Marvel producer has said the X-Men are outdated but ever since the first X-Men film was released in 2000 they have featured many female comic-book characters. In comparison Marvel Cinematic Universe took 21 films and 11 years before they had a leading female comic-book character despite Black Widow appearing in their second film Iron Man 2.

While X-Men producer Lauren Shuler Donner wrote in a tweet she deleted ““Save your condolences. I had zero, nothing to do with Dark Phoenix. Or Apocalypse, or New Mutants.”

Director Simon Kinberg seems to be the scapegoat for Dark Phoenix as so often happens with a failure the direct gets blamed as was the case with films like Waterworld (Kevin Reynolds) Hudson Hawk (Michael Lehmann) and Gigli (Martin Brest); will be interesting to see if anything changes with female spy thriller 355 he is directing next starring Jessica Chastain, Sebastian Stan and Diane Kruger.

Both 20th Century Fox/Marvel and Warner Bros/DC made female leading comic-book films over a decade before MCU Elektra is a 2005 (spinoff to 2003’s Deadpool) and 2004’s Catwoman, both films flopped and received poor reviews.

Much was made of Black Panther being the first non-white comic-book lead but that was 20 years after Blade while similar was made of Captain Marvel but was released two years after Wonder Woman. The MCU were the Apple of the comic-book business they wait to see what others do and then they add their Marvel pixie dust to their versions which become bigger hits to the films that came before them.

The ending of X-Men: Dark Phoenix was reshot due to similarities with another recent comic-book movie which the director Simon Kinberg recently revealed was Captain America; Civil War and Captain Marvel

Some have said the trailer includes a major spoiler in the film when Jean Grey accidentally kills Mystique, but Jennifer Lawrence’s contract with the X-Men films ended with 2016’s X-Men: Apocalypse. She starred in X-Men: Dark Phoenix as a favour to the director and to close out her characters storyline.

Dark Phoenix started filming in summer 2017 months before Disney announced they were buying 20th Century Fox at that time 20th Century Fox had big plans for X-Men film series releasing three films in both 2019 and 2020; New Mutants was originally set for February 22nd, 2019 (since delayed to next April);

Gambit June 7th, 2019 Channing Tatum had long been attached to the film but had been delayed many time; Deadpool spinoff X-Force talked about in Deadpool 2 was expected to be made soon after while there were also plans for Multiple Man, Kitty Pryde, Silver Surfer, Doctor Doom. All of which are now on hold are rumours that Deadpool might appear in upcoming Spider-Man films but it’s no known when X-Men will join the MCU.

Marvel are expected to announce their Phase 4 plans later this year and its unknown at this time if X-Men be part be part of it, but they have said before they are in no rush to add the X-Men as phase 4 films that will be announced soon was planned before Disney acquired Fox.

Dark Phoenix was originally set for November 2018 release date but 20th Century Fox delayed it to February 2019 bringing forward the release of Bohemian Rhapsody forward 8 weeks in so avoiding opening against Mary Poppins Returns and helping it take probably double its global box office.

After 20th Century Fox  delayed the release of Alita: Battle Angel to February 2019 they pushed ack Dark Phoenix to give more time for reshoots. Dark Phoenix had extensive reshoots due to poor testing but much of the film’s negativity started with the film being delayed several times so the question is do the delays and reshoots do more damage than good, as few films have been successful after lengthy delays apart from Titanic, Moulin Rouge and The Great Gatsby.

13 Marvel 20th Century Fox films (including Daredevil and Fantastic Four) have taken over £265m in the UK and almost £320m inflation inflated; 11 X-Men films have taken £240m and £284m inflation inflated.

In the film Raven says to Professor X the women are always saving the men around here so you might think of changing the name to X-Women, this joke might have felt new had the film opened last November before Captain Marvel and Avengers: Endgame but now feels dated. In Deadpool 2 Wade Wilson made a similar joke about his X-Force team he made which he ended up called X-People

Before Disney acquired 20th Century Fox New Mutants was expected to help launch X-Force but now its unknown what will happen and is also the question over if there will be a third Deadpool after the second film last year was hugely successful and positively received.

With poor word of mouth and the arrival of Men in Black International this weekend Dark Phoenix will suffer a similar second weekend drop off as Godzilla: King of the Monsters over 70% and probably be out of the top 10 within 3 weeks, saying that the biggest film of the year so far Avengers: Endgame only managed 6 weeks showing how crowded the marketplace is.

It was revealed today that planning permissions has been made to knock down 20th Century House in Soho Square where 20th Century Fox UK has been based since 1937 with plans build a new hotel in its place.

Spent 5 mostly happy years working at 20th Century Fox in the late 90s and early 00s it will be very sad to see the building be knocked down.

Soho used to be the home of the film industry for many decades 20th Century Fox were the last distributor based there as all others have moved out and now. Wardour Street and the neighbouring streets used to be crowded with film companies, in the 90s and 00s spend much of my time moving prints around Soho on my trusty barrow, of course that is long gone since the arrival of digital.

  1. Rocketman –  £2,166,839 – £16,051,346

Down 11.5% in its third weekend

Holding similar to the third weekend of 2017’s The Greatest Showman which dropped a sim 11% taking £2,142,337 and £13,537,211 28.1% of £48,300,000; 

330th biggest film in the UK between Signs and Cars (close to Batman Begins, The Muppets, Chicago and Black Swan) and the 451st biggest inflation inflated between Ready Player One and The Village (close to School of Rock, The Wedding Singer, The Hitchhiker’s Guide to the Galaxy and Lost in Translation)

21st biggest Paramount Pictures film in the UK between Kung Fu Panda 2 and Tintin: Secret of the Unicorn and 25th biggest inflated Paramount Pictures film between Thor and World War Z.

Third weekends

Comparisons have been made with

2018’s A Star Is Born dropped 7% taking £2,883,000 and £14,874,834 50.7% of £29,299,129;

2018’s Bohemian Rhapsody dropped 21% taking £4,559,647 and £28,907,411 52.6% £54,947,598;

rocketman vs titanic june 11

if Rocketman holds similar to both A Star Is Born and Bohemian Rhapsody could take £30m+ becoming Paramount Pictures first film to do so since Shrek Forever After in 2010 and their third biggest film in the UK after Indiana Jones and the Kingdom of the Crystal Skull and Shrek The Third.

The films soundtrack dropped to 8th on the album chart with Elton John’s Diamonds album 7th and Goodbye Yellow Brick Road 68th; while The Greatest Showman dropped to 6th in its 76th week on release and Bohemian Rhapsody is 7th in its 33rd week on release; over the last year soundtracks have been very popular with Mamma Mia: Here We Go Again and also A Star Is Born, the only musical that wasn’t successful in the charts was Mary Poppins Returns.

  1. The Secret Life of Pets 2 – £2,038,860 –  £14,938,639

Down 30.6% in its third weekends.

The lowest 3rd weekend for an Illumination Entertainment film in the UK; 51% less than Minions; 47% Despicable Me 3; 44% The Secret Life of Pets; 38% The Grinch; 21% Despicable Me; 12% Sing and 8% less than Despicable Me 2.

Illumination UK June 11

The Secret Life of Pets 2 is holding similar to last years The Grinch which would see it take £25m+,

73rd biggest animation film between Cars 2 and Ice Age (close to Gnomeo and Juliet, Cars 2, Ice Age and Puss in Boots)

87th biggest inflation inflated animated film between The Polar Express and The Good Dinosaur (close to Flushed Away, Mulan, Mr. Peabody and Sherman and Rugrats in Paris: The Movie).

The Secret Life of Pets 2 has taken

1% less than Despicable Me; 6% The Grinch; 18% Sing; 45% Despicable Me 2; 46% Minions; 33% The Secret Life of Pets; 42% Despicable Me 3

The 9 Illumination Entertainment films have taken almost £276m since 2010; with Toy Story 4 opening in two weeks’ time The Secret Life of Pets 2 could be the first Illumination Entertainment not to take over £25m since Despicable Me in 2010.

Illumination Entertainment’s next two film Minions: The Rise of Gru and Sing 2 opening summer 2020 and 2021 when Pixar are likely to have original films which should see them topple Pixar again.

  1. Take That Greatest Hits Live – £1,834,379 – NE

Opening 82.5% bigger than 2017’s Take That: Wonderland Live from the O2 2017 (£1,004,918 from 481 screens) and 90.1% more than 2015’s Take That Live (£965,000 from 421 screens)

Take That Greatest Hits Live has become the highest-grossing live concert release of all time in the UK

2018’s André Rieu’s Maastricht Concert, ’Amore £1,783,222; Andre Rieu’s 2017 Maastricht Concert £1,439,604; Andre Rieu’s 2016 Maastricht Concert £1,414,075; Andre Rieu’s 2015 Maastricht Concert (Concert) £1,107,000; Andre Rieu’s 2014 Maastricht Concert £830,586. Piece Of Magic release Andre Rieu 2019 Maastricht Concert – Shall We Dance? In July.

Event Cinema screenings normally have over 100% surcharges but strangely the Vue West End are only £10 over 50% cheaper than regular prices but a month later Westlife: The Twenty Tour Live a are £26.24 (26% more than regular prices).

Odeon Darlington is one of the cheapest cinemas in the UK with tickets only £3.75 due to Vue Cinema only a mile away with tickets£5.74 but tickets for Take That Live were £10.75 at the Odeon and £10.74 at the Vue more expensive than the Vue West End. Normally Odeon Darlington is almost 1,000% cheaper than the top prices at the Odeon Leicester Square. Odeon Leicester Square was the first Dolby Cinema in the UK, the second Odeon Leeds recently opened was purposely built rather than retrofitted but tickets are up to 200% less.

Industry has claimed cinema prices are dropping in the UK, but prices have only dropped where newer multiplexes have opened  Vue Harrow dropped with the arrival of Cineworld Wembley and Ruislip while Vue Watford dropped with the opening of Cineworld Watford but where cinemas don’t have any direct competition they have kept prices up

With average ticket prices claimed to be £7.22 Take That Live has added over 250,000 despite average tickets being more than £20 with real admissions closer to 90,00; likewise Secret Cinema returns to the top 10 this week with Casino Royale tickets are £85 so while about 5,500 attended Secret Cinema it added about 65,000 admissions.

UK box office in detail

This weekend’s top 10 box office took £16,761,295 down 0.7% from last weekend £16,880,406

The weekend admissions 2,127,995 down 9% from last weekend 2,338,006; average ticket £7.22 down from last year’s £7.49 but Applaudience estimate ticket price of £10.28

22 films opened at weekend taking (£7,748,869); X-Men: Dark Phoenix 48.6% (£3,771,153); Take That Live 23.6% (££1,834,379); Late Night 5.5% (£425,599); remaining 18 films shared 22.1% (£1,717,738)

Top three took 58.8% (£9,867,617) of the top 10;; Aladdin 23.4% (£3,929,625); X-Men: Dark Phoenix 22.5% (£3,771,153); Rocketman 12.1% (£2,038,860);   

The weekend down 10.1% from 2018: (£18,642,162); Jurassic World: Fallen Kingdom (£14,334,894); McQueen (£131,278); Coppelia – Bolshoi 2018 (£96,840); The Boy Downstairs (£12,823); #1 Jurassic World: Fallen Kingdom £14,334,894 663 screens 1st week (76.9% of top 10)

Up 37.1% from 2017: (£12,227,826); The Mummy (£3,343,650); Take That: Wonderland Live from the O2 2017 (£1,004,918); My Cousin Rachel (£637,704); Peter Pan – NT Live 2017 (£119,127); The Shack (£96,580); Norman: The Moderate Rise and Tragic Fall of a New York Fixer (£18,017); Wilson (£5,347); From the Land of the Moon (£4,547); #1 Wonder Woman £3,480,956 2nd week 613 screens (28.4% of top 10)

Up 132.6% from 2016: (£7,206,704); The Boss (£594,672); Mother’s Day (£419,532); When Marnie Was There (£99,352); Miracles from Heaven (£20,420); #1 Me Before You £1,453,859 529 screens 1st week (2nd week on release) 19% drop

Up 93.6% from 2015; (£8,657,357); Spy (£2,557,824); Insidious Chapter 3 (£1,440,299); The Empire Strikes Back (Secret Cinema 2015) (£304,115); Survivor (£130,307); Electric Boogaloo: The Wild, Untold Story of Cannon Films (£4,442); #1 Spy £2,557,824 531 screens 1st week (29.5% of top 10)

Up 35.5% from 2014: (£12,366,516); 22 Jump Street (£4,854,991); D-Day 70 Years On (£287,767); Grace of Monaco (£238,862); Der Rosenkavalier – Glyndebourne 2014 (£75,428); Fruitvale Station (£30,162); #1 22 Jump Street £4,854,991 454 screens 1st week (39.2% of top 10)

Up 114.7% from 2013: (£7,805,920); After Earth (£2,249,532); Behind the Candelabra (£513,288); The Stone Roses: Made of Stone (£367,319); The Iceman (£201,789); The Last Exorcism: Part II (£115,811); #1 After Earth £2,249,532 470 screens 1st week (28.8% of top 10)

Up 46.7% from 2012 (£11,422,558); The Pact (£932,325); Ill Manors (£256,288); Red Tails (£193,420); A Fantastic Fear of Everything (£35,400); #1 Prometheus £3,135,504 2nd week 536 screens 50% drop (27.4% of top 10)

Up 14.8% from 2011 (£14,590,776); Kung Fu Panda 2 (£6,188,897); Honey 2 (£520,654); Mother’s Day (£94,385); #1 Kung Fu Panda 2 £6,188,897 1st week 514 screens (42.4% of top 10)

Up 120.4% from 2010: (£7,601,859); Death at a Funeral (£696,280); 4.3.2.1 (£433,218); She’s Out of my League (£400,554); The Killer Inside Me (£124,006); #1 Sex and the City 2 £2,473,043 2nd week 521 screens 60% drop (32.5% of top 10)

Up 18.8% from 2009; (£14,109,630); Terminator Salvation (£6,936,528); Last Chance Harvey (£640,390); Anything for Her (£89,467); #1 Terminator Salvation £6,936,528 1st week 489 screens (49.1% of top 10)

Up 96.5% from 2008; (£8,527,504); Superhero Movie (£851,353); Prom Night (£507,985); Gone, Baby, Gone (£351,127); Mongol: The Rise to Power of Genghis Khan (£185,364); The Waiting Room (£6,508); #1 Sex and the City £3,085,231 469 screens 2nd weeks 65% drop (36.2% of top 10)

Up 143.2% from 2007:(£6,890,280); Ocean’s Thirteen (£3,021,302); Are We Done Yet? (£419,247); Taking Liberties (£21,350); #1 Ocean’s Thirteen £3,021,302 1st week 475 screens (43.8% of top 10)

Up 213.2% from 2006; (£5,352,087); The Omen (£2,096,002); RV (£273,850); Secuestro Express (£18,784); #1 The Omen £2,096,002 1st week 347 screens (39.1% of top 10)

Up 86.9% from 2005 (£8,963,845); Sin City (£2,452,299); The League of Gentlemen’s Apocalypse (£555,996); #1 Star Wars: Episode III Revenge of the Sith £3,313,328 3rd week 490 screens 39% drop (36.9% of top 10)

Down 42.4% from 2004 (£29,089,953); Harry Potter and the Prisoner of Azkaban (£23,882,688); Japanese Story (£37,580); #1 Harry Potter and the Prisoner of Azkaban £23,882,688 1st week 535 screens (82.1% of top 10)

Up 157.8% from 2003 (£6,499,525); Anger Management (£1,768,335); The Hunted (£394,122); Dark Water (£34,978); #1 The Matrix Reloaded £2,485,938 3rd week 473 screens 34% drop (38.2% of top 10)

Up 190.3% from 2002 (£5,773,078); Unfaithful (£779,335); Monster’s Ball (£486,017); Dragonfly (£80,209); #1 Star Wars Ep II – Attack of the Clones £2,058,716 464 screens 4th week 16% drop (35.6% of top 10)

Next weekend in 2018: (£13,335,853); Hereditary (£1,863,913); The Happy Prince (£107,178); Super Troopers 2 (£101,881); Swan Lake – ROH, London 2017/18 (£71,257); #1 Jurassic World: Fallen Kingdom 2nd week £7,220,952 50% drop 667 screens (54.1% of top 10)

 

 Also opened

  • Late Night – eOne

Opened with £425,742 from 430 screens

Despite positive reviews a strong marketing campaign which included Emma Thompson and Mindy Kaling in the UK recently to promote the film and an extensive talker screening program it failed to find a wide audiences. Do talker screenings work? Or d they just squeeze the films potential box office as so many films in the past that have had extensive talker screening programs failed to find the wide audience they deserved.

The two films that come to mind (are many others) 2000’s Almost Famous and 2004’s In Ger Shoes both had extensive talker screening programs; Almost Famous opened 5 months after US in February 2001 with £511,896 taking £1,229,382.

Similarly In Ger Shoes in 2005 while opening #1 with £1,337,176 (opening the same weekend as another taller screening film that fared worse Kiss Kiss, Bang Bang opening with £458,826) opened only £23,652 more than Nanny McPhee #2 in its fourth weekend with £1,313,524

The Devil Wears Prada opened October 2006 with £3,267,580 (including £1,057,535 previews) dropped 43% in its second weekend but only 15% without previews (£1,870,080) and £6,751,301 and £13,681,185 total

Late Night has also had similarities to 1987’s Broadcast News opened £673,313 in April 1988 taking £1,501,208 and 1991’s Soapdish opened with £432,503 taking £941,675

UK Box Office Top 10

UK BO June 11

US Box office

US BO June 11

  • The Secret Life of Pets 2 – Universal Pictures

Opened with $46,65m; received mixed reviews 53% Rotten Tomatoes score and A- CinemaScore; compared to 73% Rotten Tomatoes score for the first film and A- CinemaScore

While much has been written about Dark Phoenix poor opening, it was always expected the more surprising failure is The Secret Life of Pets 2 opening 56% less than the original film opened with 3 years ago.

The Secret Life of Pets 2 was always seen as a Toy Story rip off so was always surprising it opened two weeks before Toy Story 4 which has been breaking advance bookings records for animated films. Have people decided to wait two weeks to see the real thing rather than see a rip off?

Nine years ago Universal P:ictures opened Illumination Entertainment’s Despicable Me 4 weeks after Toy Story 3 managing to hold its own opening with $56.39m against Toy Story 3 $21.01m

Going on to take 61% of its total box office ($251.31m Vs $415.1m) launching the Illumination Entertainment brand and the Despicable Me franchise which has taken $1.22bn in the US and $3.7bn worldwide with the fifth film Minions: The Rise of Gru opening next summer.

as tracking to open with $60m over 50% less than the first one despite reviews being better than the original film, but sandwich between two Disney films Aladdin and Toy Story 4.. It suffered as to many The Secret Life of Pets 2 is Toy Story with animals so why not wait to see the real thing opening in two weeks’ time seen by Toy Story 4 have very strong advance sales.

Was always surprising Universal Pictures choosing to open The Secret Life of Pets 2 so close to Toy Story 4 which was one of the reasons they brought its release forward two weeks in the UK.

The Secret Life of Pets opened July 2016 $104.35m (biggest Illumination Entertainment opening) taking $368.38m

Illumination Entertainment films have taken $2.45bn in the US and $6.26m worldwide

In 2013 Pixar opened first with Monsters University with $82.42m taking $268.49m with Illumination Entertainment’s Despicable Me 2 opening two weeks later $83.51m taking $368.06m; this time Illumination Entertainment opens first with The Secret Life of Pets 2 and Toy Story 4 opens two weeks later.

Took $16m from 30 territories $49m total and $97m worldwide

  • X-Men: Dark Phoenix – 20th Century Fox

Opened with $33.82m; received poor reviews 22% Rotten Tomatoes and B- CinemaScore

Opened 38% less than 2000’s X-Men; 39% X-Men: Days of Future Past; 46% X-Men: Apocalypse; 60% X-Men 2 and 63% less than X-Men: Days of Future Past

2000’s X-Men opened with $54.47m taking $157.29m and $296.33m worldwide

2003’s X2: X-Men United opened with $85.55m taking $214.94m

Had the 79th biggest comic-book opening in the US between The Green Hornet and Blade II and the 483rd biggest opening between A Nightmare on Elm Street (2010) and The Book of Eli.

After all the negativity surrounding Dark Phoenix for the past 9 months was surprising tracking had it to open as big as $60m as it always felt more like a Fantastic Four disaster (2015 film opened with $25.68m taking $56.11m.

While Dark Phoenix is far from a good film in the same way Avengers: Endgame didn’t deserve all the positivity surrounding it Dark Phoenix doesn’t deserve the hatred it has received. It was similar to the negativity X-Men: Apocalypse received in 2016 opening weeks after the release of Batman Vs Superman and Captain America: Civil War. X-Men: Apocalypse was seen as being much worse after opening after Captain America: Civil War.

As always when a film underwhelms an inquest immediately in the trades and on social media with the trades have putting the failure of Dark Phoenix failure solely on 20th Century Fox, but its failure as many films released over the last 12 months since Disney announced they were buying the studio. Deadpool 2 and Bohemian Rhapsody were successes because Fox decided to date them ahead of Disney releases rather than as has been done since afterwards.

Dark Phoenix failure could be seen as collateral damage to Disney’s acquisition of the studio in March which saw the studio lose many of its key marketing team ahead of its release.

20th Century Fox first announced Dark Phoenix November 2nd, 2018 release date in April 2017, it was to be the third X-Men film to be released in 2018 after New Mutants in April and Deadpool 2 in June; Fox.

In February Fox had delayed James Cameron’s Alita: Battle Angel from July 2018 to December 2018, the next month they delayed Dark Phoenix to February 14th 2019 and New Mutants to August 2nd 2019 and they brought forward the release of Bohemian Rhapsody from December 25th opening days after Mary Poppins Returns to November 2nd (Fox had success (Fox had success a year earlier opening Murder on the Orient Express on the dame date).

On September 27th 20th Century Fox released the first teaser trailer for Dark Phoenix having February 2019 release date but the following day the studio announced had delayed Alita: Battle Angel from December to February and pushed Dark Phoenix to June. (the producers of Dark Phoenix begged the studio not to delay the film again, but it was far more important to keep James Cameron happy).

The problem Fox had was they had two films Alita: Battle Angel and Dark Phoenix needed to delay but with Captain Marvel opening in March Shazam and Avengers: Endgame in April only had one date for the two films.

As Dark Phoenix was expected to be the final X-Men film delaying it was the lesser of the two evils as its far more important to keep James Cameron happy as he is currently making 4 Avatar sequels and Terminator reboot for the studio.

The studio choosing to open Alita: Battle Angel in February was the final nail in the coffin for Dark Phoenix as the film was already generating much negativity as New Mutants. Delaying it a second time and then opening after both Captain Marvel and Avengers: Endgame was always likely to suffer a similar fate as X-Men: Apocalypse did in May 2016 opening weeks after Batman Vs Superman: Dawn of Justice and Captain America: Civil War. The reason why Dark Phoenix was originally dated for November 2018 was because it wasn’t summer film as it is a much darker comic-book film.

Alita: Battle Angel opened in February with $28.52m taking $85.71m in the US and $405m worldwide had a $170m+ budget so unlikely to turn a profit; we of course will never know how it would of performed had it opened July 20th 2018 which would of seen it sandwiched between Skyscraper and Mission: Impossible: Fallout. Likewise had Dark Phoenix opened in February ahead of both Captain Marvel and Avengers: Endgame would have probably opened bigger than Alita: Battle Angel, but delayed its release could of hurt its relationship with James Cameron.

While the failure of Dark Phoenix could be seen as a positive Disney as had it been a success some might question the need to reboot the series when its incorporated within the MCU, but being a massive failure allows them to clean slate X-Men and start afresh. Marvel have said recently it will be several years before X-Men join the MCU but maybe they will have a soft launch in Spider-Man films as was rumoured recently with Deadpool.

The X-Men films have been much more simplified film to the far more complicated DC and MCU films, which goes back to the first X-Men film released in 2000. X-Men: Apocalypse tried something different but came off as exhausting, many MCU films have also been as Captain America: Civil War felt as exhausting to watch.

In March 2018 20th Century Fox brought forward the release of Bohemian Rhapsody to November delaying Dark Phoenix to February 2019 (was later delayed to June 2019 for reshoots) at the time they also delayed New Mutants from February 22nd, 2019 to August 2nd, 2019 and Disney have since delayed it to April 2020  again for reshoots.

The lengthy delay of the reshoots was due to the time it took to get the cast back together as they moved on to other projects e.g. Sophie Turner busy for months shooting the final series of Game of Thrones.  

Over recent years there has been a lot of hostility towards X-Men films with many comic-book fans celebrating the news Disney were buying 20th Century Fox as it would mean Marvel would reboot the X-Men into the MCU. But X-Men films deserve more respect than they get as had 20th Century Fox not taken a chance making the first X-Men film in 2000 when comic-book movies were on life-support with turkeys Judge Dress, Barb Wire and Batman and Robin, the only successes were Spawn and Blade, both were non white led comic-book movies 20 years before Black Panther.

After being in development for almost 10 years at Orion Pictures (as other Marvel film projects including Spider-Man) and in the early 90s Carolco Pictures James Cameron was attached to produce with Kathryn Bigelow directing Bob Hoskins Wolverine and Angela Bassett Storm but fell apart when Cameron moved on to develop Spider-Man (James Cameron, Kathryn Bigelow and Angela Bassett worked together on the sci-fi thriller Strange Days a few years later) but then Carolco went bankrupt rights to X-Men returned to Marvel. In 1994 20th Century Fox were impressed by the success of X-Men animated TV show Lauren Shuler Donner acquired rights in 1994.

X-Men was originally due to be released Christmas 2000 but after Steven Spielberg delayed making Minority Report at 20th Century Fox for two years (he made A.I instead after the death of Stanley Kubrick). This left Fox with a gap in their summer, so Fox brought the release of X-Men forward 5 months. Fox then had a gap in their Christmas slate, which is why we got Dude, Where’s My Car.  

The 12 X-Men films have taken $2.39bn in the US and $5.91bn worldwide

Opened with $107m from 53 territories and $140m worldwide; in May 2016 X-Men: Apocalypse opened with $101.5m from 75 territories not including the US (opened the following week in the US and two weeks later in China (X-Men: Days Of Future Past opened in 76 territories with similar $100m);

China $45.6m; Korea $5.7m; Mexico $5m; UK $4.9m; France $3.8m; Russia $3.4m; Brazil $2.9m; Philippines $2.4m; Taiwan $2.3m; India $2.3m

  • Godzilla: King of the Monsters – Warner Bros

Dropped 67.7% in its second weekend taking $15.45m and $78.5m

Second weekends

2018’s Pacific Rim Uprising dropped 66.7% taking $9.37m and $45.83m 76.5% of $59.8m and $290.93m worldwide

2017’s Kong: Skull Island dropped 54.4% taking $27.83m and $109.1m 64.9% of $168.02m and $566.62m worldwide 

2014’s Godzilla dropped 66.8% taking $30.94m and $148.29m 73.9% of $200.67m and $529m worldwide

2005’s King Kong dropped 57.6% taking $21.25m and $108.58m 49.8% of $218.1m and $550.51m worldwide

1998’s Godzilla dropped 59.1% taking $18.02m and $99.32m 72.8% of $136.31m and $379.01m worldwide

Before the arrival of the MCU that created destruction wherever they went disaster films were a summer staple, but Warner Bros should have opened Godzilla: King of the Monsters in March as they did with Kong: Skull Island and next year with Godzilla vs. Kong.

One positive for Warner Bros is that Legendary Pictures put up the majority of the budget for the films which were originally going to be jointly released by Warner Bros and Universal.

Took $47.1m from 78 territories total $213.7m and $294.6m worldwide; #484 biggest worldwide between Shutter Island and Doctor Dolittle; China: $109.7m; Japan: $16.9m; Mexico: $8m; UK: $7m; Taiwan: $6.3m; Indonesia: $6.2m; Malaysia: $4.6m; India: $3.9m; Russia: $3.8m; France: $3.8m

  • Aladdin – Disney

Dropped 42.4% in its third weekend taking $24.68m and $232.56m

Had the 3rd biggest Disney reimagination third weekend after Alice in Wonderland and The Jungle Book and is the 3rd biggest Disney reimagination after 17 days on release after The Jungle Book and Alice in Wonderland.

Disney US reimags June 11

76th biggest third weekend between Puss in Boots and The Lion King (Alice in Wonderland #27 and The Jungle Book #13

Dumbo wetted audiences’ appetite in March with Aladdin the appetizer with The Lion King the main course of Disney’s reimaginations with Maleficent: Mistress of Evil an extra bonus after it was brought forward in March from May 2020 to October 2019.

It’s not a surprise Aladdin is performing strongly despite mixed buzz ahead of release as the original animated film was the biggest film in 1992 taking $217.35m in the US (#170 biggest film in the US between The Da Vinci Code and Alvin and the Chipmunks) taking $504.1m worldwide; 2019’s Aladdin #167 biggest film in the US between Doctor Strange and The Lost World: Jurassic Park

Adjusted for inflation Aladdin is 102nd biggest film in the US taking $472.5m a similar box office to Mrs Doubtfire which opened the following year #202 biggest worldwide between Ghost and Rio 2.

27 years ago Aladdin had two weeks of platform release before expanding first into 1,131 screens in its third weekend (#2 to Home Alone 2: Lost in New York #1) and then 2,255 screens in its 7th weekend (#2 to A Few Good Men #1) taking $19.28m and $13.88m. Aladdin didn’t  become #1 until its 8th weekend (#1 for 4 out of 5 weeks of January having minimal drops until end of February 16th week).

Took $56.6m from 55 territories and $372.5m total and $604.9m worldwide #149 biggest film worldwide between Life of Pi and Transformers: The Last Knight; China $48.1m; UK $33m; Korea $27.8m; Mexico $25.7m; Spain $16.6m; Indonesia $15.2m; Russia $15.2m; Australia $15.1m; Italy $14.9m; Brazil $13.8m; Japan $12.9m; France $10.6m

  • Rocketman – Paramount Pictures

Dropped 46.3% in its second weekend taking $13.81m and $50.31m;

Second weekends

2018’s Bohemian Rhapsody dropped 38.9% taking $31.2m and $100.36m 46.4% of $218.42m and $903.65m worldwide

2018’s A Star is Born dropped 33.7% taking $28.44 and $94.6m 43.7% of $215.28m and $434.18m worldwide

2018’s Mamma Mia! Here We Go Again dropped 56.8% taking $15.1m and $70.52m 58.5% of taking $120.53m and $394.74m worldwide

2017’s The Greatest Showman increased 76.3% taking $15.52m and $49.03m 28.1% taking $174.34m and $434.99m worldwide

While Rocketman is holding similar to The Greatest Showman it won’t have the legs while it is also not travelling as well as Bohemian Rhapsody.

Rocketman opened in Russia last week opening 5th taking $712K from 1,019 cinemas; the film generated much media coverage after it was revealed the distributor had cut the gay scenes from the film blaming it on ‘homosexual propaganda’ law (about 5 minutes was removed).

Took $13m from 50 territories and $51.3m total (almost 50% from the UK $20.5%)

  • Ma – Universal Pictures

Dropped 56.8% in its second weekend taking $7.82m and $32.77m

Golding similar to 2019’s Escape Room 51% taking $9.92m and $32.45m total $57m and 2018’s Truth or Dare dropping 58.3% taking $7.79m and $30.26m total $41.41m

Ma Blumhouse Production fourth film of 2019 after Glass ($111.1m); Happy Death Day 2U ($28.1m) and Us ($175m) with The Hunt opening in September. The 41 films he has produced since 2009 (Paranormal Activity) have taken over $2.18bn in the US and $4.11bn worldwide.

Took $3m from 40 territories and $21.1m internationally  and $40.1m worldwide

  • John Wick: Chapter 3 – Parabellum – Lionsgate

Dropped 33.1% in its fourth weekend taking $7.41m and $138.67m

John Wick: Chapter 3 – Parabellum is Lionsgate’s 8th biggest film between Divergent and  Wonder and will shortly become their biggest film since The Hunger Games: Mockingjay – Part 2. Lionsgate have been searching for a new franchise ever since The Hunger Games ended in 2015 with previous attempts underwhelming.

Fourth weekends

2014’s John Wick dropped 46.2% taking $2.22m and $38.91m 09.4% of $43.03m total and $88.76m worldwide

2017’s John Wick: Chapter Two dropped 48.7% taking $4.8m and $82.94m 90.1% of $92.02m and $171.53m worldwide

Keanu Reeves has made a wide range of genres over the years; his 48 films have taken over $2.1bn over the last 33 years and $4.46bn worldwide; Keanu Reeves star power is only hung to get bigger this summer having a cameo in Netflix’s Always Be My Maybe and voicing Duke Caboom in Toy Story 4.

Took $10.1m from 85 territories and $113.6m internationally and $252.3m worldwide; #378 worldwide between True Grit and Bean; UK $10.2m; Australia $7.5m; Russia $7m; Germany $6.7m; Mexico $5.9m.

  • Avengers: Endgame – Disney

Dropped 39.4% in its seventh weekend taking $4.87m and $824.436m

Seven weeks ago when Avengers: Endgame opened with $357.11m in the US and $1.3bn worldwide in its opening weekend it was only a matter of time according to most box office analysts for the film to become the biggest film in the US and the world.

After having the biggest opening weekend, second biggest second weekend, fourth biggest third weekend and fifth biggest fourth weekend dropped down to 77th biggest sixth weekend and 146th biggest 7th weekend between Inception and Skyfall and close to Suicide Squad; (less than 1977’s Star Wars $5,239,535 #129; Wonder Woman #64;

Avengers: Infinity War #50; Marvel’s The Avengers #18; Captain Marvel #17; Avatar #1 taking $31,280,029 took 85% more than Avengers: Endgame but Avengers: Endgame did still take 25% more than Avengers: Infinity War in its 7th weekend  

Ahead of opening many expected Avengers: Endgame to have long legs as they did previously with Star Wars: The Last Jedi but while the film played strongly to fans it wasn’t as accessible to non-fans who enjoyed Black Panther and Captain Marvel.

Avengers: Endgame will have the third worst opening to total after Iron Man 3 and Captain America: Civil War, this compares to Marvel’s The Avengers 5th best with 3.01x opening; Avengers Infinity War 14th 2.63x opening and Avengers: Age of Ultron 19th 2.4x opening; the best are Guardians of the Galaxy 3.53x; Black  Panther 3.47x; Iron Man 3.23x.

If Avengers: Endgame holds similar to Avengers: Infinity War it would have taken 96.5% of its total box office in its first 7 weeks and will end with $854m but could get a boost with Spider-Man: Far From Home opening in three weeks’ time as Captain Marvel did when Avengers: Endgame opened.

Avengers: Endgame is the 2nd biggest film in the US after Star Wars: The Force Awakens ($936.66m)

Took $3.8m from 49 territories; $1.906bn and $2.730bn worldwide; China $629.1m; UK $113.4m; Korea $104.7m; Brazil $84.5m; Mexico $76.8m; Germany $61.5m; India $61.3m; France $58.1m; Australia $57.5m; Japan $52.2m

2nd biggest film worldwide between Avatar and Titanic taking $2.61bn; Disney now have 7 of the top 10 (6 from Disney, Star Wars: The Force Awakens, Black Panther, Avengers: Infinity War, Marvel’s The Avengers, Avengers: Age of Ultron and Avatar from 20th Century Fox).

Avengers: Endgame is now $57m away from overtaking Avatar now very unlikely for it to overtake Avatar or if it does it will squeeze past it late summer rather than canter past it weeks ago; Avenger: Endgame will be out of the top 10 in the US next weekend was out of the UK top 10 this weekend after only 6 weeks.

Avengers: Endgame is the culmination of 22 films over the last 11 years and should have become the world’s biggest film along with the US and UK but will come short of all three;

After opening with $1.3bn worldwide $3bn+ globally should have been expected as it should have been for Star Wars: The Force Awakens but despite all the hype, critical acclaim and strong buzz the problem is these films aren’t as good as the hype and audiences are now fickle and will move on to the next shinny new film opening a few weeks later.

After Avengers: Endgame came short of taking over Avatar worldwide now will The Lion King, if it performs as the original film did 25 years ago taking $423m in the US and $546m international it should come close as inflation inflated US BO $803m and internationally $2bn+ the original film didn’t open in China.

22 Marvel Cinematic Universe films have now taken $8.12bn in the US and $21.38bn worldwide

  • Booksmart – United Artists

Dropped 51.7% in its third weekend taking $1.59m and $17.83m

Despite losing over 1,000 screens managed to stay in the top 10 for another weekend showing word of mouth is strong and was helped with The Secret Life of Pets 2 and X-Men: Dark Phoenix opening lower than expected and Late Night opening on platform this weekend.

Sadly films like Booksmart now belong on Netflix rather than in cinemas, this us because audiences have become much more selective in the films they pay to see in cinemas and those they wait to see due to the cost of going to the cinemas today. While he industry hated Moviepass it boosted attendance for smaller films like Booksmart as people would give these films a chance as they used to a decade or more ago when it wasn’t so expensive to go to the cinema.

While critics compared Booksmart to Superbad was never going to perform as strongly as Superbad (opened $33.05m taking $121.64m) had a recognisable cast, was produced by Judd Apatow who had directed Knocked Up (opened with similar $30.69m taking $146.78m earlier in the summer).

Had Booksmart opened in August might of performed better, but United Artists might have been forced to open Booksmart in May due to it being released in selective countries on Netflix in May.

  • Late Night – Amazon Studios

Opened with $246,305 from 14 screens #16

After the disappointing opening of Booksmart Amazon opted to open on platform in New York and Los Angeles for a week going wide a week next week so Emma Thompson will have two films opening as she is also in Men in Black International.

After a strong platform will Late Night be able to build on its opening?

UK Box Office Predictions

UK BO June 18 preds

After disappointing openings for Godzilla: King of the Monsters and X-Men: Dark Phoenix are low expectations for Men In Black International opening 7 years after the third film and without either Will Smith or Tommy Lee Jones.

While it is also 22 years after the first film opening had the second biggest ever opening in the UK (£7m would be £12.5m inflation inflated) after Independence Day (£7.1m) the year before; in 1997 Men in Black was the second biggest film of the year after The Full Monty (opening 4 weeks later)

1997’s Men in Black opened £7.07m (including £800k previews) £12.54m inflation inflated and £36.2m total (£64.21m inflation inflated)

2002’s Men in Black 2 opened £6.19m (including £1.3m previews) £10.42m inflation inflated and £22.01m total (£37.05m inflation inflated)

Men in Black 3 opened May 2012 £2,935,736 (opening was hurt by hottest temperatures of the year increasing its box office in its second weekend by 3% £3,032,053 (very rarely happen) taking £7,958,460 after 10 days and £21,750,343 total.

Rumours of a fourth Men in Black film started after the release of the third film in 2012 with ideas of a Men In Black Jump Street crossover but they had script issues as the tone of the two films was very different. Instead they moved forward with an international Men in Black film set in London.

Starring Chris Hemsworth and Tessa Thompson (have starred in several MCU films together); only question is will non film events surrounding both Liam Neeson and Emma Thompson earlier this year have any effect on the films box office; Emma Thompson starred in Late Night last week which had a disappointing opening (£425,742).

Recent franchise reboots Ghostbusters and Terminator: Genisys failed to have similar success of the original films ad it is 22 years since the first film opened. While fourth parts of franchises often underperform Shrek Forever After, Pirates of the Caribbean: On Stranger Tides, and Transformers: Age of Extinction.

After poor buzz X-Men: Dark Phoenix will likely suffer similar second weekend drop as Godzilla: King of the Monsters did in its second weekend with Aladdin holding steady in its fourth weekend before the arrival of Toy Story 4 next week.

Rocketman and The Secret Life of Pets 2 will have similar holds

The only other new entry into the top 10 could be Diego Maradona documentary directed by Asif Kapadia.

Asif Kapadia previously directed 2010’s Senna opened with £375,000 from 67 screens taking £3.17m; 2015’s Amy opened with £397,000 from 133 screens (including £127,000 previews) taking £3.73m.

Opening in UK Next Week

  • Toy Story 4 – Disney

The fourth film in Pixar’s Toy Story series and the sequel to 2010’s Toy Story 3 which was expected to be the final film of the series; featuring voices of Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keegan-Michael Key, Jordan Peele, Joan Cusack, Wallace Shawn, John Ratzenberger, Don Rickles, Keanu Reeves, and Christina Hendricks and directed by Josh Cooley.

In a 2010 interview Lee Unkrich said Pixar had no plans for a fourth film after the release of Toy Story 3 which felt like the end of the saga saying “it was really important to me with this film that we not just create another sequel, that it not just be another appendage coming off of the other two”.

Despite his comment were still rumours of a sequel and Tom Hanks said in an interview in 2011 that he believed Pixar were working on a sequel to be released in 2015 but in 2013 Disney denied the rumours.

Toy Story 4 was officially announced in November 2014 which was poorly received by fans as the ending of Toy Story 3 was perfect.

In 2018 Tim Allen described the film’s story was “so emotional” “couldn’t even get through the last scene”, Tom Hanks had a similar reaction saying the film’s ending scene was a “moment in history”, but we thought the same at the end of Toy Story 3 when Andy gives his toys to Bonnie.

In 2014 Toy Story 4 was set for release in June 2017 but in 2015 was switched with Cars 3 and moved to June 2018 but then in 2016 was switched with Incredibles 2 and moved to June 2019.

Footage was first screened at CineEurope 2018 with the first teaser trailer released in November 12th, 2018, a teaser reaction trailer was released the next day; a second teaser was screened during the Superbowl in February, the trailer was released on March 19th with international trailer the next week. In April at CinemCon the first 17 minutes were shown getting a positive reaction.

On The Ellen DeGeneres Show last month Tom Hanks said it would be the final film of the series and that he and Tim Allen had “warned him about the emotional final goodbye between their characters Woody and Buzz Lightyear in Toy Story 4”. (but the same was said after Toy Story 3)

Pixar’s Mark Nielsen said “Every film we make, we treat it like it’s the first and the last film we’re ever going to make, so you force yourself to make it hold up. You don’t get in over your skis. Whether there’s another one? I don’t know. If there is, it’s tomorrow’s problem.”

Pixar have said after Toy Story 4 they will concentrate on making original animated films rather than sequels which they have made quite a few of over recent years.

Normally Disney open their summer animated film just before the start of the summer holidays so the film can play throughout the holidays but with The Lion King opening July 19th are opening Toy Story 4 day and date with the US. Illumination Entertainment have had strong success releasing their summer animated film in June ahead of Disney despite children still in school.

Pixar UK BO June 11

Toy Story 4 is the first Pixar film to open day and date with the US all others have been held back to open ahead of school holidays, while Illumination Entertainment have had success releasing films this way it’s the first time Disney have done so with an animated film.

As with The Secret Life of Pets 2, The Lego Movie 2: The Second Part and How to Train Your Dragon: The Hidden World Toy Story 4 opens without the normal weekend previews have become regular for most children’s films over the decade artificially inflated their openings. Toy Story 3 opened with £21,187,264 in July 2010 including £9,693,440 (46% from previews)

Toy Story opened in March 1996 (5 months after US) with £4,594,454 (£8,965,394 inflation inflated) taking £22,297,733 (£43,510,711 inflation inflated)

Toy Story 2 opened February 2000 (3 months after US) with £7,758,936 (£12,731,709 inflation inflated) taking £44,306,070 (£72,702,233 inflation inflated)

Toy Story 3 opened July 2010 (1 month after US) with £21,187,264 (£25,709,588 inflation inflated) taking £73,405,113 (£89,073,095 inflation inflated)

In 2010 To Story 3 was Disney’s biggest ever film in the UK (until Star Wars: The Force Awakens  in 2015) previous highest was 2006’s Pirates of the Caribbean: Dead Man’s Chest (£51,998,590)

Toy Story 3 was in the top 5 for 9 weeks (taking £1m+ for 6 weeks) and in the top 10 for 12 weeks (taking £261,359 in its 12th weekend)

20 Pixar films have taken almost £620m in the UK and almost £820m inflation inflated.

2012’s Harry Potter and the Deathly Hallows Part 2 opened with £23,753,171 (£28,299,983 inflation inflated); 2017’s Beauty and the Beast opened with £19,700,000 and 2011’s Harry Potter and the Deathly Hallows Part 1 with £18,319,721 (£22,229,981 inflation inflated);  all without previews and Toy Story 4 will likely open with £23m+ over its opening weekend.

Previous biggest opening for an animated film without previews was 2007’s Shrek The Third £16,671,727 (£23,835,618 inflation inflated).

  • Brightburn – Sony Pictures

Superhero horror starring Elizabeth Banks, David Denman, Jackson A. Dunn, Matt Jones and Meredith Hagner and directed by David Yarovesky.

Was originally announced in December 2017 as untitled James Gunn horror project before he was dropped by Marvel Studios from Guardians of the Galaxy Vol. 3 (he was later reinstated).

Was original going to be promoted at Comic Con but it was pulled after James Gunn was removed from Guardians of the Galaxy Vol. 3 and its release date was moved from November 30th to May 24th; the first trailer was released in December receiving positive respond describing it a Superman horror film

  • Child’s Play – Verve

Slasher horror starring Aubrey Plaza, Gabriel Bateman, Brian Tyree Henry and Mark Hamill and directed by Lars Klevberg; it’s a remake and reboot of the 1988 film.

Was officially announced in July 2018, 10 years earlier there was talk of a reboot which was originally going to be darker which was cancelled after the poor reception of horror remakes A Nightmare on Elm Street and Friday the 13th.

The first trailer was released in February, the second trailer and poster were released in April as a parody of Toy Story 4.

Child’s Play films were surrounded by controversy  in the UK after Child’s Play 3 was seen as the “inspiration” for two murders in the United Kingdom but Tom Holland, in response to both murders, defended the film, stating that viewers of horror movies could only be influenced by their content if they were “unbalanced to begin with.”

We will sorely have a screening of Child’s Play “accidently” played instead of Toy Story 4 in front of screaming children and will generate much media coverage as often still seems to happen despite cinemas now all digital.

Opening in US Next Week

  • Toy Story 4 – Disney

Early tracking for Toy Story 4 was expected to open between $100m-$150m but with advance bookings in its first 24 hours on Fandango breaking previous records for Incredibles 2 last year is likely to open bigger than Incredibles 2 ($182.68m).

The only thing working against it is that opens only two weeks after The Secret Life of Pets 2, Incredibles 2 didn’t have any competition until Hotel Transylvania 3: Summer Vacation opened a month later.

Pixar US BO June 11

Toy Story trilogy has taken $883.35m in the US and $1.97bn worldwide

20 Pixar films have taken $5.47bn in the US and $13.22bn worldwide since 1995

Toy Story 2 ($97.38m) opened 97% bigger than Toy Story ($29.14m) and Toy Story 3 ($110.3m) opened 92% bigger than Toy Story 2 ($97.38m)

Finding Dory ($70.25m) opened 92% bigger than Finding Nemo ($135.1m)

Incredibles 2 ($70.4m) opened 159% bigger than Incredibles ($182.6m)

If Toy Story 4 opened 92% bigger than Toy Story 3 would be looking at opening of $210m+

Toy Story took $191.79m in the US and $374.6m worldwide

Toy Story 2 took $245.85m in the US and $597.4m worldwide

Toy Story 3 took $415m in the US and $1.067bn worldwide

Early buzz has been very positive saying that it has the normally nostalgic elements Disney films have lately and many tearjerker moments, it definite feels like the end for Woody and Buzz but could be the start of many spinoffs, but do say its not as good as the third film.

The Secret Life of Pets 2 having a disappointing opening will help Toy Story 4

  • Child’s Play – United Artists

Tracking to open between $18m-$25m

The five Child’s Play films took $126.12m in the US and $176m worldwide; its 31 years ago since the first film was released and 15 years ago since the last film so impossible to compare with current box office.

  • Anna -Lionsgate

Crime action thriller starring Sasha Luss, Luke Evans, Cillian Murphy, and Helen Mirren and  written, produced and directed by Luc Besson.

Trailer feels like it’s the Black Widow film audiences have been waiting to see since her first appearance in Iron Man 2, surprising it has taken Marvel ten years to make a Black Widow film especially as Scarlett Johansson also starred in the similar film Lucy in 2014 also directed by Luc Besson.

Anna could also be seen as a female Taken Luc Besson he also produced and John Wick and is also similar to TV series Killing Eve

Luc Besson has had strong female characters in many of his films; 1985’s Subway; 1990’s La Femme Nikita (John Badham directed Point of No Return US remake in 1993 starring Bridget Fonda); 1994’s Léon: The Professional; 1997’s The Fifth Element; 1999’s The Messenger;  The Story of Joan of Arc;  2011’s The Lady; 2014’s Lucy and now 2019’s Anna.

2014’s Lucy opened $43.89m taking $126.66m

1997’s The Fifth Element opened $17.03m taking $63.82m

1994’s The Professional opened $5.3m taking $19.5m

Luc Besson films have taken $327.1m in the US and $1.22bn worldwide

Anna is Luc Besson’s first film since 2017’s Valerian and the City of a Thousand Planets which took $225m worldwide but flopped in the US opening against Dunkirk and Girls Trip with Anna Luc Besson has gone back to his roots a female action film.

As all the other original films this summer its likely to be squeezed at the box office opening with less than $10m

  • Wild Rose – Neon

Musical drama starring Jessie Buckley, Julie Walters, Sophie Okonedo, Jamie Sives, Craig Parkinson, James Harkness, Janey Godley, Daisy Littlefeld and directed by Tom Harper; had its world premiere at the Toronto International Film Festival receiving positive reviews (89% Rotten Tomatoes) and was released in the UK in April.

 

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