Weekend Box Office Report: ‘The Martian’ Is Back On Top

26 Oct 2015 | Author: | No comments yet »

‘Steve Jobs,’ Vin Diesel disappoint at the box office; ‘Martian’ flies back to No. 1.

Paranormal Activity: The Ghost Dimension, the sixth instalment in the low-fi, low-budget horror series, takes place in the lead-up to Christmas in 2013. The science fiction drama with Matt Damon earned just under $16-million, while last weekend’s leader — the horror comedy, Goosebumps, with Jack Black — slipped to second place with $15-million.

In a weekend filled with five new wide releases, it was the holdovers that came out on top, with The Martian retaking first place in its fourth weekend.Although Vin Diesel’s latest movie and the latest Paranormal Activity offering entered the box office charts this weekend, the two new entries didn’t manage to unseat Goosebumps from the top slot, as The Martian retook the number one slot by pulling in another 15.9 million dollars. Universal’s “Steve Jobs” — directed by Danny Boyle, written by Aaron Sorkin and starring Michael Fassbender as the Apple co-founder — had the highest per-screen grosses of the year when it opened in four theaters two week ago, and it was projected to be the No. 1 film when it expanded over the weekend to 2,493 theaters in North America. By cutting theater chains in on digital revenues, Paramount, the studio behind the horror franchise, was allowed to release the film online 17 days after it left most screens. But the $30 million biopic, which averaged an A-minus grade from the audience polling firm CinemaScore, could do no better than seventh at the weekend box office, with an estimated $7.3 million in ticket sales in the U.S. and Canada.

It could have revolutionized the movie business, offering up a new model for the way that Hollywood releases its more modestly budgeted offerings for mass consumption. The Last Witch Hunter fared the best out of the newcomers, but while the Vin Diesel fantasy was expected to open in the mid to high teens, it only managed to scrape together an estimated $10.8 million for a fourth-place finish with a B- CinemaScore. It is closely related to the third film and its characters, and it has a resolution of sorts, a kind of closure that leaves open the faint, uncalled-for possibility of future movies. introduces us to Ryan Fleege (Chris J.

In the case of “Steve Jobs,” Universal “never actually went out and said, ‘Here is what we think we are going to do this weekend,’ ” said Nick Carpou, the studio’s president of domestic distribution, in challenging reports that the film had fallen short of expectations. “Steve Jobs,” he said, is not your typical wide release. “This is a long-haul project for us. That was the worst kick-off in the franchise’s six-film history and significantly below tracking that suggested it might open to $20 million if it had more screens. “My gut reaction was it probably wasn’t worth it to alienate theater owners,” said Jeff Bock, an analyst with Exhibitor Relations. “But the franchise was dying so it probably seemed like a good idea to try to change things up.” The bad blood that erupted may make other studios leery of trying to mess around with distribution models. She’s not just restless and fixated on an unseen friend – Toby, a familiar entity from past films – she’s also burying rosaries and burning Bibles.

It is absolutely doing very, very well in upscale, sophisticated major markets.” Last week’s No. 1 movie, Sony Pictures Animation’s “Goosebumps,” based on R.L. In 2011, Universal was eager to see if they could get customers to part with $60 to watch “Tower Heist” in their homes three weeks after the comedy hit theaters. The Fleeges start using the video camera themselves, realising that it makes paranormal phenomena visible amidst the Christmas decorations, fairy lights and religious motifs.

As is often the case in found-footage horror, technology – retro and glitchy though it is in this case – seems somehow implicated in the haunting, beyond the unsettling things it records. The same studio also scored with “Hotel Transylvania 2,” which dropped only 29 percent in its fifth weekend; it finished in fifth, adding $9 million to its total gross, now $148.3 million. Just as they did when Netflix’s “Beasts of No Nation” whiffed in theaters after debuting simultaneously on the company’s streaming service, look for certain sectors of the exhibition community to label the “Paranormal” experiment as a failed one and to argue that theatrical windows should not shrink. Jem’s $1.3 million debut and Kasbah’s $1.5 million make them the third and fourth worst wide-release openings in box office history, clocking in behind 2012’s Oogieloves In The Big Balloon Adventure ($443,901) and 2008’s Delgo ($511,920). Customers didn’t appear to be staying away because the film could be available to watch at home in a matter of weeks as opposed to the standard 90 days.

The movie is bogged down in explication, background and joining the dots, in a feedback loop of found footage and footage of people filming themselves watching found footage, augmented by a succession of thumps, bumps and apparitions depicted in the muddy depths of night. Of the weekend’s new releases, the Lionsgate thriller “The Last Witch Hunter” starring Diesel as an immortal witch hunter did the best, taking in $10.8 million on 3,082 screens to finish at No. 4. “The Last Witch Hunter” failed to impress critics or audiences, earning positive reviews from a paltry 14 percent of critics on Rotten Tomatoes and a B-minus from CinemaScore. The family dynamic has little to offer: there’s not much of interest in the relationship between Ryan and Emily, nothing that gives the film any additional resonance. The chain was the weekend’s best performing circuit, producing $15 million in revenue, with the “Paranormal” sequel accounting for $3.1 million of that figure, the most of any film it showed.

The last one, 2014’s “Paranormal Activity: The Marked Ones,” opened with $18.3 million. “Ghost Dimension” did appear on 55 percent fewer screens than “The Marked Ones.” Several theater chains including Regal and Cinemark didn’t show the new film. The studio will have a second chance to experiment with its unorthodox distribution strategy next weekend when “Scouts Guide to the Zombie Apocalypse” debuts at AMC and other sympathetic chains.

Marketing costs continue to rise and they would like to see smaller films debut on-demand and on disc earlier so they can piggy back on the promotional roll out for their theatrical releases. They’re not looking to play around with the distribution patterns for pictures like “Jurassic World” or “Avengers: Age of Ultron,” just smaller films that often struggle to attract big crowds. It is also true with a CinemaScore like that and the qualities of the film that resonated most, there is life in this film in ancillary markets later.” Of the new art house releases, Focus Features’ historical drama “Suffragette” starring Cary Mulligan earned an estimated $77,000 in just four theaters for a per-screen average of $19,250, the weekend’s highest. That’s costly for studios, it puts them in an even deeper financial hole and it makes them less likely to back pictures that aren’t sequels or comic book adaptations.

Theatrical exclusivity is seen as an important advantage at a time when digital forms of entertainment are dominant, streaming services like Netflix offer easy and cheap access to content, and television overflows with a wealth of high-quality shows. They fear ceding ground by allowing studios to collapse the window between a film’s theatrical debut and its home entertainment launch would be catastrophic.

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