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‘Teenage Mutant Ninja Turtles’ Brings in a Whopping $25.6M – Box Office News

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(Forbes) Paramount’s Teenage Mutant Ninja Turtles turtle-powered its way to a terrific $25.6 million opening Friday, including $4.6m on Thursday. Brief digression: For a summer box office that’s allegedly in some kind of slump, this is the fourth week of terrific debuts for the would-be new release. Will pundits still cry foul if this August turns out to be the biggest on record?  Anyway, Teenage Mutant Ninja Turtles, the $125m franchise reboot produced by Michael Bay, directed by Jonathan Liebesman, and starring Megan Fox, was projected to open at around $40-$45m over its debut weekend. But even with poor reviews and Guardians of the Galaxy offering buzz-stealing competition, the TMNT revamp is on track to earn around $60m-65m for the weekend. This is frankly the kind of “We should have seen this coming!” box office surprise that makes this game fun.

Left to right: Michelangelo, Raphael, Leonardo, and Donatello in TEENAGE MUTANT NINJA TURTLES, from Paramount Pictures and Nickelodeon Movies.

The big question for the weekend is how much the film plays like a kid-centric hit (with really strong Saturday matinee business and thus a higher multiplier) or a general hit (with the now standard 2.5x multiplier). 2.5x gives the film a robust $64m while 2.75x gives the film a somewhat insane $70m for the frame. But either way this is a dynamite debut weekend for a project that was the object of scorn from the moment of its inception. What was Paramount’s marketing strategy?  No Fear. They didn’t respond to critics and pundits decrying Michael Bay as the ruiner of childhoods, the weird new designs, or who was or wasn’t playing Shredder and if the turtles were or were not aliens. Paramount knew that the vast majority of moviegoers (and in this case younger moviegoers who discovered the title characters through the newest animated incarnation) weren’t going to care about that stuff, even if a clearly “tinkered and re-shot in post production” final product implies that someone did.

SEE ALSO:The Hunger Games: Mockingjay – Part 1’ teaser trailer (WATCH NOW)

Paramount also deserves kudos for a relatively restrained and exquisitely timed campaign. They dropped the first teaser on the opening weekend of Captain America: The Winter Soldier, guaranteeing that most of the $95 million-worth of ticket buyers saw the teaser to the upcoming TMNT movie. Then they waited, not dropping another wholly new trailer until the end of June right in time to be attached to their own Transformers: Age of Extinction, guaranteeing that every single ticket-buyer to Michael Bay’s fourth robot-smashing adventure would see the second TMNT trailer. Other than that, it was just a few TV spots and a well-timed “Shell Shocked” rap video that brought back nostalgic memories (and thus free advertising surrounding the new film) for Vanilla Ice “Go Ninja, Go!” rap video for Teenage Mutant Ninja Turtles II: The Secret of the Ooze back in 1991.

TEENAGE MUTANT NINJA TURTLES (2014) - Image Credit: Industrial Light & Magic

Paramount knew the characters are iconic enough to drive the curious, the fanatic, and the general movie goer into the theater with the same indifference to critical notices that drove Transformers 4 to a $100m debut. The only “flaw,” is that the film needlessly ended up with a PG-13, as the picture could have played even stronger to even younger children with a mostly-appropriate PG rating. Still, it was a pretty terrific campaign, certainly out in full force via various tie-ins (Pizza Hut, Pringles, etc.) and cross-promotions, but it was able to saturate the demographics and make everyone aware of the film without blatantly revealing much of the film’s plot or visual beats. The film played 61% male and 55% over-25 years old.

There were three other wide releases this weekend. The next biggest debut was Warner Bros.’ (Time Warner, Inc.) Into the Storm. The $50 million New Line Cinema/Village Roadshow tornado drama, positioned as a found footage Twister for the YouTube era, earned a relatively solid $6.5m on its opening day, including $800k worth of Thursday previews. The film should end the weekend with around $17m, which isn’t remotely shabby considering what a low-profile release it is. The Hundred-Foot Journey, from Walt Disney, earned $3.65m on is opening day. The Helen Mirren foodie drama is set to earn around $10m over its debut weekend, which isn’t terrible for the $22m Lasse Hallstrom picture. Disney was arguably hoping this one would be the proverbial Jules and Julia or Hope Springs of summer 2013. Although Helen Mirren isn’t quite the box office draw of Meryl Streep, we could still see a 4x weekend-to-final multiplier which would give the film around $40m by the time it leaves domestic theaters.

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Step Up: All In earned just $2.84 million on its opening day for a probable $8m debut weekend. The fifth entry in the long-running dancing-and-drama series (the first three were Disney, the last two were distributed by Lionsgate) has sadly failed to build its audience over the last eight years, with each film opening less and earning less domestically than the prior installment. The good news is that this series is the kind that burns up the box office overseas, as the last three entries earned $140m+ worldwide without breaking $60m stateside. It’s the Resident Evil of hip-hop dance adventures. These films are a lot of dumb fun showcasing some stupidly talented dancers, and this fifth one is one of the best of the franchise (Step Up 3D is still the Empire Strikes Back of Step Up films). I don’t know the budget this time around (Step Up: Revolution cost $33m), but the film has already made $26m overseas prior to its US debut. In a world of mega-budget franchises, I’m quite glad a true B-movie franchise like this exists. I hope we still get Step Up: The Way of All Flesh in summer 2016.

In holdover news, we might want to put a moratorium on think pieces about all the wonderful lessons from Guardians of the Galaxy. Despite rave reviews and white-hot buzz, the Marvel adventure is still set to take a now-standard 55-60% tumble in weekend two. The film earned around $12.33 million on its second Friday, down 67% from last Friday (down 53% not counting the Thursday preview grosses) and bringing the film’s domestic total up to $146.7m. At best the film ends up with $40-$43m (-54% to -57% from last weekend’s $94m debut) for the frame, although that presupposes that the unquestionably overperforming Teenage Mutant Ninja Turtles won’t leach the family audience today.

The opening last weekend was still a triumph of marketing and I still adore the film, but the fact that it didn’t hold much better than the likes of Amazing Spider-Man 2 (-61%) or Transformers 4 (-63%) may mean its merely another triumph of front-loaded interest and top-notch marketing as opposed to hitting any kind of cultural zeitgeist. But, and this is a very big “but,” it’ll still be at around $175m by tomorrow and it still may end up the year’s biggest-grossing domestic hit. That is nothing to sneeze at in any way, shape, or form. Yet the fact that the film didn’t display much staying power and the fact that we’re celebrating a film that debuted with $94m presumably hitting $250m-$260m domestic says something about the current marketplace.

Scarlett Johansson’s Lucy is falling pretty fast, having earned $2.8 million on Friday, setting itself up for a $9m weekend (-51% from last weekend). Still, the $40m Luc Besson thriller will cross $100m sometime in the middle of next week. Dwayne Johnson’s Hercules is falling hard too, with Paramount’s Brett Ratner-helmed project earning just $1.3m on its third Friday as it bleeds 662 screens in its third frame. Expect a $4m weekend and a $62m 17-day total, although the $110m picture was at $114m worldwide heading into the weekend.

Get On Up is falling hard too, with not enough buzz to hold strong after a somewhat weak opening weekend. The $30m James Brown biopic from Universal earned $1.5m on its second Friday (-66% from last Friday) and should earn $5.5m for the frame to push the film to $23m.  Dawn of the Planet of the Apes should earn around $4.5m on its third weekend (-48%) after earning $1.25m today.  Expect a new $198m domestic cume. It’s also at $451m worldwide going into the weekend, so I’m sure Fox isn’t too upset. The $170m sequel may even surpass the $480m global cume of Rise of the Planet of the Apes by tomorrow. Finally Disney’s Planes: Fire and Rescue should earn about $2.6m for the weekend to bring its domestic cume to $53m. No great shakes, but not a disaster either.

News Source: Forbes

Dawn of the Planet of the Apes: Box Office News

Published by EOTM News Editor on July 13th, 2014 - in Box Office News, Entertainment News, Film News, Movies

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Box Office: ‘Dawn Of The Planet Of The Apes’ Grosses $73M Weekend

Dawn of the Planet of the Apes debuted with a terrific $73 million. That includes $4.1m in Thursday previews and a $27.7m opening Friday. The 20th Century Fox (a division of 21st Century Fox , Inc.) sequel, which cost $170m to produce, opened well above the $54.8m debut weekend scored by Rise of the Planet of the Apes in August 2011. While some of the bump can be attributed to the sequel going 3D (Rise was straight 2D), this is still a case of a sequel breaking out. Rise of the Planet of the Apes had a strong 2.8x weekend multiplier, while the sequel had a surprisingly robust 2.63x, including a drop of just 5% on Saturday. Heck, if you knock off the Thursday previews, Dawn of the Planet of the Apes made more on Saturday (about $26m) than it did during normal Friday business hours ($23.6m). This is why weekend multipliers matter.

Image credit: FOX

Dawn of the Planet of the Apes, which features Andy Serkis and Gary Oldman in a saga taking place ten years after humanity has been mostly wiped out, jumped 33% from the opening weekend of Rise of the Planet of the Apes, which would put it above Iron Man 2 (25%) and Thor: The Dark World (32%). The 2D-to-3D explains some of the bounce (Iron Man 3 jumped 35% from the opening weekend of Iron Man 2), but thus far this is somewhat capitalizing on the positive buzz and slow-build success of Rise of the Planet of the Apes three years ago. That film earned $176m domestic and $481m worldwide, the second-biggest August release ever. Barring a complete collapse (unlikely with the strong weekend multiplier and relatively light July slate), Dawn of the Planet of the Apes, which played 36% 3D and 8% PLF, should cross $200m domestic.

SEE ALSO:‘Think Like a Man Too’ Lackluster effort when compared to it’s Predecessor

It opened with $31.1 million in 26 markets overseas this weekend for a $104m worldwide debut. Overseas is an open question, but Fox’s unmatched overseas muscle means that I cannot imagine the film not crossing $500m worldwide. Rise of the Planet of the Apes (and The Help) basically closed out the summer 2011 box office season, resulting in a strong 3.25 weekend-to-final multiplier. A similar run, however unlikely, would give the sequel $240 million domestic. It will have to face an uncommonly strong August this time around (Guardians of the GalaxyTeenage Mutant Ninja TurtlesSin City 2Expendables 3). Nonetheless, the comparatively leggy opening weekend, strong reviews, and strong buzz points to a healthy theatrical run.

The Apes franchise has always been a popular one, be it the original five-film series starting in 1968 to Tim Burton’s Planet of the Apes remake back in 2001. Yes, said Mark Wahlberg adventure (which basically invented the reboot) was pretty bad, but it scored the second-biggest opening weekend of all-time back then with $69m (it would be about $106m today with 3D and inflation). The series has always been a useful vessel for political/social commentary (this one offers a potent and timely lesson in the seductive power of firearms), even if said topicality is now status quo for most big-scale blockbusters. The film played 47% Caucasian, 23% African-American, 16% Hispanic, and 14% Asian. It played 58% male and 45% over-25 years old. The franchise remains a popular way for audiences to spend two hours thinking about how horrible humanity is.

In limited release news, Richard Linklater’s Boyhood debuted on five screens this weekend. The obscenely well-reviewed “shot over twelve years chronicling a single child growing up” drama earned $358,000 over the weekend, for a robust $71,000 per-screen average. The IFC film will allegedly expand next weekend. The good news is that the film had the second-best limited debut of the year, behind The Grand Budapest Hotel. The “bad” news is that this debut tells you little about how the film will play over the course of its run. It’s a 2.45 hour narrative experiment with no major box office draws. It could top out at $6m or it could catch on by selling to the kinds of families it (relatively speaking) represents. Either way, the fact that it got made (especially considering how it was made) is the only victory that matters here.   

The rest is holdover news. Tammy earned another $12.9 million as the Melissa McCarthy comedy dropped just 40% from last weekend. The $20m New Line/Warner Bros. (a division of Time Warner, Inc.) comedy, written off as a flop, has now earned $57.354m domestically. If it can survive Sex Tape next weekend, it has a real shot at $80m-$85m. Paramount’s Transformers: Age of Extinction earned $16.5m (-55%) over its third weekend, bringing its cume to $209m. The Mark Wahlberg film is sinking fast and should end its domestic run with $240m, about on par with Pirates of the Caribbean: On Stranger Tides. Like that (horrible horrible) fourth sequel, the film’s domestic franchise fatigue (the other Transformers films earned $319m, $408m, and $352m respectively) is being compensated for overseas, as the Michael Bay sequel has earned $752m worldwide and still has a shot at that magic $1 billion mark.

DreamWorks Animation’s How To Train Your Dragon 2 earned another $5.87 million on its fifth weekend (-37%), bringing what is still the summer’s best “big” movie up to $152m. It’s finally showing something resembling legs just before Walt Disney’s Planes: Fire and Rescue comes to extinguish it next weekend. On the plus side, it has earned $350m worldwide as of today. Sony’s  22 Jump Street earned  $6.7m on its fifth weekend for a new $171.9m domestic cume, just passing the $169m gross of Bridesmaids. It probably won’t cross $200m domestic, but it will triple its $57m opening weekend and is already one of the biggest R-rated comedies ever. It has also earned $250m worldwide.

Relativity’s Earth To Echo earned $5.5m on its second weekend (-36%). The kid-centric sci-fi adventure has now earned $24.59m domestic.  Jersey Boys has now topped $41m, making it the second-biggest grossing film (behind the $90m Mystic River) that Clint Eastwood has directed without starring in.  Deliver Us From Evil earned $4.7m (-50%), which isn’t a bad drop for a horror title. The supernatural police procedural brought its domestic cume to $25m, with its utter devastation coming next weekend at the hands of The Purge: Anarchy.

Of note, Dinesh D’souza’s America dropped just 11% in its second weekend, bringing in $2.4m and bringing its cume to $8.267m. It’s not going to challenge Michael Moore’s Fahrenheit 9/11 ($119m), but getting over/under D’souza’s 2016: Obama’s America ($33m) isn’t out of the question. Walt Disney’s Maleficent earned around $4m (-34%) on weekend six. The Angelina Jolie fantasy has a new domestic cume of $221m. At this rate, it will catch up to X-Men: Days of Future Past ($229m) domestically. With $668m worldwide and going strong, it may-well end up one of the summer’s top global grossers (possibly passing the $733m-and-counting cume for X-Men: Days of Future Past) and one of the most cost-to-gross profitable films of the would-be tent poles (it has earned 3.71x its $180m budget).

The Mark Ruffalo/Keira Knightley musical romance Begin Again expanded to 932 theaters this weekend and earned $2.9m over the frame, with a new domestic cume of $5.2m. Think Like A Man Too earned $2.5m (-49%) over the weekend for a new domestic cume of $61.9m for the $24m comedy sequel. Tom Cruise’s Edge of Tomorrow earned another $1.865m, bringing its domestic cume to $94.5m. It has earned $256m overseas for a $350m worldwide cume. Universal’s Neighbors has crossed $251m worldwide on an $18m budget. Oh, and The Fault in Our Stars has earned $119m domestic and $117m overseas for a $237m cume on a $12m budget.

That’s it for this weekend. It’s another busy frame next weekend as Walt Disney’s Planes: Fire and Rescue (seeing it tonight, review tomorrow or Tuesday) squares off against Universal’s The Purge: Anarchy (review Thursday) and Sony’s Cameron Diaz/Jason Segal farce Sex Tape.

Top-Ten list courtesy of Rentrak.

Box Office News courtesy of Forbes

Transformers: Age of Extinction — In Theaters Tomorrow!

By Dorothy Frazier

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‘Transformers: Age of Extinction’

Transformers: Age of Extinction, the fourth installment is here and it’s good, doesn’t get any better than this! Our destruction, the world extinction that is!

The father-daughter story line features Mark Wahlberg, and Nicola Peltz; Jack Reynor portrays Peltz’s onscreen boyfriend; and comedian Miller is Wahlberg’s adorable sidekick. Actor Tyrese Gibson is back for the ride too in a couple cameos of car chase scenes and ear splitting sounds of explosions and gun fire – bang bang!

Paramount Pictures

Transformers: Age of Extinction - Credit: Paramount Pictures

The series continues in an devastating aftermath of the fight for humanity with a survivor group set out to alter the course of history as an ancient evil plots the destruction of mankind. I so would be part of that group, if this was real life. They ROCK and Marky Mark is so freakin HOTT!

Transformers -- Paramount Pictures

SEE ALSO:The Odds Are Never In Our Favor – More Absolute Misery & Tyranny, Hunger Games: Mockingjay – Part 1 Posters

The film is set to open tomorrow June 27th and it’s in 3D!! Check out the extended trailer below. Do you plan on seeing Transformers this weekend? Are you a diehard like me? Share with in the comments below and follow us on Twitter @eotmonline.

This is a kick ass trailer!

Club W

Captain America 2: One Of The Best Action Movies EVER!!!

Published by EOTM News Editor on April 4th, 2014 - in Box Office News, Entertainment News, Film News, Movies

Captain America 2 -- Credit: Marvel Comics

At The Movies: “Captain America” and “Enemy” (via Repost Video News)

Movie critic Michael Cook joins Fox 16 Good Day to review “Captain America: The Winter Soldier” and “Enemy”.

 

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Is ‘Divergent’ the new ‘Hunger Games?’ – Movie News

Published by EOTM News Editor on March 22nd, 2014 - in Box Office News, Entertainment News, Film News, Movies

Photo credit: Jaap Buitendijk; Murray Close

Is ‘Divergent’ the new ‘Hunger Games?’ (via CNN Video)

CNN talks to Shailene Woodley and Theo James about “Divergent.” Find out what you need to know to get ready for the film.

 

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Box Office: ‘Wolf of Wall Street’ Set to Devour ’47 Ronin

Published by EOTM News Editor on December 26th, 2013 - in Box Office News, Entertainment News, Film News, Movies

Photo credit: Universal

Box Office: ‘Wolf of Wall Street’ Set to Devour ’47 Ronin,’ ‘Walter Mitty’ on Crowded Christmas (via http://politicalthrill.com)

By Pamela McClintock Martin Scorsese’s movie opens opposite five Christmas Day titles: Universal’s ill-fated “47 Ronin,” Ben Stiller’s $91 million gamble “The Secret Life of Walter Mitty,” Justin Bieber’s troubled concert doc “Believe…

 

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Good Year for African Americans in Film | Box Office

Jacob Latimore (left), Angela Basset, Jennifer Hudson and Forest Whitaker power through the season in Kasi Lemmons' Black Nativity, a Christmas movie musical based on Langston Hughes' gospel oratorio. -- Photo credit: Phil Bray/Fox Searchlight Pictures

Good Year for African Americans in Film (via AP Video)

The stars of the holiday film ‘Black Nativity’ say it’s been a good year for African Americans in movies. (Nov. 22)

 

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‘Catching Fire’ Ignites the Box Office

Katniss Everdeen (Jennifer Lawrence, right), Effie Trinket (Elizabeth Banks, center) and Peeta Mellark (Josh Hutcherson, left) in 'The Hunger Games: Catching Fire' Lionsgate

Rentrak Announces Worldwide Box Office Results for Weekend of Nov. 24, 2013 (via PR Newswire)

–Only Rentrak Provides the Global Standard in Box Office Reporting– Download image Rentrak is the entertainment industry’s premier provider of worldwide consumer viewership information, measuring movie and television content everywhere the consumer…

 

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‘Gravity’ Movie Review

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As you would have guessed from the trailers, with Gravity director Alfonso Cuarón has made a horrifying movie about being stranded in space. But the best—and most surprising—thing about Gravity is that it’s also tasteful and elegant. It’s the minimalist blockbuster you never knew you’d been longing for.

'Gravity' Credit: Warner Bros. Pictures

 

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