Eric Prime

Fifty Shades 1372 3205 42.81% Peter Rabbit 339 1292 13.78% 15:17 to Paris 48 1131 2.65% There's no good comps for Darker. Peter Rabbit is 72% of Wonder sans previews ($19.3M), 63% of Coco's 3-Day ($32.1M), and 222% of Paddington 2's 3-Day sans previews ($23.6M). 15:17 is 192% of MBU sans previews ($23.2M), 369% of Marshall ($11.1M), 133% of The Foreigner sans previews ($16.4M), 218% of Roman Israel ($9.7M), and 76% of The Commuter's 3-Day sans previews ($9.9M) Clint, you in danger girl.

Well, they hold stake in it, alongside Time Warner, Fox, and NBCU

They do. It's called Hulu.

@CoolioD1 Alright, I think you're now allowed to be excited about this again...I think.

Every movie needs the V tbh. It would make every film a mastapeece

http://www.indiewire.com/2018/02/what-we-do-in-the-shadows-tv-cast-doug-jones-beanie-feldstein-1201926242/ @aabattery BEANIE FELDSTEIN AND DOUG MOTHAFUCKIN JONES ARE JOINING THE WWDITS CAST

https://www.rottentomatoes.com/m/peter_rabbit_2018 68%. HOW DID THIS TURN OUT GOOD

Whitney Cummings is still around? Learn something new every day.

http://deadline.com/2018/02/moviepass-oscar-nominees-box-office-shape-of-water-i-tonya-three-billboards-outside-ebbing-missouri-1202280191/

Snore.

http://deadline.com/2018/02/blindspotting-sundance-lionsgate-release-date-1202280922/

191. Black Panther 192. Rampage 193. Avengers 194. Deadpool 2 195. Solo 196. IIncredibles 197. JurassIIc World 198. Ant-Man 199. Grinch 200. Ralph

Suburban. I might look at some Philly theaters one day, but I don't know which ones are the most popular, and I'm really lazy, so...

Well, your mom better not check your phone. Again, nothing wrong with being gay, but...

Careful your mom doesn't look at your computer. Nothing wrong with being gay, but...

https://www.rottentomatoes.com/m/peter_rabbit_2018 63%. It just keeps rising. QUEEN RIDLEY Y'ALL

http://deadline.com/2018/02/fifty-shades-freed-global-opening-1202276618/

I wanna go.

ADDENDUM: WIN #11 THE GREATEST SHOWMAN "The noblest art is that of making others happy." Release Date: December 20 Director: Michael Gracey Cast: Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya B.O. Gross: $137.4M DOM, $291M WW (and counting) As I’ve said before several times, 2017 was an incredible year for musicals. La La Land, although a 2016 release, was a massive hit in the awards circuit, and rode that momentum to stupendous box office throughout January and February and making Damien Chazelle into one of Hollywood’s hot new directors. Beauty and the Beast grossed over $1.2 billion, becoming a massive hit for Disney and continuing the long “live-action reboot” streak the company has been on for the past couple of years. And to end the year off, there was The Greatest Showman, a biographical feature of P. T. Barnum, albeit very loosely, and very, very romanticized. But what made its success so interesting is how it started out as a bomb on its first weekend. Due to competition from Jumanji and Star Wars, the film had a disappointing 6-day weekend, making only $19 million, with its three-day only being $8.8 million, making it the 43rd worst opening for a film in over 3,000 theaters. With a massive $84 million budget, it seemed that the film would be destined to be a failure. But as Christmas ended, and New Year’s arrived, something changed. In its second weekend, the film increased from its opening weekend. Granted, the New Year’s weekend does often see films increase, but when the film increased over 76% over its previous three-day on its second weekend, making $15.5 million, it was absolutely jaw-dropping. Keep in mind, this was a film that garnered mixed reviews, and musicals are a genre that rely on either brand recognition or critical acclaim, something this movie didn’t have. But for whatever reason, word of mouth really clicked for this film, as its massive gain in weekend 2 meant the film garnered the smallest drop for a film in 3,000 theaters, (2nd when you include films in 2,500 theaters, and 4th for films in 2,000 theaters). And as the following weekends continued, things got even crazier. Weekend three saw the film drop only 11%, while MLK weekend saw it drop only 9.5% on the 3-day, with an increase of 17.5% on the 4-day. Followed up with drops of 15% and 10%, the biggest drop the film has faced so far has been this Super Bowl weekend, at 18%. With the way it’s been going, the film is expected to gross at least $155 million when its run is all said and done. Actually, with how strong its holds have been, it could go even higher. But just assuming that this film reaches $155M, a lot of records will be broken down. Not only will it be Hugh Jackman’s biggest non-X-Men film ever, but it will also become the highest-grossing original musical, beating out Enchanted and La La Land for the title. It will also be the highest-grossing film to never appear in the top 3, beating out American Hustle for the title...well, okay, if it excludes the four-day MLK weekend, but even if you want to include that, it’ll still be the fourth-biggest movie to never appear in the top two slots in the weekend box office. In terms of December launches, it’s also the leggiest ever, beating out films like Titanic and Scream for the title. And with the film also expected to make at least $300 million worldwide, its soundtrack selling like hotcakes, and a Broadway adaptation likely in the works, this has already become one of the biggest musicals ever, and it didn’t even make $10 million on its 3-Day opening weekend. It’s a run that we don’t see anymore, as it seems like a movie that continues to grow and grow its audience, rather than lose it, and in terms of legs, the farthest you would have to go back to see something so leggy is probably all the way back in the 1980s. In terms of modern films, the only other film that can reach it in terms of unbelievable legginess and staying power is probably Titanic, Chicago, and Frozen. So, why exactly did a film that garner mixed reception, and surrounded by intense competition make so much money, and become such a word of mouth success? For one, it’s an easy crowdpleaser. While romanticizing a controversial figure like P.T. Barnum may not be ethically sound, turning the film into a schmaltzy, but not campy, musical about overcoming adversity and celebrating differences and diversity is something easy to market and easy for audiences of both kids and adults to gravitate towards, making it a feelgood flick during a time of real-world stress and turmoil. It also helps that contrary to what many executives believe, musicals are a genre that general audiences are very fond of, especially within the last couple of year. True, there have been plenty of failures from the genre within the last couple of years, such as Nine and Rock of Ages, but when a musical lands, especially one that can appeal to all audiences, they really land, and this was a perfect example of a musical that connected with and excited audiences, and Showman is the antithesis of that idea. The musical genre itself has also gone through a new renaissance of success within the past 4 or so years. Frozen and Moana were massive hits for the Disney corportation, Empire has become one of the biggest television shows of the decade, La La Land is considered one of the best films of the year, and Hamilton and Dear Evan Hansen (the latter of which has the same songwriters as Greatest Showman) have become the biggest Broadway shows since Wicked. Showman has ridden on the coattails of all those properties, and has used it to help deliver these amazing numbers. Then you add on catchy songs, actors that appeal to young (Efron, Zendaya) and old (Jackman, Williams), and some killer spectacle and wonder that only a Barnum can produce, and it’s a bit more obvious why the film is so popular with general audiences. For Pasek and Paul, after the success of this, Dear Evan Hansen, and La La Land, Disney is already grooming these men to be their new Alan Menken, as they are working on writing new songs for the upcoming Aladdin remake and the upcoming Snow White remake. As Michael Gracey’s directorial debut, it should be expected he will probably get dozens of new opportunities, and he’s already capitalizing with his next feature being...an adaptation of Naruto...well, he probably has other projects that will do better. Jackman is already on the right foot in his post-Wolverine career, and it’ll be interesting if he can keep this momentum and get an Oscar nomination for the upcoming drama The Front Runner. And as for the musical genre itself, after an amazing 2017, it will be interesting to see if the momentum will continue in 2018 and beyond. Mamma Mia 2 has already turned heads and is exciting moviegoers with Cher joining the party, while Mary Poppins Returns, The Lion King, and Aladdin are expected to follow up on the success of films like The Jungle Book and Beauty and the Beast. Meanwhile, the long-awaited Wicked film adaptation should be a massive hit and a perfect counterprogram for Episode IX, and Frozen 2 should be just as massive as the first one. Hopefully the smaller releases coming down the line, such as Valley Girl, A Star is Born, Bohemian Rhapsody, and Margie Claus can also deliver at the box office. Regardless, The Greatest Showman generated a run that is unheard of and is unlikely to be recreated any time soon. “Come Alive” indeed!

Fifty Shades 1011 3205 31.54% Peter Rabbit 178 1292 13.78% 15:17 to Paris 30 1131 2.65% Black Panther 3199 3808 84.01% Shades is trucking along fine, and Peter Rabbit saw a big boost, especially on Saturday. For Black Panther, every Saturday show is sold out, and so is almost all of Friday and Sunday. Monday only has one sold-out show, but I'm sure it'll get a couple more by the time the week's over.

Excited for this, but every time I read the title, I always think of the Roger Ebert documentary.

I don't know if that's the case, as the author admits to being excited for Sherlock Gnomes (why would someone at Sony promote their competitor's film?), they said Hotel Transylvania 4, and they say that Sony Animation has 2 movies coming out this year (Justice for Miles!)