MikeQ

Though Call Me by Your Name hasn’t been getting reported daily numbers, now that it’s the end of the week, it’s weekly box office gross has been updated. The numbers on BOM show that CMBYN made $876,000 Mon-Thu, which shows it to be getting a similar Oscar boost (right now) to Lady Bird. Lady Bird’s Mon-Thu gross is ~56% of its last weekend gross, and CMBYN’s Mon-Thu gross is ~60% of its last weekend gross. It also hit $10M total domestic. Peace, Mike

Fantastic for The Shape of Water and the other Oscar films too. Even The Post got a big jump. I wish Call Me by Your Name actually got daily numbers, so I could see what kind of Oscar bump it got (if any). Peace, Mike

Though I wasn't a fan of the movie as a whole, I'm fine with Three Billboards' win here at SAG, because the film does have a great ensemble of actors. Peace, Mike

Frances McDormand is the best. The acting categories at the Oscars are all sewn up - super duper locked. Peace, Mike

Even if actors "deserve" the win, I usually watch these shows and hope the different awards bodies will throw a wrench into things and have some surprise wins. There are usually two or three performers that I would love to see recognized in some categories, depending on the year, and it often seems a shame to me that there is a consensus favourite that just wins them all. Peace, Mike

I think it's basically a certainty at this point. It will pass Homecoming and enter the top 5 grossing films of 2017. Pretty incredible. Peace, Mike

The logic behind this kind of argument just doesn't hold up. If we are subtracting the grosses from the best markets for Coco, then we have to do that for every film and its best markets. Films resonate in different ways and do better in various markets for various reasons. This argument boils down to, 'If Coco hadn't done well, it wouldn't have done well." It's a strange argument to make. Peace, Mike

Deadline's Friday Estimates/Projections listed for those who don't want to dig through the article (and for whomever updates the title): The Post - 6.25M Jumanji - 5.5M Proud Mary - 5M The Commuter - 3.8M Paddington 2 - 3.3M Peace, Mike

I understand your frustration, somebody. October/November/December roll around and there are quickly an abundance of interesting, compelling and beautiful smaller/limited release films that I really want to see in theatres. Those are the months where I suddenly have so many movies I want to see, and I imagine there are many like me who really live for seeing this kind of cinema. Depending on where a person lives, however, the films may never be truly accessible to them in theatres. I'm not sure that a viable solution lies in having some kind of streaming service for these movies, unless you are someone who is in favour of theatres becoming a thing of the past and streaming becoming the norm. I strongly believe that most cities should have an arthouse cinema, and that cinephiles in cities without one should advocate for one or collectively start their own. I don't live in a major city, but I am lucky that my city does have an independently run arthouse theatre. And while it doesn't get all the smaller, limited release or independent films right away, they usually get most of the small awards buzzy ones in the November to February stretch before the Oscars roll around that I really want to see in theatres and before the Oscars. This isn't a perfect solution. As a cinephile, I'd be much better off living in Toronto (which is 2 hours away from me). But anyway, I understand where you're coming from. Peace, Mike

I'm disappointed Three Billboards won Best Drama. While Frances McDormand is fierce and fantastic in it, I don't think it is a great, cohesive movie, and it has some problematic aspects. I reaaally need to see Lady Bird and The Shape of Water. I've been hopeful that Call Me by Your Name can win something at the Oscars, but that seems less and less likely. On the TV side, if you haven't watched Big Littles Lies yet (which obviously the HFPA just showered with wins), I highly recommend it. Peace, Mike

I wonder if Jumanji can actually stay flat for next weekend's 4-day MLK weekend compared to this weekend? Sing only dropped 8% from this weekend to its 4-day MLK weekend, and Jumanji has dropped considerably better this weekend than Sing did. Though, this is perhaps because of the calendar and many schools not being back in session until tomorrow (Jan 8th), making for a somewhat inflated weekend (and obviously week) than would usually be. Even then, it looks to me that Jumanji is likely to hop and skip right over Thor: Ragnarok ($312.5M), IT ($327.5M), and Spider-Man: Homecoming ($334M) to enter the top 5 grossing films of 2017. That is pretty remarkable. If it continues having exceptional legs, could it even hit the $350 million mark? Peace, Mike

This movie is so, so, so good. Timothée Chalamet is terrific. The scene at the dinner table when Elio is making fun of Oliver for saying "later" all the time, followed by his obvious disappointment when he realizes Oliver won't make it to dinner. Trying to express himself and his attraction without using the words explicitly. The shuffling of the foot towards Oliver's, the impulsive movements when making out, and so on. In general trying to navigate their relationship, which is a kind of navigation that still persists today in its own way thanks to heteronormativity and assumptions of heterosexuality. The moment at the train station after Oliver has left when Elio calls his mom and breaks down asking his mom to come pick him up. The phone call from Oliver. The end scene in front of the fireplace. And a whole lot more. Chalamet has a real command over his body and his physical presence - throughout the film you can feel his energy, whether nervous, excited, jealous, disappointed, etc. He shows how he is feeling through his face and his body - in many ways, it is Timothée (and Armie) who make this movie work. I am so impressed by this performance. Elio's POV in the film is so real, and Luca keeps it with him, while also hinting at the oppression lingering around the corner. The film, I felt, drove home the constraints of the time in the early 80s ("I would kiss you right now if I could") while remaining focused on Elio's POV. It feels like everyone, namely Luca, Timothée, and Armie (and Michael Stuhlbarg!), completely get it with this film. (What a year Stuhlbarg is having, and he destroys me in this movie. Though unlikely, I'd love to see him surprise and get a supporting nod at the Oscars.) They nailed the essence of this story. I lost it at the train station, and during Elio's dad's speech. Filmlover puts it well in saying he is the dad we all wish we had. And the end scene in front of the fireplace had me watching and emotional until the end of the credits. There's a lot more I can say about the direction, the film technically, and about Armie's performance (which I think is excellent in it's own way, playing a man who is trying his best to play the "role" of the good, charming man, and whose own vulnerability comes through in the way he lovingly and respectfully treats Elio and worries about whether their relationship is too much for him), but I don't have the time right now. I may come back and share more thoughts. A week later and I can't stop thinking about the film. Very few movies sit with me like this. Beautiful work. Peace, Mike

This movie is so, so, so good. Timothée Chalamet is nothing short of terrific. It feels like everyone, namely Luca, Timothée, and Armie (and Michael Stuhlbarg!), completely get it with this film. (What a year Stuhlbarg is having, and he destroys me in this movie. Though unlikely, I'd love to see him surprise and get a supporting nod at the Oscars.) They nailed the essence of this story. There were two moments, in particular, where I lost it, and I sat unwavering through to the end of the credits. A week later and I can't stop thinking about it. Very few movies sit with me like this. Beautiful work. Peace, Mike

Luckily that's not the case here in Canada - students don't go back until January 8th the following week. Peace, Mike

Coco went down too - just two hours ago the Tuesday estimate was $3M, and now the actual is at $2.746M. Don't think I've ever seen such a discrepancy with morning estimates vs actuals later the same day. Peace, Mike

Do you have any sense of Coco, @The Greatest Rth? I just realized Coco narrowly surpassed Ferdinand on Monday. (Coco's PTA was significantly higher as well.) With Downsizing and Father Figures doing so poorly, and All the Money in the World opening to subdued numbers, Coco rounded out the top 5 grossers. Peace, Mike

This would represent about the following increases/decreases: TLJ: +2% Jumanji: -10.5% PP3: +17% TGS: -5% Peace, Mike

I don't know if anyone noticed, but RTH liked the above quoted post. When he does this, it usually means he is confirming this is where he sees it at. I think we're looking at around the same number on Tuesday as Monday for Jedi, perhaps ~$28M. Edit: Speak of the devil... RTH confirms. Thanks RTH Peace, Mike

Thank you, Empire, for the confirmation of Sunday being $17.4M. $17.4M for Sunday to $27M for Monday (if accurate) represents a 55% increase - unfortunately, this appears quite weak in comparison to the 100+% increases for the other films for which RTH gave us Christmas Day numbers. Curious to see what is Coco's increase and how it will fare this week. Peace, Mike

A 51% bump does seem off, if the rest of the films are jumping 100+% on Christmas Day (in some cases, significantly more than 100%)... The simplest explanation, as MovieMan and others have pointed to, is that the mixed WOM is simply catching up to The Last Jedi now and really hurting it, so that it had a significantly muted Christmas day increase and most families checking out Jumanji instead. My other theory has to do with the official estimates at BOM still having $14.6M as The Last Jedi's Sunday number (rather than RTH's $17.4M or Deadline's $17.9M). Why are they all different and no update to the official estimate (when Jumanji's estimate was updated, for example)? Could it be that $14.6M is the Sunday number, so $27M for Christmas Day represents an 85% increase? That would seem more in line with the rest of the films, with a somewhat smaller increase because of the larger scale of the numbers/mixed-WOM. But on the other hand, RTH gave the $17.4M update for Sunday, if I recall, pretty late in the day, and RTH is the gold standard of accuracy, so I have no reason to doubt him (and I mean no disrespect). I'm just thinking out loud. Deadline's estimate would seem to lend credence as well. I suppose it could be that the estimate just wasn't updated on BOM because Disney didn't provide an update in the estimates during the holidays... (?) Peace, Mike

How would this put #1 for the year in play? If it's at $502M by January 1st, it needs only $2 million more to become #1 of the year (after a $16M Monday according to the above projection). Sure, anything is possible, and I'm always wanting to stay open minded, but this is as close as you get to not being possible. The Last Jedi would really have to fall off a cliff next week. Peace, Mike

I've needed to update some of my lists/stats with Thor: Ragnarok and The Last Jedi. For those who care or find these useful: - There are now 106 films that have ever opened to $70+ million. The Last Jedi sits at #2 all-time, behind only The Force Awakens, Thor: Ragnarok at #29 of all-time, and Justice League at #56 all-time. Top Opening Weekends of All-Time & Multipliers - Thor: Ragnarok cracks the top 25 highest grossing comic book films of all time, sitting currently at #19: Highest Grossing Comic Book Films - In terms of legs, 'Ragnarok' currently sits at a 2.51 multiplier (and has passed the multiplier of its predecessor, 'The Dark World'), and Justice League sits at a 2.37 multiplier. Live Action Comic Book Film Multipliers for $40+ million Openers (3+ multiplier films in red) And below are: - 1. The top midnight/preview grosses of all time, and their share of opening day grosses - 2. The top opening weekends of all time, and the share from previews The Last Jedi obviously sits at #2 on both lists, with a share of opening day gross from previews and share of opening weekend from previews that sits between The Force Awakens and Rogue One. Estimated Top Midnight/Preview Grosses of All-Time & Share of Opening Day Top Opening Weekends of All-Time & Share from Previews Peace, Mike

While Coco did increase much higher on Friday (+41.2%) than Moana (+13.9%) on the same Friday, it hasn’t closed the gap as much as I had expected it to overall. So, I’ll concede I was wrong on this one. Let’s see how it does next week. I have to remind myself to stay open and not get too sure of myself when it comes to box office, especially in the varying and exciting December holidays. Peace, Mike

The early Deadline numbers, if accurate, confirm my thoughts from earlier in the week: this year's calendar configuration for the holidays, and the significantly lower percentage of schools out earlier this week than in previous years, made for a week that wasn't comparable to recent years. Specifically, I hadn't thought The Last Jedi's weekday drops told me much about how it would fare later on, given the different holiday schedule compared to Rogue One and The Force Awakens. The large Friday increase suggests that I was wise to hold off judgement. I foresee some very strong weekdays next week, including on Christmas Day. Likewise, in response to someone who observed that Coco was trailing Moana considerably on its early weekdays (Monday and Tuesday) and who had said that it would continue to do so, I commented that I expect Coco to close the gap later in the week, again because of the different holiday schedule and the % of schools out. Well, if Deadline's number is correct, Coco has essentially matched Moana's equivalent Friday ($2.9M projection for Coco compared to $2.93M for Moana on the same day). Even if the actual for Coco comes in somewhat lower, it will have narrowed the large gap observed earlier this week considerably. Next week, in full holiday mode, it should have strong days that will tower over its weekdays from this week. Peace, Mike