Barnack

We are talking about the books, specially before the movies made them popular in all market.

Maybe it will shift back to that (with a long list of failure), but the audience did send them mixed signal about that, almost all fully self-contained live action never came close to the big franchise not self contained entry (that were ultra successful).

Johnson is having probably first dollar gross point, he is helping the movie as much as he can and is team, the studio and him are trying to boost the movie performance and diminishing possible impact of bad reviews. (That a big reason why studio love him so much, a bit like Arnold back in the days) he push the product like no others.

I'm not trying to make a comparison, I'm trying to illustrate the benefit of locking key people for sequels in advance. Same with monster, if Dracula would have been a huge success and wanted to use the same lead actor to play Van Helsing (never see the movie so I could be using wrong name) they would have been happy to have him lock for those future monster movie. They didn't loose much by doing so (probably paying him a little more so he would have accept to option for sequel on that contract), it seem that the benefit are bigger than that cost. I can see the clear benefit, I would like to hear the argument against it.

I wonder what percentage of the 50 shades audience were Twilight fans. That was a reason toy company didn't like toys for girls as much as for boys, the age windows for toys targeting women tend to be more compressed, they tend to grew up faster and move to more mature things faster than boys (that can still play with their young teens franchise in their 40s)

Maybe you are mistaken with Hunger Games (that was more a US success), Twilight was huge everywhere a bit like 50 shares of gray.

Yes, like there is every month (Jack Reacher is a huge best seller too, it is not Potter), not a 100+ million book sold in the world, not close to that category and your comments is about 1999 sales, year's into the movie development process. You number place it as a success among others has late as 2001: report in December 2001 on cumulative sales of children's fiction placed Harry Potter and the Sorcerer's Stone 19th among hardbacks (over 5 million copies) and 7th among paperbacks (over 6.6 million copies). Not what it became: https://en.wikipedia.org/wiki/List_of_best-selling_books#More_than_100_million_copies But that is completely beside the point I was trying to make, I was giving an argument on why a studio should have planned Jurassic World universe at the start like they did, why take the risk of not having Pratt available on the sequels ?

Not outside the UK in 1997 (and not that much there either) when the movie started to be planned, there usually a reason why those movies are not fully own by a studio, they were seen by someone in advance (Mark Walhbergh company almost achieved to buy 50 shades of grey rights on the cheap before it caught up for example). But that is completely missing the point from the example a used, it is simply example of why it is good (and why now) they tend to plan sequel right away, because if the first movie is a success it is not a given that you will be able to ever do it's sequel (with the original cast/writer/etc..) and if you do, it will cost a lot. P.S. Not sure why people talk about being popular about the first movie, that is not the point at all, world vast popularity before the first movie was greenlight/people cast and sign is what I'm talking about.

Movie talk in the sense of the adaptation rights being shopped around and studios developing it (not people talking about the movie, that obviously started just after the book became popular), often those book popularity explode once the movie adaptation is announced, that bring lot of awareness to them.

The book became huge before the film came out, but the movie talks started in 2004, before the book was even released.

Yes it became popular before the movies came out, but not particularly popular before the first movie started to be developed (a bit like Potter), my point is that didn't build or plan a franchise around them and that costed them a fortune to not have do so (and put it a risk or not being able to have Stewart orther key member doing sequels at all) I would need to ask why too, not have sequel option close in their contract ?

Not particularly when they started that movie project (and why they don't thought it would be special and have sequels necessarily). Regardless if the first movie is a success and you didn't plan the sequels, everyone that re-sign will cost you a fortune (or maybe will not sign at all), why would a studio do that ?

I fully feel like you, but that is not what the audience is telling the studio, some movie fully project that it will not be self-contained at all, Force Awaken is one of the least self contained blockbuster and was the biggest domestic since Avatar. Obviously you are asking a bit more from the audience, so the appeal need to justify the commitment and when you are not Star Wars, Bond, Marvel, Potter, etc... it will not work. It also tend to remove stake, you know everything will be a bit sit-com.

Look how much the Twilight cast made on the sequels (it was like 60-80 m for the main trio by movie), it is certainly not dumb to plan a franchise from the start and lock some key people at a reasonable price point in advance no ? I think the planning is an almost necessary way to go with how much talent schedule can get cramped.

Isn't simply than before they never locked people for more than 2 movie and now they have contract with a long maybe plan ahead they sign, making it know by a lot of people in the industry/agents that a long series is planned (when it was just a maybe we will make sequels for the potters or twilight movie it stayed like this, they would not sign everyone a movie at a time now) The fact that they cancel them very easily if the movie fail just show how much they are not in people will like what we tell them to like and how much it is the other way around, people saying them what to do. I think it is projecting self-confidence into them, when it is the other way arounds, they often talk about sequels just before a movie release because it is not tracking that well and want to show a confidence that is not there at all (power ranges, ghostbuster, etc...). When they have real confidence about it, like they did for Star Wars or The Hobbit or an MCU Phase you can feel the difference.

People make some deal out of this... but 1) Can you lock a long list of people and have them known about that universe plan before they sign on those contract and keep it secret ? (IF not you want to control that story) 2) Why does it matter (except for them loosing face), but I mean for us the audience ?

I think that is less true than ever, the you cannot buy a first weekend is the current consensus (and for a long time) that why they are stressed so much and give people sequel/stuff proved to work with them so much.

Yes large part of the marketing cost goes toward the theatrical release (most of it now, but before dvd had huge world release marketing has well, 80m+ for a movie like spider man 3). Prints price went down significantly, it was costing over 40 million in prints for a big movie at the end, with the number of screen a movie like BvS openned at the same time, it would crazy now, we can have detailled number for those.

Thanks @TalismanRing, I would need to learn how to format table like that.

I just did (but I don't know how to convert an excel table into presentable text on this message board): http://forums.boxofficetheory.com/topic/24070-the-never-ending-debate-around-the-break-even-point-study-using-sony-leaked-accounting-data/#comment-3018507

You can see that few movie that doubled their budget made a lost and almost all of those who did was because of the large participation bonus (to Hanks, Smith, etc...) made before the break even point, pretty much the only big movie to not respect the true double your budget rule that take those into account is Girls with a dragoon tattoo and the ratio was of only 2.01 and had an over 100 million release. You can also see that the retention rate did get down over the year (in the past they were getting more in the first weekend I think, an element to take into account when comparing era) Summation of the total over 300 movie released For the movie released during that time frame (2005 to 2014), Sony made a total of 29.49 billion in revenue from them, distributed like this (35% from theater), that does not include revenue from older movie in the slate: Amount are in thousand of dollar . Source of revenue Amount % Domestic Theatrical 5,359,831 18% Intl theatrical 4,896,173 17% DOMESTIC HOME ENT REVENUE 7,151,339 24% DOMESTIC HOME ENT PPV REVENUE 591,133 2% INTL HOME ENT REVENUE 3,167,917 11% INTL HOME ENT PPV REVENUE 173,369 1% DOMESTIC TV PPV REVENUE 263,639 1% DOMESTIC PAY TV REVENUE 1,656,035 6% DOMESTIC FREE TV REVENUE 1,088,838 4% INTERNATIONAL TELEVISION 4,659,861 16% AIRLINES AND MUSIC 217,513 1% CONSUMER PRODUCTS REVENUE 270,395 1% Total $29,496,043 28 billion in expense during that time (only 33% into actually making the movie), distributed like this: Source of expense Total % DTH MARKETING (5,866,385) $ 21% DTH PRINTS COS (871,294) $ 3% DTH WPF DUES OTHER COS (340,165) $ 1% ITH MARKETING (2,601,562) $ 9% ITH PRINTS (COS) (1,062,961) $ 4% ITH WPF, FREIGHT, OTHER (COS) (270,762) $ 1% DHE MARKETING (1,044,398) $ 4% DHE RELEASING COSTS - MFG COS (1,280,725) $ 5% IHE MARKETING (486,013) $ 2% IHE RELEASING COSTS - MFG COS (820,764) $ 3% TV MARKETING (43,802) $ 0% TV OTHER COSTS COS (68,834) $ 0% DIRECT PRODUCTION COSTS (9,256,003) $ 33% OVERHEAD (808,450) $ 3% PARTICIPATIONS (2,234,617) $ 8% RESIDUALS (1,024,544) $ 4% Total (28,081,279) $ 100% Around 56-58% of the movie turned a profit (well didn't loose money) and that number was not much different among the division, sony, sony picture classic, screen gem, etc... And other interesting aspect, almost no small movie make more money from theatrical share of the ticket than the cost of releasing the movie in theater, of the over 100 sony picture classic release in that time frame, only 3 achieved to do so, for them theater is really a big publicity for the other windows.

I extracted from the Sony leak accounting data most movie result they released between 2005-2014 (I'm not good at formatting value in that web table so the presentation is terrible, but you can copy-paste it directly in your excel type of program, it should work and from there you can create a table and calculate what you want) From them I tried to generate some better formula (than the usual double is budget) to know if a movie achieved to break even and estimate is profit from is box office distribution and budget (spoiler I didn't achieved much, it change by genre, by the market the box office come from. by year of release and every movie is a bit of is own story because usually the vast majority of the revenue are not from the box office), and the double of is budget seem to be has good has a formula you can use in recent days, it went from being the formula when the movie became a success in the past to break even now. For that list of movie, I restricted exclusively to movie that Sony had significant domestic/intl theatrical + Home ent + TV involvement, a lot of movie are only domestic or some market or heavily presold or theatrical alone, etc... still interesting but not necessarily that relevant for the movie overall break even point. Explanation of the columns: BUDGET: is net direct production budget (if they pre-sold some market they tend to use that money to reduce that budget line). WWBO: Worldwide Box office BO / budget: Worldwide Box office / budget ratio DBO: Domestic box office IBO: international box office Studio gross profit: The sony profit line 3dr party profit: That is the investor share of the profit - financing benefit Total gross profit: The studio profit + investor profit Profits + Bonus: That is the total gross profit line with the bonus that the talent got (and sometime say Marvel of the profit on a spider man 3 is in there) DOM Theat: Revenues the studio got from the domestic box office Intl Theat: Revenues the studio got from the international box office Rev after theater: The HE+TV+merchandise+airline every non theatrical revenues % after theater: Percentage of the total revenue that come from the windows after theatrical. FINANCING BENEFIT: Investment coming from partner OVERHEAD: The line use to amortize running a studio on every movie of the slate, very arbitrary usually simply using a predetermined % of the direct production budget line. PARTICIPATIONS: Bonus to people (and sometime company) Investor share: how much the investor that spent the financial benefit got back TOTAL REVENUE: All of the movie revenue added MARKETING COST: All the marketing cost (theatrical + home ent + tv release) Releasing cost: All of the P&A&others cost worldwide of the release Total Rev / WWBO: Just the total revenue line / wwbo to give an idea of how much movie make relative to the bo Revenue-releasing cost - budget : We often hear people talking about making money from the box office (relative to needing ancillary to turn in the black, I imagine that is the formula most people mean) Profit in theater: The same but with the overhead removed BO / (Budget + bonus): The real formula we would use if we knew the bonus people are getting, the movie need to double is budget but also how much people with bonus are getting before reaching break even point. Special formula : My attempt to come up with a better rule of thumb that value more dbo than intl bo. Release / budget cost: The relation between the releasing cost / production budget Dom retention rate: Percentage of the domestic box office that went to the studio Intl retention rate: Percentage of the intl box office that went to the studio Profitable: just a bool used to do calculation Here the data, movie ranked by their WWBO / budget ratio, more reflexion number too come soon. Title Release year BUDGET WWBO BO / budget ratio DBO IBO Studio GROSS PROFIT 3dr party profit Total gross profit Profits + Bonus DOM THEAT. REVENUE INTL THEAT. REVENUE Rev after theater % after theater FINANCING BENEFIT OVERHEAD PARTICIPATIONS INVESTOR SHARE TOTAL REVENUE MARKETING COSTS Releasing cost Total rev / wwbo Revenue - releasing cost - budget Profit in theater BO /(budget + bonus) Special formula release / budget cost Dom Retention rate Intl retention rate Profitable DEAR JOHN 2010 -4,559 114,977 25.2 80,015 34,962 20,929 0 20,929 34,128 35,571 2,315 89,840 70% 0 -210 -13,199 -32,463 127,726 -34,171 -35,301 111% -102,865 -144,824 2.2 7.7 58% 44% 1 VOW THE (2012) 2012 -13,897 197,618 14.2 125,014 72,604 53,381 -20,757 32,624 60,414 61,935 26,020 110,003 56% 0 -830 -27,790 -21,062 197,958 -52,697 -57,021 100% -28,792 -39,652 4.7 2.7 4.1 58% 44% 1 BAD TEACHER (2011) 2011 -19,951 216,197 10.8 100,293 115,905 66,032 10,404 76,436 129,826 48,604 45,347 162,567 63% 0 -1,900 -53,390 0 256,518 -70,481 -78,577 119% -40,340 -54,450 2.9 2.5 3.9 55% 43% 1 INSIDE JOB (2010) 2010 -1,001 7,872 7.9 4,313 3,559 10,307 0 10,307 12,967 1,452 1,344 18,762 87% 0 0 -2,660 0 21,558 -3,916 -4,591 274% -105,427 -131,567 2.2 2.7 4.6 55% 42% 1 SUPERBAD 2007 -21,619 169,872 7.9 121,463 48,408 88,541 0 88,541 130,080 59,392 18,754 236,105 75% 0 -3,035 -41,539 0 314,251 -92,711 -93,417 185% -58,289 -76,439 2.7 2.6 4.3 54% 41% 1 KARATE KID THE (2010) 2010 -45,051 351,775 7.8 176,592 175,183 97,394 -5,600 91,794 183,002 88,020 77,160 248,223 60% 0 -4,280 -91,208 0 413,403 -106,360 -124,077 118% -147,920 -179,490 2.6 2.5 2.8 53% 39% 1 DISTRICT 9 2009 -28,418 210,820 7.4 115,646 95,173 62,431 0 62,431 109,361 56,961 27,620 166,858 66% 0 -1,710 -46,930 0 251,439 -71,000 -75,431 119% -148,995 -166,905 2.8 2.1 2.7 55% 44% 0 EXORCISM OF EMILY ROSE THE 2005 -19,534 144,529 7.4 75,072 69,457 69,904 16,939 86,843 100,369 34,928 28,107 133,788 68% 0 -1,200 -13,526 0 196,823 -57,923 -63,960 136% -30,861 -40,651 4.4 3.6 3.3 49% 37% 1 THINK LIKE A MAN 2012 -13,974 96,071 6.9 91,547 4,523 42,859 -19,934 22,925 34,605 42,433 1,641 77,293 64% 0 -1,660 -11,680 0 121,367 -35,150 -33,844 126% -144,078 -168,618 3.7 2.1 2.4 53% 32% 0 HEAVEN IS FOR REAL 2014 -15,004 101,333 6.8 91,443 9,890 50,989 42,780 93,769 112,039 42,239 3,355 86,435 65% 0 -1,800 -18,270 0 132,029 -28,186 -27,845 130% -17,253 -20,813 3.0 3.0 1.9 51% 36% 1 EASY A 2010 -11,128 74,952 6.7 58,401 16,551 42,121 0 42,121 56,953 28,133 6,425 103,154 75% 0 -670 -14,832 0 137,712 -42,286 -45,975 184% -3,948 -8,228 2.9 3.0 4.1 50% 44% 1 PAUL BLART: MALL COP 2009 -27,933 185,905 6.7 146,336 39,569 49,840 0 49,840 101,160 68,725 13,965 170,245 67% 8,815 -2,270 -51,320 -35,194 252,935 -57,358 -53,516 136% -151,409 -164,409 2.3 2.2 1.9 52% 38% 1 EDUCATION AN 2009 -4,525 29,653 6.6 12,575 17,078 6,962 27,089 34,051 34,576 4,217 1,708 20,407 77% 0 0 -525 0 26,332 -9,556 -11,427 89% -68,680 -73,930 5.9 2.0 2.5 53% 35% 1 SILENT HILL 2006 -16,000 97,607 6.1 46,983 50,625 5,822 10,155 15,977 16,477 20,889 2,024 51,345 69% 0 -1,120 -500 0 74,258 -36,246 -38,769 76% -116,321 -124,931 5.9 1.9 2.4 52% 38% 1 PURSUIT OF HAPPYNESS THE (2006) 2006 -50,763 307,326 6.1 163,566 143,759 65,397 0 65,397 131,947 82,931 52,162 263,792 66% 25,497 -3,560 -66,550 -68,277 398,885 -101,482 -101,583 130% -36,890 -39,925 2.6 3.3 2.0 49% 39% 1 EVIL DEAD (2013) 2013 -17,250 97,543 5.7 54,240 43,303 20,922 25,489 46,411 59,861 26,640 13,700 66,425 62% 0 -1,730 -13,450 0 106,765 -36,705 -41,083 109% -43,023 -50,693 3.2 2.7 2.4 49% 40% 1 PROM NIGHT (2008) 2008 -10,247 57,198 5.6 43,869 13,329 -569 0 -569 2,741 19,418 4,573 55,517 70% 0 -520 -3,310 -10,210 79,508 -36,609 -39,621 139% -26,688 -26,688 4.2 1.9 3.9 50% 46% 1 RESIDENT EVIL: AFTERLIFE 2010 -53,610 295,874 5.5 60,129 235,746 62,280 -6,034 56,246 60,562 27,054 84,515 140,651 56% 0 -3,220 -4,316 -29,910 252,220 -62,084 -69,265 85% -109,031 -120,901 5.1 2.0 1.3 49% 44% 1 SOCIAL NETWORK THE 2010 -43,056 224,922 5.2 96,963 127,959 27,359 0 27,359 64,309 47,668 52,936 172,053 63% 14,631 -4,070 -36,950 -19,337 272,657 -97,360 -110,413 121% -56,840 -69,420 2.8 3.8 2.6 50% 39% 1 ONE DIRECTION: THIS IS US 2013 -13,220 68,542 5.2 28,873 39,668 17,397 0 17,397 24,027 13,955 14,965 63,544 69% 0 -1,590 -6,630 0 92,464 -35,003 -37,115 135% -107,267 -137,567 3.5 2.4 2.8 50% 39% 1 STOMP THE YARD 2007 -14,703 75,511 5.1 61,356 14,155 53,314 12,446 65,760 69,840 28,801 5,242 101,519 75% 0 -952 -4,080 0 135,562 -37,264 -37,731 180% -76,250 -81,970 4.0 2.0 2.6 49% 31% 1 UGLY TRUTH THE 2009 -41,657 205,299 4.9 88,915 116,384 41,620 -16,845 24,775 46,235 42,328 47,429 156,592 64% 10,604 -3,770 -21,460 -31,579 246,349 -70,064 -78,012 120% -80,372 -83,692 3.3 2.1 1.9 53% 40% 1 22 JUMP STREET 2014 -69,709 331,334 4.8 191,719 139,615 45,540 5,720 51,260 81,040 94,350 51,200 142,470 49% 38,678 -5,120 -29,780 -81,330 288,020 -61,010 -58,085 87% -104,754 -119,864 3.3 2.5 0.8 47% 38% 1 SMURFS THE (2011) 2011 -124,066 563,749 4.5 142,614 421,135 94,930 0 94,930 139,660 70,362 156,311 274,088 55% 31,721 -9,790 -44,730 -48,660 500,761 -120,020 -133,468 89% -153,521 -175,121 3.3 1.7 1.1 50% 40% 0 30 DAYS OF NIGHT 2007 -16,708 75,506 4.5 39,569 35,937 4,371 0 4,371 5,496 19,171 2,556 61,929 74% 0 -2,311 -1,125 -1,720 83,656 -40,921 -42,975 111% -62,653 -69,823 4.2 2.9 2.6 49% 39% 1 21 JUMP STREET (2012) 2012 -44,799 201,585 4.5 138,448 63,138 58,652 -13,218 45,434 68,129 65,733 23,552 153,860 63% 20,160 -2,990 -22,695 -45,490 243,145 -52,489 -51,096 121% -128,601 -135,011 3.0 1.5 1.1 51% 39% 0 DA VINCI CODE THE 2006 -176,949 767,820 4.3 217,536 550,284 178,101 4,706 182,807 313,537 125,514 244,333 463,783 56% 20,757 -10,860 -130,730 0 833,630 -199,841 -221,690 109% -52,865 -56,935 2.5 3.2 1.3 49% 41% 1 ZOMBIELAND (2009) 2009 -23,918 102,392 4.3 75,590 26,801 51,349 -256 51,093 56,253 37,806 9,977 152,905 76% -619 -2,110 -5,160 -26,618 200,688 -51,241 -54,861 196% -91,529 -102,809 3.5 3.0 2.3 48% 39% 1 WHEN A STRANGER CALLS (2006) 2006 -16,303 66,967 4.1 47,860 19,107 22,712 0 22,712 26,572 23,258 6,310 72,251 71% 0 -900 -3,860 0 101,819 -35,722 -38,860 152% -93,636 -103,006 3.3 2.0 2.4 49% 39% 1 21 (2008) 2008 -38,616 157,927 4.1 81,159 76,768 43,138 26,379 69,517 77,527 41,456 29,147 157,686 69% 20,400 -5,390 -8,010 -38,877 228,289 -67,929 -74,448 145% 1,241 -1,029 3.4 2.9 1.9 47% 35% 1 FRIENDS WITH BENEFITS 2011 -36,899 149,542 4.1 55,803 93,739 46,752 -28,258 18,494 27,532 27,206 35,784 139,228 69% 0 -2,230 -9,038 0 202,218 -66,236 -76,289 135% -128,742 -137,402 3.3 1.6 2.1 51% 41% 0 MICHAEL JACKSON'S THIS IS IT 2009 -66,268 261,184 3.9 72,091 189,093 49,395 0 49,395 129,962 35,838 87,626 227,682 65% 0 0 -80,567 0 351,146 -79,014 -83,884 134% -70,950 -79,450 1.8 3.9 1.3 49% 41% 1 2012 2009 -195,815 769,679 3.9 166,112 603,567 62,864 0 62,864 181,934 90,473 248,469 338,737 50% 0 -18,150 -119,070 0 677,679 -158,361 -201,416 88% -77,045 -85,325 2.4 2.6 1.0 52% 40% 1 THIS IS THE END 2013 -32,500 126,041 3.9 101,470 24,571 52,309 0 52,309 64,204 48,708 9,309 126,443 69% 0 -3,910 -11,895 0 184,460 -58,475 -59,014 146% -19,268 -20,978 2.8 3.3 1.8 49% 29% 1 HANCOCK 2008 -166,054 624,387 3.8 227,946 396,440 78,585 0 78,585 191,691 125,585 168,550 366,538 55% 77,894 -14,110 -113,106 -88,298 660,673 -164,013 -168,421 106% -163,553 -177,533 2.2 1.7 1.0 52% 38% 0 CAPTAIN PHILLIPS 2013 -59,773 218,792 3.7 107,101 111,691 50,164 -1,096 49,068 75,278 52,147 43,770 179,028 65% 0 -7,170 -26,210 0 274,945 -92,547 -98,797 126% -85,583 -92,803 2.5 2.7 1.7 52% 35% 1 RESIDENT EVIL: EXTINCTION 2007 -40,545 146,163 3.6 50,649 95,514 44,456 0 44,456 45,506 24,985 26,967 145,808 74% 0 -2,838 -1,050 -11,010 197,760 -60,367 -60,179 135% -56,439 -67,659 3.5 2.7 1.5 50% 39% 1 PINEAPPLE EXPRESS 2008 -28,812 101,625 3.5 87,341 14,283 31,565 0 31,565 43,175 43,521 4,238 149,468 76% 10,241 -2,360 -11,610 -23,999 197,227 -65,926 -65,835 194% -4,577 -6,477 2.5 3.4 2.3 48% 39% 1 HOTEL TRANSYLVANIA 2012 -103,950 358,376 3.4 148,313 210,063 88,503 -2,821 85,682 88,800 73,913 81,376 201,513 56% 0 -12,580 -3,118 0 356,802 -99,109 -108,179 100% -110,847 -119,317 3.3 2.3 1.0 52% 40% 0 CLOUDY WITH A CHANCE OF MEATBALLS 2 2013 -79,851 274,326 3.4 119,794 154,532 56,750 0 56,750 56,780 58,424 63,030 169,379 58% 0 -8,500 -30 0 290,833 -101,746 -112,553 106% -49,002 -51,202 3.4 2.6 1.4 50% 20% 1 VANTAGE POINT 2008 -45,167 151,161 3.3 72,266 78,895 21,132 18,477 39,609 48,359 35,311 31,619 134,940 67% 24,317 -6,300 -8,750 -23,611 201,870 -80,114 -87,080 134% -42,461 -47,851 2.8 3.9 1.9 51% 38% 1 QUARANTINE 2008 -12,431 41,320 3.3 31,692 9,628 8,673 20,975 29,648 30,173 14,578 2,926 50,805 74% 0 -620 -525 0 68,309 -31,575 -35,236 165% -29,912 -33,682 3.2 3.7 2.8 48% 41% 1 GROWN UPS (2010) 2010 -81,717 271,430 3.3 162,001 109,429 71,411 25,330 96,741 132,611 80,186 44,147 231,989 65% 22,280 -7,670 -35,870 -47,769 356,322 -80,744 -85,639 131% -6,610 -9,600 2.3 3.6 1.0 47% 37% 1 OBSESSED (2009) 2009 -22,949 73,830 3.2 68,262 5,569 36,507 0 36,507 39,932 31,491 2,103 89,616 73% 0 -1,030 -3,425 0 123,210 -37,517 -38,864 167% -71,501 -78,351 2.8 2.5 1.7 50% 43% 1 RESIDENT EVIL: RETRIBUTION 2012 -75,440 238,941 3.2 42,346 196,595 10,358 27,237 37,595 44,225 18,100 77,359 102,963 52% 0 -9,050 -6,630 -2,930 198,422 -62,127 -72,957 83% -30,996 -33,106 2.9 4.3 1.0 50% 37% 1 ROOMMATE THE (2011) 2011 -16,884 52,546 3.1 37,300 15,246 7,062 -6,922 140 900 17,216 1,247 49,592 73% 0 -1,010 -760 0 68,055 -28,223 -31,048 130% -93,059 -99,039 3.0 2.1 1.8 51% 39% 0 SMURFS 2 THE 2013 -114,003 347,545 3.0 71,018 276,528 17,131 -22,857 -5,726 2,544 33,740 108,900 171,486 55% 27,946 -11,280 -8,270 -27,690 314,126 -106,048 -120,166 90% -108,976 -117,656 2.8 1.9 1.1 49% 39% 0 UNDERWORLD: RISE OF THE LYCANS 2009 -29,811 89,102 3.0 45,802 43,300 39,831 13,758 53,589 60,519 22,635 15,342 113,363 75% 0 -1,483 -6,930 0 151,340 -42,724 -46,664 170% -46,888 -49,248 2.4 3.2 1.6 50% 30% 1 UNTRACEABLE (2008) 2008 -17,645 52,660 3.0 28,688 23,972 1,946 0 1,946 1,946 13,542 1,847 54,090 78% 0 -1,232 0 0 69,479 -33,725 -34,689 132% -184,929 -200,359 3.0 1.4 2.0 50% 40% 0 SPIDER-MAN 3 (2007) 2007 -299,763 890,872 3.0 336,530 554,341 188,240 11,010 199,250 353,858 196,185 243,931 682,319 61% 0 -41,959 -154,608 0 1,122,435 -231,687 -243,218 126% -48,772 -51,610 2.0 3.9 0.8 49% 28% 1 JULIE & JULIA 2009 -43,241 126,646 2.9 94,125 32,521 37,634 -31,403 6,231 18,191 45,413 15,042 140,498 70% 0 -3,990 -11,960 0 200,953 -68,597 -73,990 159% -143,996 -154,586 2.3 1.4 1.7 49% 39% 0 UNDERWORLD AWAKENING 2012 -54,839 160,113 2.9 62,321 97,792 31,962 42,652 74,614 80,514 30,554 38,232 115,793 63% 0 -4,390 -5,900 -5,900 184,579 -51,412 -59,928 115% 17,756 12,636 2.6 3.9 1.1 49% 37% 1 FRIENDS WITH MONEY 2006 -6,274 18,245 2.9 13,368 4,877 17,490 0 17,490 17,493 5,434 1,178 40,307 86% 0 0 -3 0 46,919 -13,062 -13,565 257% -176,795 -194,845 2.9 1.4 2.2 50% 38% 0 AMAZING SPIDER-MAN THE 2012 -261,595 757,890 2.9 262,031 495,860 69,873 29,910 99,783 146,209 145,214 210,032 348,617 50% 0 -26,140 -46,426 0 703,863 -187,449 -199,078 93% -11,306 -14,526 2.5 5.4 0.8 45% 36% 1 UNDERWORLD EVOLUTION 2006 -39,437 113,418 2.9 62,319 51,099 55,338 0 55,338 67,648 31,099 10,130 158,178 79% 0 -2,200 -12,310 0 199,407 -51,612 -50,794 176% -56,776 -60,766 2.2 2.8 1.3 48% 46% 1 EAT PRAY LOVE 2010 -72,514 204,594 2.8 80,574 124,020 20,797 0 20,797 39,687 40,042 53,055 153,322 62% 0 -6,850 -18,890 0 246,419 -76,368 -92,084 120% -50,198 -52,428 2.2 3.6 1.3 49% 38% 1 BATTLE LOS ANGELES 2011 -76,874 213,464 2.8 83,552 129,912 20,945 459 21,404 32,144 43,276 45,930 162,800 65% 3,535 -7,220 -10,740 -2,439 252,006 -85,586 -97,915 118% -79,413 -83,513 2.4 1.6 1.3 48% 36% 1 BENCHWARMERS THE 2006 -23,500 65,064 2.8 59,844 5,220 7,442 0 7,442 8,730 29,890 1,743 77,398 71% 0 0 -1,288 -4,833 109,031 -46,608 -45,746 168% -135,932 -143,032 2.6 1.4 1.9 50% 41% 0 SEX TAPE 2014 -45,715 126,070 2.8 38,543 87,526 1,225 3,195 4,420 7,210 18,500 31,770 85,460 63% 19,250 -4,440 -2,790 -15,790 135,730 -61,092 -69,220 108% -70,132 -74,622 2.6 2.4 1.5 47% 40% 1 HOUSE BUNNY THE 2008 -26,290 71,391 2.7 48,237 23,153 9,142 -706 8,436 10,436 22,195 7,178 83,094 74% 8,114 -2,150 -2,000 -10,250 112,467 -44,928 -49,682 158% -65,317 -71,617 2.5 3.2 1.9 49% 40% 1 AMAZING SPIDER-MAN 2 THE 2014 -263,950 708,996 2.7 202,854 506,142 14,523 0 14,523 58,773 108,000 199,820 295,453 49% 66,630 -31,570 -44,250 -61,030 603,273 -166,996 -191,790 85% -20,459 -21,659 2.3 5.1 0.7 47% 40% 1 MEN IN BLACK 3 2012 -245,908 654,213 2.7 179,021 475,193 -28,112 0 -28,112 60,318 94,948 152,744 267,439 52% 60,714 -24,540 -88,430 -40,780 515,131 -130,699 -145,862 79% -150,934 -168,684 2.0 1.8 0.6 50% 38% 0 GROWN UPS 2 2013 -93,489 246,984 2.6 133,669 113,316 49,916 0 49,916 61,956 66,447 43,709 162,611 60% 0 -11,220 -12,040 0 272,767 -69,925 -73,106 110% -81,630 -86,920 2.3 2.3 0.8 50% 43% 1 WATER HORSE THE 2007 -39,372 103,430 2.6 40,946 62,484 -5,970 0 -5,970 -5,970 20,381 21,302 95,207 70% 0 0 0 -5,185 136,890 -65,505 -69,834 132% -33,497 -37,407 2.6 3.5 1.8 48% 38% 1 DELIVER US FROM EVIL 2014 -34,319 87,938 2.6 30,577 57,361 75 0 75 2,865 16,000 23,400 69,527 64% 8,720 -4,010 -2,790 -6,270 108,927 -50,137 -59,220 124% -196,114 -206,134 2.4 0.6 1.7 51% 41% 0 ANGELS & DEMONS 2009 -193,563 490,876 2.5 133,376 357,500 -25,674 5,900 -19,774 42,476 73,979 158,424 289,632 55% 0 -17,910 -62,250 0 522,035 -158,060 -187,835 106% -45,981 -50,371 1.9 2.9 1.0 49% 39% 1 CLICK (2006) 2006 -94,207 237,681 2.5 137,356 100,326 27,499 -29,095 -1,596 34,614 73,484 39,631 186,075 62% 48,765 -3,320 -36,210 -31,920 299,190 -91,611 -99,280 126% -169,054 -175,050 1.8 1.2 1.1 51% 37% 0 MADE OF HONOR 2008 -42,770 105,963 2.5 46,013 59,950 4,520 0 4,520 10,230 22,789 23,158 107,566 70% 17,516 -3,560 -5,710 -9,488 153,513 -69,208 -77,692 145% -38,498 -39,981 2.2 2.8 1.8 49% 35% 1 JUST GO WITH IT 2011 -87,134 214,946 2.5 103,028 111,917 39,306 21,062 60,368 66,298 53,499 45,107 168,298 63% 0 -8,280 -5,930 0 266,904 -75,429 -88,517 124% 17,037 16,207 2.3 5.6 1.0 50% 36% 1 BOUNTY HUNTER THE (2010) 2010 -55,142 135,809 2.5 67,061 68,748 21,681 0 21,681 30,691 31,740 27,242 136,232 70% 14,856 -4,490 -9,010 -18,051 195,214 -62,559 -73,972 144% -107,434 -115,994 2.1 1.8 1.3 50% 39% 0 DEATH AT A FUNERAL (2010) 2010 -20,744 49,051 2.4 42,739 6,312 10,667 -8,028 2,639 5,739 20,515 1,971 71,288 76% 0 -1,040 -3,100 0 93,774 -39,427 -41,575 191% -74,515 -78,075 2.1 2.5 2.0 50% 39% 1 SEVEN POUNDS 2008 -71,340 168,168 2.4 69,952 98,216 -809 0 -809 18,971 35,851 38,577 150,864 67% 19,290 -5,980 -19,780 -12,368 225,292 -86,763 -96,147 134% -89,496 -92,953 1.8 1.7 1.3 48% 42% 0 SALT 2010 -125,887 293,503 2.3 118,311 175,192 18,233 0 18,233 57,513 57,783 77,462 223,326 62% 39,975 -11,870 -39,280 -33,941 358,571 -104,281 -118,389 122% -160,305 -172,485 1.8 1.5 0.9 49% 37% 0 THINK LIKE A MAN TOO 2014 -30,425 70,181 2.3 65,182 4,999 8,687 0 8,687 10,901 31,250 1,600 57,990 64% 12,010 -3,550 -2,214 -15,510 90,840 -29,994 -31,423 129% -22,545 -23,215 2.2 3.6 1.0 48% 39% 1 ELYSIUM 2013 -125,894 286,141 2.3 93,050 193,091 20,453 2,930 23,383 25,573 43,737 74,017 180,180 60% 0 -15,110 -2,190 -5,720 297,934 -89,222 -96,614 104% -52,938 -61,988 2.2 3.1 0.8 43% 39% 1 FOG THE (2005) 2005 -16,743 37,049 2.2 29,551 7,498 1,874 0 1,874 1,896 14,271 5,786 52,719 72% 0 0 -22 -957 72,776 -34,558 -39,854 196% -18,391 -19,343 2.2 5.0 2.4 47% 37% 1 LITTLE MAN 2006 -46,067 101,595 2.2 58,645 42,950 2,648 2,338 4,986 4,986 28,800 15,566 85,528 66% 0 0 0 -2,789 129,894 -52,281 -55,257 128% -124,939 -124,939 2.2 1.1 1.2 51% 38% 0 LEGION (2010) 2010 -30,813 67,919 2.2 40,168 27,751 16,729 -6,995 9,734 10,775 18,809 11,279 88,919 75% 0 -1,390 -1,041 -1,050 119,007 -40,122 -43,954 175% -67,522 -69,827 2.1 1.4 1.4 50% 36% 1 TALLADEGA NIGHTS: THE BALLAD OF RICKY BO 2006 -74,875 162,871 2.2 148,213 14,657 47,679 5,185 52,864 80,104 78,203 5,159 238,530 74% 39,297 -5,250 -27,240 -66,386 321,892 -80,970 -77,167 198% -67,523 -67,523 1.6 2.9 1.0 50% 34% 0 LAKEVIEW TERRACE 2008 -20,551 44,654 2.2 39,264 5,390 13,822 0 13,822 17,482 18,372 1,899 76,675 79% 0 -1,025 -3,660 0 96,946 -37,539 -40,426 217% -133,883 -138,821 1.8 1.0 2.0 51% 37% 0 GIRL WITH THE DRAGON TATTOO THE (2011) 2011 -111,873 239,374 2.1 102,516 136,858 -8,068 32,463 24,395 31,515 53,412 55,162 160,480 60% 22,291 -8,470 -7,120 -19,470 269,054 -99,325 -107,548 112% -1,974 -2,184 2.0 7.8 1.0 44% 7% 1 ZOOKEEPER 2011 -79,660 169,853 2.1 80,361 89,492 -4,779 0 -4,779 -879 38,722 35,137 80,666 52% 39,830 -3,780 -3,900 0 154,525 -73,592 -84,395 91% -28,219 -29,249 2.0 3.6 1.1 46% 38% 1 PIRATES! BAND OF MISFITS THE 2012 -59,100 123,054 2.1 31,051 92,003 -33,312 1,050 -32,262 -28,392 14,703 33,478 85,337 64% 0 -5,200 -3,870 0 133,518 -67,974 -79,905 109% -44,679 -46,069 2.0 2.5 1.4 47% 41% 1 CLOUDY WITH A CHANCE OF MEATBALLS 2009 -116,840 243,006 2.1 124,870 118,136 3,332 0 3,332 4,273 62,087 45,989 189,618 64% 0 -30,300 -941 0 297,694 -87,740 -98,503 123% -45,021 -46,681 2.1 2.2 0.8 45% 44% 1 MONEYBALL (2011) 2011 -55,307 110,206 2.0 75,605 34,601 11,241 0 11,241 12,971 37,766 14,959 127,996 71% 0 -5,290 -1,730 0 180,721 -73,147 -79,048 164% 2,745 945 1.9 3.9 1.4 46% 34% 1 OPEN SEASON (2006) 2006 -99,563 197,309 2.0 85,105 112,204 4,920 -44,789 -39,869 -39,069 44,233 43,003 243,601 74% 0 -13,000 -800 0 330,837 -124,285 -139,082 168% -112,813 -115,449 2.0 2.0 1.4 49% 18% 0 YOU DON'T MESS WITH THE ZOHAN 2008 -102,764 199,936 1.9 100,019 99,917 -8,126 2,789 -5,337 12,653 48,780 39,001 149,528 63% 46,116 -8,680 -17,990 -23,259 237,309 -84,864 -93,993 119% -56,958 -56,958 1.7 2.6 0.9 49% 36% 1 VACANCY 2007 -18,802 35,301 1.9 19,364 15,937 -7,438 -3,460 -10,898 -10,898 8,907 5,542 60,793 81% 0 -1,355 0 0 75,242 -42,378 -45,821 213% -64,665 -69,105 1.9 2.8 2.4 48% 36% 1 STEP BROTHERS 2008 -68,402 128,108 1.9 100,469 27,639 34,071 0 34,071 44,321 48,732 8,681 188,878 77% 26,845 -5,720 -10,250 -39,291 246,291 -69,325 -65,261 192% -90,824 -96,024 1.6 2.1 1.0 47% 36% 0 DEUCE BIGALOW: EUROPEAN GIGOLO 2005 -24,181 45,273 1.9 22,400 22,873 -9,100 2,136 -6,964 -4,484 10,660 9,122 66,106 77% 0 -1,700 -2,480 0 85,888 -45,979 -50,768 190% -46,599 -48,749 1.7 3.0 2.1 46% 31% 1 TAKERS (2010) 2010 -36,915 69,056 1.9 57,745 11,311 19,226 -28,975 -9,749 -6,895 26,201 4,964 87,621 74% 0 -1,660 -2,854 0 118,786 -35,844 -39,271 172% -106,695 -112,515 1.7 1.4 1.1 48% 40% 0 MEMOIRS OF A GEISHA 2005 -87,950 162,243 1.8 57,491 104,752 -19,329 0 -19,329 -17,485 27,922 18,437 86,129 65% 50,270 -2,636 -1,844 -5,481 132,488 -69,344 -71,222 82% -80,656 -85,956 1.8 1.6 0.8 47% 36% 0 MARIE ANTOINETTE 2006 -33,136 60,917 1.8 15,962 44,955 -5,484 0 -5,484 -3,825 7,454 6,725 49,165 78% 17,465 -2,320 -1,659 -5,187 63,344 -31,107 -33,146 104% -61,732 -63,932 1.8 1.0 1.0 48% 39% 0 GHOST RIDER (2007) 2007 -125,118 228,738 1.8 115,803 112,936 23,280 0 23,280 39,050 60,085 43,155 237,150 70% 62,363 -8,610 -15,770 -72,518 340,390 -91,499 -94,443 149% -91,445 -95,295 1.6 1.3 0.8 49% 43% 0 ARE WE DONE YET? 2007 -32,228 58,388 1.8 49,663 8,726 -8,445 -39,830 -48,275 -48,138 23,341 2,630 63,788 71% 0 0 -137 1,771 89,759 -47,396 -47,714 154% -90,196 -93,976 1.8 2.3 1.5 48% 39% 0 OTHER GUYS THE 2010 -98,455 170,936 1.7 119,220 51,716 25,616 4,140 29,756 34,376 58,360 19,931 170,586 69% 0 -9,370 -4,620 0 248,877 -68,584 -73,472 146% -78,840 -78,840 1.7 1.8 0.7 48% 34% 0 COVENANT THE 2006 -22,635 38,165 1.7 23,380 14,784 8,272 -32,447 -24,175 -22,715 11,451 4,963 70,226 81% 0 -1,178 -1,460 0 86,640 -33,746 -38,122 227% -107,812 -113,312 1.6 0.8 1.7 198% 27% 0 JACK AND JILL 2011 -90,047 149,674 1.7 74,158 75,516 -37,234 4,833 -32,401 -28,051 36,994 29,819 107,758 62% 0 -8,560 -4,350 0 174,571 -74,929 -84,200 117% -37,613 -37,613 1.6 3.3 0.9 50% 33% 1 AFTER EARTH 2013 -147,797 243,843 1.6 60,522 183,321 -62,520 0 -62,520 -62,520 30,118 70,141 133,554 57% 0 -17,750 0 0 233,813 -93,533 -103,396 96% -3,744 -5,404 1.6 4.8 0.7 46% 36% 1 PERFECT STRANGER (2007) 2007 -44,343 73,091 1.6 23,985 49,106 -24,414 0 -24,414 -24,071 11,486 16,675 79,624 74% 0 0 -343 -4,140 107,785 -52,728 -62,658 147% -106,903 -113,503 1.6 1.0 1.4 48% 36% 0 FUN WITH DICK AND JANE 2005 -123,785 202,026 1.6 110,333 91,693 -4,340 0 -4,340 17,250 55,971 37,342 169,481 64% 64,520 -8,660 -21,590 -36,262 262,794 -93,635 -98,270 130% -40,706 -41,731 1.4 2.3 0.8 47% 35% 1 GREEN HORNET THE 2011 -147,079 229,156 1.6 98,780 130,375 -60,499 0 -60,499 -58,826 51,009 49,758 163,065 62% 0 -13,980 -1,673 0 263,832 -101,342 -117,241 115% -25,595 -26,495 1.5 4.0 0.8 49% 33% 1 BURLESQUE 2010 -57,696 89,520 1.6 39,441 50,079 -14,347 0 -14,347 -13,897 19,058 20,796 105,733 73% 0 -3,457 -450 0 145,587 -62,284 -71,654 163% -39,833 -40,873 1.5 2.6 1.2 48% 31% 1 CAVE THE 2005 -17,546 27,148 1.5 15,008 12,140 3,531 0 3,531 3,882 6,875 3,628 53,489 84% 0 -900 -351 0 63,992 -28,023 -30,321 236% -44,343 -45,521 1.5 1.9 1.7 49% 34% 1 SURF'S UP 2007 -97,346 149,045 1.5 58,868 90,177 -61,679 -2,450 -64,129 -64,124 29,374 35,952 179,742 73% 0 -21,600 -5 0 245,068 -120,807 -121,501 164% -54,139 -58,149 1.5 2.6 1.2 52% 41% 1 MONSTER HOUSE 2006 -91,569 140,175 1.5 73,661 66,514 -12,728 -10,000 -22,728 -6,919 37,754 26,109 178,794 74% 48,127 -6,410 -15,809 -34,909 242,657 -86,179 -100,895 173% -103,757 -110,727 1.3 1.0 1.1 50% 39% 0 RV 2006 -57,449 87,528 1.5 71,726 15,802 15,432 0 15,432 24,872 34,698 5,663 137,949 77% 35,692 -4,100 -9,440 -36,151 178,310 -59,945 -62,325 204% -157,911 -168,481 1.3 0.5 1.1 50% 39% 0 ARTHUR CHRISTMAS 2011 -102,470 149,717 1.5 46,462 103,255 -96,004 -20,224 -116,228 -111,018 22,834 38,594 105,618 63% 0 -12,180 -5,210 0 167,046 -104,326 -119,263 112% -74,956 -77,856 1.4 1.4 1.2 49% 22% 0 RACHEL GETTING MARRIED 2008 -11,977 16,623 1.4 12,797 3,826 5,254 0 5,254 5,934 4,525 1,642 33,034 84% 0 0 -680 0 39,201 -13,285 -14,444 236% -17,993 -19,723 1.3 3.7 1.2 49% 32% 1 HERE COMES THE BOOM 2012 -52,966 73,100 1.4 45,290 27,810 -19,750 0 -19,750 -18,810 21,421 9,981 82,471 72% 0 -5,300 -940 0 113,873 -54,167 -59,092 156% -55,167 -56,867 1.4 2.0 1.1 48% 40% 0 WHITE HOUSE DOWN 2013 -150,450 205,367 1.4 73,104 132,263 -87,704 1,771 -85,933 -76,203 36,200 50,360 141,653 62% 0 -18,050 -9,730 0 228,213 -104,121 -112,905 111% -53,971 -53,971 1.3 2.3 0.8 47% 30% 0 30 MINUTES OR LESS 2011 -30,090 40,547 1.3 37,054 3,494 -13,233 0 -13,233 -11,933 18,226 1,389 60,829 76% 0 -2,860 -1,300 0 80,444 -42,721 -45,172 198% -21,415 -23,005 1.3 3.9 1.5 48% 38% 1 DID YOU HEAR ABOUT THE MORGANS? 2009 -64,407 85,280 1.3 29,580 55,700 -22,334 1,720 -20,614 -18,814 14,254 22,148 82,744 69% 30,762 -5,820 -1,800 -1,787 119,146 -66,485 -78,690 140% -37,956 -40,267 1.3 4.9 1.2 48% 7% 1 TAKING OF PELHAM 1 2 3 THE (2009) 2009 -115,434 152,364 1.3 65,452 86,912 -16,326 0 -16,326 -11,986 32,240 34,185 145,327 69% 48,589 -10,590 -4,340 -17,186 211,752 -83,883 -94,987 139% -55,647 -58,507 1.3 1.6 0.8 49% 40% 0 STRANGER THAN FICTION 2006 -41,398 53,653 1.3 40,661 12,992 -12,978 0 -12,978 -6,608 20,121 2,804 67,647 75% 21,980 -2,900 -6,370 -1,756 90,572 -54,066 -56,483 169% -50,174 -51,529 1.1 2.2 1.4 46% 35% 0 BEWITCHED (2005) 2005 -101,435 131,426 1.3 63,313 68,113 -50,607 1,550 -49,057 -44,887 31,903 27,772 136,772 70% 0 -7,100 -4,170 0 196,447 -87,138 -94,172 149% -68,152 -68,152 1.2 0.7 0.9 47% 35% 0 TOTAL RECALL (2012) 2012 -154,255 198,467 1.3 58,878 139,589 -87,121 3,500 -83,621 -81,251 29,281 56,326 147,911 63% 0 -15,430 -2,370 0 233,518 -103,387 -116,281 118% -28,998 -32,548 1.3 2.7 0.8 48% 32% 1 GRIDIRON GANG (2006) 2006 -32,949 41,481 1.3 38,433 3,048 2,833 10,210 13,043 17,153 19,347 1,087 95,793 82% 16,877 -2,305 -4,110 -9,882 116,227 -51,664 -55,007 280% -25,877 -26,397 1.1 5.2 1.7 44% 34% 0 PRIEST (2011) 2011 -64,242 78,309 1.2 29,137 49,173 -38,806 0 -38,806 -35,626 14,325 20,952 81,469 70% 0 -3,850 -3,180 0 116,746 -53,487 -62,480 149% -36,945 -38,177 1.2 3.5 1.0 47% 8% 1 LEGEND OF ZORRO THE (2005) 2005 -122,034 141,475 1.2 46,464 95,011 -70,553 -10,502 -81,055 -71,145 23,732 35,123 115,545 66% 36,465 -5,996 -9,910 -7,370 174,400 -87,635 -105,875 123% -50,129 -52,937 1.1 1.2 0.9 47% 40% 0 XXX: STATE OF THE UNION 2005 -72,739 71,074 1.0 26,874 44,200 -54,835 0 -54,835 -54,835 13,803 16,656 101,211 77% 0 0 0 2,338 131,670 -69,842 -82,659 185% -37,364 -38,264 1.0 1.8 1.1 46% 30% 1 REIGN OVER ME 2007 -23,982 22,222 0.9 19,662 2,560 -5,711 957 -4,754 -4,604 9,222 1,027 53,511 84% 12,388 -2,808 -150 -1,886 63,760 -34,574 -36,396 287% -36,540 -36,540 0.9 2.7 1.5 48% 77% 1 ZATHURA: A SPACE ADVENTURE 2005 -70,501 64,322 0.9 29,259 35,063 -71,699 0 -71,699 -71,314 14,872 12,912 95,001 77% 0 -4,938 -385 0 122,785 -83,420 -91,166 191% -31,856 -32,976 0.9 6.8 1.3 44% 4% 1 YEAR ONE 2009 -72,084 62,358 0.9 43,337 19,021 -56,512 0 -56,512 -55,672 20,812 6,918 77,149 74% 0 -6,600 -840 0 104,879 -56,442 -62,549 168% -30,163 -30,783 0.9 3.9 0.9 46% 30% 1 ARMORED 2009 -26,574 22,942 0.9 15,989 6,953 -13,527 0 -13,527 -13,342 7,453 2,301 48,491 83% 0 -1,330 -185 0 58,245 -29,492 -31,890 254% -29,469 -30,479 0.9 3.6 1.2 46% 8% 1 PREMIUM RUSH 2012 -36,172 31,084 0.9 20,275 10,808 -16,974 -12,278 -29,252 -29,252 9,261 4,718 46,596 77% 0 -3,610 0 0 60,575 -25,891 -29,252 195% -52,103 -54,423 0.9 1.9 0.8 47% 15% 0 ULTRAVIOLET 2006 -36,413 31,070 0.9 18,536 12,534 -3,205 0 -3,205 -3,205 8,851 4,883 81,592 86% 0 -2,200 0 0 95,326 -38,289 -39,053 307% -48,710 -50,040 0.9 1.0 1.1 47% 33% 0 THAT'S MY BOY (2012) 2012 -69,887 57,719 0.8 36,931 20,788 -43,017 0 -43,017 -43,017 18,306 8,164 69,242 72% 10,000 -6,970 0 0 95,712 -52,415 -60,340 166% -51,445 -55,055 0.8 1.0 0.9 46% 44% 0 INTERNATIONAL THE (2009) 2009 -66,772 53,851 0.8 6,105 47,745 -24,591 0 -24,591 -22,611 12,064 13,082 77,623 76% 34,100 -5,500 -1,980 -1,653 102,769 -56,953 -66,186 191% -13,227 -13,227 0.8 3.5 1.0 41% 24% 1 ANONYMOUS 2011 -22,386 15,395 0.7 4,463 10,932 -29,753 0 -29,753 -29,753 2,099 4,444 26,796 80% 9,035 -2,040 0 0 33,339 -36,512 -42,010 217% -20,254 -20,254 0.7 1.6 1.9 35% 43% 1 BATTLE OF THE YEAR 2013 -24,837 16,549 0.7 8,888 7,661 -31,160 -9,035 -40,195 -40,195 4,258 3,215 24,197 76% 0 -2,980 0 0 31,670 -24,587 -29,496 191% -57,853 -59,893 0.7 0.7 1.2 47% 41% 0 STEALTH 2005 -131,935 76,933 0.6 32,117 44,816 -124,918 0 -124,918 -121,870 16,284 18,319 122,416 78% 0 -10,020 -3,048 0 157,019 -86,088 -98,782 204% -18,823 -18,823 0.6 1.3 0.7 39% 38% 0 ACROSS THE UNIVERSE 2007 -52,578 29,367 0.6 24,344 5,023 -29,284 0 -29,284 -29,284 11,464 1,739 59,798 82% 0 0 0 1,550 73,001 -30,951 -28,777 249% -46,860 -49,840 0.6 0.8 0.5 48% 42% 0 HOW DO YOU KNOW 2010 -111,091 48,669 0.4 30,213 18,456 -113,919 0 -113,919 -113,919 15,229 7,143 69,110 76% 0 -10,570 0 0 91,482 -60,587 -69,192 188% -10,027 -10,027 0.4 6.6 0.6 34% 10% 1 JANE AUSTEN BOOK CLUB THE 2007 -6,476 7,164 0.1 3,575 3,559 -419 0 -419 -419 1,395 1,372 25,121 90% 0 0 0 0 27,888 -13,494 -15,114 3525% -2,796 -2,796 0.1 2.5 2.3 34% 38% 1

Actor often do like bodybuilder preparation for their competition for their shirtless scene, don't eat or drink much going in those days of shoot (Pratt did a video showing what he was eating, it was ridiculous), they do some weight lighting just before and between takes. They are looking differently during those day of the shoot than day to day normal.

Daniel Day Lewis in a Paul Thomas Anderson movie, Gary Oldman in a Churchill biopic, Denzel Washington, etc... It is a bit soon to say that a movie should get nods let alone wins (outside all time good type of stuff) it is not even june with most movies yet to be released.

Not sure I follow, those were great previews for a great OW, previews are an excellent indicator of the OW. It is rare that people are wrong by more than 15% of the OW post previews, they tend to be really close.