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5-day Weekend #s: DM3 99M, BD 29.97M, WW 24.07M, TF5 24.05M, Cars 3 14.2M, House 11.9M

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Even though I get why it happened (one word: merchandise), I'm still kind of flabbergasted that we got two Cars sequels before an Incredibles sequel. Whereas Cars seemed to tell all the story it needed in one installment, The Incredibles left plenty of room open for further development of its universe - not to mention the blatant sequel hook at the very end.

 

I'm thinking the sequel will fare quite well. In addition to the fact that superhero movies make a mint these days, it will presumably have the added benefit of looking and feeling different from everything else in the current superhero landscape. And barring Pixar taking even more enormous strides toward maturity in its subject matter, it will be a truly family-friendly entry in a sub-genre that pretends to be family-friendly despite the customary PG-13 ratings (then again, The Incredibles was Pixar's first PG installment, so perhaps the sequel will continue the tradition and mark their first foray into PG-13 territory? ;)).

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1 minute ago, Webslinger said:

Even though I get why it happened (one word: merchandise), I'm still kind of flabbergasted that we got two Cars sequels before an Incredibles sequel. Whereas Cars seemed to tell all the story it needed in one installment, The Incredibles left plenty of room open for further development of its universe - not to mention the blatant sequel hook at the very end.

 

I'm thinking the sequel will fare quite well. In addition to the fact that superhero movies make a mint these days, it will presumably have the added benefit of looking and feeling different from everything else in the current superhero landscape. And barring Pixar taking even more enormous strides toward maturity in its subject matter, it will be a truly family-friendly entry in a sub-genre that pretends to be family-friendly despite the customary PG-13 ratings (then again, The Incredibles was Pixar's first PG installment, so perhaps the sequel will continue the tradition and mark their first foray into PG-13 territory? ;)).

 

 

 

Brad Bird didn't want to do a sequel until now. In fact if Tomorrowland hadn't bombed he might have never done it 

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1 minute ago, John Marston said:

 

 

 

Brad Bird didn't want to do a sequel until now. In fact if Tomorrowland hadn't bombed he might have never done it 

 During an interview in May 2013, Bird reiterated his interest in making a sequel: "I have been thinking about it. People think that I have not been, but I have. Because I love those characters and love that world." He continues, "I am stroking my chin and scratching my head. I have many, many elements that I think would work really well in another Incredibles film, and if I can get 'em to click all together, I would probably wanna do that." At the Disney shareholders meeting in March 2014, Disney CEO and chairman Bob Iger confirmed that Pixar was working on a sequel to The Incredibles, with Bird returning as writer. 

 

Before the release of Tomorrowland he even said Incredibles 2 was his next film.

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9 minutes ago, Webslinger said:

Even though I get why it happened (one word: merchandise), I'm still kind of flabbergasted that we got two Cars sequels before an Incredibles sequel. Whereas Cars seemed to tell all the story it needed in one installment, The Incredibles left plenty of room open for further development of its universe - not to mention the blatant sequel hook at the very end.

 

Other reason could be wanting to have Bird involved (versus who care who is doing those Car sequels really)

 

If they wanted him and I imagine they did with him writing/directing it, they needed to wait for him to be free (and for him to want to do a sequel and have good enough material to go forward).

 

Incredibles sequels idea is hard to come with imo (without being a formulaic cliche) once they become SH, should we care about what they do more than others SH, what was special was the family arc, fish out of the water a little bit setting. Not sure anything you could come up with as a story, need to be with those people at all instead of is own new movie.

Edited by Barnack
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1 hour ago, The Panda said:

If Tomato Law is true, shouldn't 47 Meters Down be bombing?

How many times do I need to repeat this? The Tomato Law says, and I am quoting here, that a movie that falls in the mixed range won't get killed by it but it won't explode either. 47MD is at 53%, which means the people who plan to go because they like sharks and hot chicks will go, but others won't. It is a small Shallows. Shallows is what happens when you take the same concept and get a certified fresh rating.

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That San Francisco earthquake film Brad Bird was attached to forever (maybe still is?) seemed to have taken up a lot of his time.

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1 hour ago, Mojoguy said:

IT should be moved to early August at least!

That movie can make some serious money with a better release date!

Being in September is going to hurt it bad!

 

Nope.  The date it opens is going to be great.  Market will be completely starved at that point.  

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August has no blockbusters, but it is stacked with product.  

 

Dark Tower (2 week performer), Inconvenient Sequel, Detroit, Annabelle, Hitman's Bodyguard, Logan Lucky, Ingrid Goes West, Patti Cake$, Wind River, Good Times, etc....  

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At the beginning of June everyone thinks WW's gonna get a lot of competition on the following weeks of its release and "The Mummy" nope, "Cars 3" not so much and "Transformers" is gonna take a big chunk out of it and still big fat nope. Who would've thought WW's fifth weekend is gonna beat Transformers' second weekend. WW is gonna be one of the best box office run of all time.

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Just now, EmpireCity said:

August has no blockbusters, but it is stacked with product.  

 

Dark Tower (2 week performer), Inconvenient Sequel, Detroit, Annabelle, Hitman's Bodyguard, Logan Lucky, Ingrid Goes West, Patti Cake$, Wind River, Good Times, etc....  

How do you think those two will do head to head? I mean do you think they can co-exist or do you think one of them is going to kill the other. 

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7 minutes ago, CJohn said:

How many times do I need to repeat this? The Tomato Law says, and I am quoting here, that a movie that falls in the mixed range won't get killed by it but it won't explode either. 47MD is at 53%, which means the people who plan to go because they like sharks and hot chicks will go, but others won't. It is a small Shallows. Shallows is what happens when you take the same concept and get a certified fresh rating.

 

The Shallows was a studio film, 47 Meters Down was from Entertainment Studios and was supposed to be a Direct to video release.  47 Meters is going to come fairly close to the Shallows with next to no marketing.

 

I know they're both shark movies, but 47 Meters Down is doing way better than it ever should have.

 

Also, by that logic Baby Driver should be exploding, not performing marginally better than a typical Edgar Wright film.

Edited by The Panda
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1 minute ago, EmpireCity said:

August has no blockbusters, but it is stacked with product.  

 

Dark Tower (2 week performer), Inconvenient Sequel, Detroit, Annabelle, Hitman's Bodyguard, Logan Lucky, Ingrid Goes West, Patti Cake$, Wind River, Good Times, etc....  

Have you heard anything about the release schedules of these 3? The Numbers says Wind River is going wide on OW.

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I'm not worried about It's potential. As long as the ad campaign connects with audiences, it will do solid business. Sully's performance in the same slot last year demonstrates that audiences will show up for a well-advertised film in the otherwise barren early September landscape.

 

Furthermore, it's worth remembering that The Exorcism of Emily Rose - which didn't have the added benefit of beloved source material - opened over $30 million in the same slot 12 years ago. While it's true that that film had the added benefit of a PG-13 rating, its performance still serves as historical evidence that It can thrive in early September. In fact, if anything, the lack of any meaningful competition should work very much in its favor.

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4 minutes ago, The Panda said:

 

The Shallows was a studio film, 47 Meters Down was from Entertainment Studios and was supposed to be a Direct to video release.  47 Meters is going to come fairly close to the Shallows with next to no marketing.

 

I know they're both shark movies, but 47 Meters Down is doing way better than it ever should have.

 

Also, by that logic Baby Driver should be exploding, not performing marginally better than a typical Edgar Wright film.

I saw plenty of marketing. I just didn't think it was "good" marketing. 

 

Several ads during the NBA Finals don't come cheap. 

 

Also Baby Driver is exploding. It's going to make high 20s for the 5-day. Which is way more than the $12-20M it was projected to make. 

Edited by Nova

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1 minute ago, Webslinger said:

I'm not worried about It's potential. As long as the ad campaign connects with audiences, it will do solid business. Sully's performance in the same slot last year demonstrates that audiences will show up for a well-advertised film in the otherwise barren early September landscape.

 

Furthermore, it's worth remembering that The Exorcism of Emily Rose - which didn't have the added benefit of beloved source material - opened over $30 million in the same slot 12 years ago. While it's true that that film had the added benefit of a PG-13 rating, its performance still serves as historical evidence that It can thrive in early September. In fact, if anything, the lack of any meaningful competition should work very much in its favor.

 

It is placed perfectly...as a horror film, it will get to take advantage as people turn from summer thoughts to Halloween thoughts and ride the box office all the way through Halloween.  No reason that movie should move release dates at all.  

 

Think 2016's Don't Breathe, but bigger:)...

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5 minutes ago, The Panda said:

 

The Shallows was a studio film, 47 Meters Down was from Entertainment Studios and was supposed to be a Direct to video release.  47 Meters is going to come fairly close to the Shallows with next to no marketing.

 

I know they're both shark movies, but 47 Meters Down is doing way better than it ever should have.

 

Also, by that logic Baby Driver should be exploding, not performing marginally better than a typical Edgar Wright film.

Next to no marketing? Wtf? It had a lot of spots.

 

Marginally better than your typical Edgar Wright movie? Baby Driver will open above Baywatch. It is exploding. It will be his biggest movie within DAYS lol. The Tomato Law in full effect.

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2 minutes ago, CJohn said:

Next to no marketing? Wtf? It had a lot of spots.

 

Marginally better than your typical Edgar Wright movie? Baby Driver will open above Baywatch. It is exploding. It will be his biggest movie within DAYS lol. The Tomato Law in full effect.

 

Yeah that spent a almost as much as  a studio film usually does on horror - $30m

 

http://deadline.com/2017/06/cars-3-all-eyez-on-me-tupac-shakur-rough-night-scarlett-johansson-mandy-moore-47-meters-below-1202114764/

 

Quote

47 Meters Down is in a slightly better financial position than Rough Night. While Rough Night cost $20M, and has a domestic P&A spend around $35M, 47 Meters Down carried an estimated P&A of $30M, with only a seven digit acquisition cost (not high single digits) and has the extra benefit of being a genre title. On Rentrak heading into the weekend, 47 Meters Down was leading among females under 25 for new wide releases.

 

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9 minutes ago, The Panda said:

 

The Shallows was a studio film, 47 Meters Down was from Entertainment Studios and was supposed to be a Direct to video release.  47 Meters is going to come fairly close to the Shallows with next to no marketing.

 

I know they're both shark movies, but 47 Meters Down is doing way better than it ever should have.

 

Also, by that logic Baby Driver should be exploding, not performing marginally better than a typical Edgar Wright film.

 

Don't be absurd, Baby driver looks way too peculiar, niche and small to be a smash hit with today s audiences.

GA likes what they like, and when it comes to car chases, it s more Fast & Furious that an artsy fartsy Edgar Wright movie.

 

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