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Weekend Thread ~ The Grinch 67m+ per DHD

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14 hours ago, Slambros said:

How often is it that a film gets a 4x multiplier? I think it's great that Overlord might be getting a $10M weekend, but its production budget is $38. The film would really need a 4x multiplier to get above its budget, complement the overseas grosses, and be in the clear. I'm sure it'll help that Overlord will be the only wide-release horror option besides The Possession of Hannah Grace for the rest of 2018.

Sequels and established brands often have lower multipliers which drag the averages down.

 

Release
Month
Average
Multiplier
Median
Multiplier
Release
Month
Average
Multiplier
Median
Multiplier
January 2.88 2.66 July 3.30 3.22
February 2.81 2.73 August 3.22 3.00
March 3.02 2.89 September 2.87 2.75
April 2.76 2.65 October 3.02 2.75
May 2.95 2.82 November 3.43 3.23
June 3.13 3.01 December 5.45 4.76
all (1025 movies) 3.21 2.93
excludes 2018 releases
highest month in blue; lowest month in red
 
numbers from top opening domestic earners (2008-2017) as of August 16, 2018
Edited by MagnarTheGreat
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Don't know if this was posted but...


 

Quote

 

The Ballad of Buster Scruggs (Netflix) – Metacritic: 81; Festivals include: Venice, New York 2018

 

$(est.) 36,000 in 3 theaters; PTA (per theater average): $(est.) 12,000; Cumulative: $(est.) 45,000

 

Netflix continues its war on film industry norms with this haphazard opening of the Coen Brothers latest film. With Alfonso Cuaron’s looming “Roma,” other directors of his stature have pressed for advance releases of their films set to play on the streaming service. “Buster Scruggs,” originally intended as a limited series, then edited into an anthology feature, would not be likely to perform –even with a full-on effort from a distributor–at the level of their earlier specialized releases. It has been normal for these to open in a handful of New York/Los Angeles theaters to over $75,000 their first weekend.

 

Given that Netflix doesn’t release grosses, it’s hard to take the streaming service  seriously as theatrical player. To get some sense of the film’s reaction, we checked out the online reserved seating charts for the three Landmark Theaters playing the film (57th West in New York, the Landmark in Los Angeles, and the Embarcadero in San Francisco) to assess the results.

 

The film opened on Thursday with an estimated take of $6,600 in New York and Los Angeles. From there, it gets complicated. Sunday looked to be around $10,000 for the three theaters (not much uptick from Thursday). But Saturday, things got weird when theater sizes seemed to increase from Friday. That would normally suggest adjusting theater sizes to accommodate crowds.

 

But it’s hard to project what the gross really was. A later afternoon show in Los Angeles went from $900 (that’s around 80 customers) on Friday to $450 Saturday (with a higher ticket price, around 30 people). That is not normal — Saturday should be higher than Friday. But then (with the screen already switched to one with over 200 seats), the prime evening show was listed as sold out hours before scheduled time.

 

This suggests that Landmark had a landlord role for its four-walled bookings (that is, Netflix rented screens and keeps the revenues, rather than sharing ticket sales). These three locations are prime theaters, particularly for crowded frame. There is no reason to think they’d prioritize their screens over distributors committed to the continued existence of specialized theatrical film. But early on, except for New York, where it played on a small under-40 seat theater (with some additional shows in an even lesser capacity room Saturday and Sunday), it appeared the film didn’t need a big screen–until the unusual reports of a sellout at a larger screen.

 

So what did “Scruggs” gross? Based on the screen sizes and ticket counts, even if one accepts the online evidence, perhaps $35-40,000 for the three theaters. That would include New York, which grossed substantially lower than the theater might have with more seats.

With proper unlimited seating at these theaters, with substantial newspaper ads and strong and well-placed prime newspaper reviews, this at most might have grossed $60,000. That would be $20,000 per theater. That would be by far the lowest in adjusted terms for any of the platform openings for Coen Brothers films.

 

Inevitably, a large number of Coens fans are aware this is going to be on Netflix (starting this Friday) and that kept them from purchasing tickets despite the film’s prominent placement. This doesn’t mean the same fate awaits “Roma” when it launches at the same three theaters on November 21, with other cities opening on December 7 ahead of its streaming debut on December 14. Expect its results to be more substantial, but likely just as muddled and hidden from public view.

 

What comes next: This is likely it for theatrical showings with at most a few exceptions if any.

 

https://www.indiewire.com/2018/11/netflix-the-ballad-of-buster-scrugs-jason-reitmans-the-front-runner-flops-1202019664/

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6 hours ago, MCKillswitch123 said:

So, Canehdiehns have been going gaga for movies in this past month, is what you're saying? :ph34r: I mean, wasn't it your theater where First Man actually did good business too? (And btw, how did Venom and Halloween perform like there?)

No, different theatre for First Man (in Victoria, I’m up in my hometown this weekend). First Man bombed here. 14M weekend, 40M total.

 

Venom and Halloween I only got the OW for. And they were rough guesses cause I quickly added the numbers in my head rather than actually use a calculator to get the actual #. Venom was around 70 for the 3-day, something like 82 for the 4-day (Star was like 60 for the 4-day... am I allowed to say it went gaga on Monday). Halloween was around 46M which is understandable since slashers and most horrors don’t do well there in general.

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