IT: CHAPTER TWO WEEKEND THREAD | 91M DOM, 94M OS, 185M WW | Read first post for rules

[sfran43]

1	-	It: Chapter Two	WB (NL)	$37,400,000	-	-	4,570	$8,184	$37,400,000	1
2	1	Angel has Fallen	LGF	$1,725,000	+153%	-40%	3,229	$534	$49,185,501	15
3	2	Good Boys	Uni.	$1,570,000	+194%	-33%	3,193	$492	$63,029,700	22
4	3	Overcomer	Affirm	$1,025,000	+165%	-27%	2,153	$476	$21,981,163	15
5	4	The Lion King (2019)	BV	$990,000	+206%	-36%	2,610	$379	$525,903,439	50
6	5	Fast & Furious Presents: Hobbs & Shaw	Uni.	$940,000	+195%	-35%	2,299	$409	$161,472,145	36
7	7	Ready or Not	FoxS	$684,000	+144%	-56%	2,350	$291	$24,085,688	17
8	9	The Peanut Butter Falcon	RAtt.	$630,000	+195%	-15%	1,310	$481	$10,636,259	29
9	8	Once Upon a Time in Hollywood	Sony	$615,000	+135%	-38%	1,402	$439	$132,817,282	43
10	10	Scary Stories to Tell in the Dark	LGF	$593,000	+273%	-50%	2,101	$282	$60,418,734	29
11	12	Dora and the Lost City of Gold	Par.	$430,000	+229%	-51%	1,788	$240	$52,419,150	29
12	-	Brittany Runs a Marathon	Amazon	$303,000	+911%	+144%	230	$1,317	$1,169,032	15
-	11	Spider-Man: Far from Home	Sony	$300,000	+122%	-74%	1,433	$209	$387,182,846	67
-	-	The Angry Birds Movie 2	Sony	$270,000	+160%	-71%	1,854	$146	$36,647,894	25
-	-	Don't Let Go	OTL	$220,000	+113%	-71%	922	$239	$3,720,680	8
-	-	47 Meters Down: Uncaged	ENTMP	$193,000	+221%	-66%	975	$198	$20,354,740	22
-	-	Chhichhore	FIP	$154,000	-	-	195	$790	$154,000	1
-	-	The Art of Racing in the Rain	Fox	$130,000	+48%	-58%	740	$176	$24,880,078	29
-	-	Tod@s Caen	PNT	$103,000	+139%	-69%	371	$278	$1,704,041	8
-	-	Toy Story 4	BV	$99,000	+8%	-79%	640	$155	$431,362,269	78
-	-	Aladdin (2019)	BV	$62,000	+479%	-44%	198	$313	$354,602,999	106
-	-	The Fighting Preacher	Purd.	$11,429	+145%	-26%	23	$497	$702,913	45
-	-	Bennett's War	FF	$10,010	-62%	-93%	290	$35	$695,825	8
-	-	Tel Aviv on Fire	Cohen	$5,164	-6%	-46%	22	$235	$425,834	36

[Webslinger]

Disappointing for It relative to expectations and the first film's performance, but it's still bound to be plenty profitable for its distributor.

[filmlover]

3 minutes ago, sfran43 said:

 

How many theaters is Brittany in? Seems like a good number since next weekend is when it goes "wide."

 

Edit: 230 I see. Yep, decent number.

Edited September 7, 2019 by filmlover

[Jake Gittes]

1 hour ago, RealLyre said:

I don't see how they limit the types of movies the audience gets. they don't force them to watch anything. every weekend there is a non-Disney film in wide release somewhere. 

this isn't a Disney issue, more of Hollywood catering to the GA. ( which is kinda how business works, the more you know huh)  

 

if you don't want blockbusters (Disney or not) to rule the box office, you can start telling that to the millions of people who pay to watch them on opening weekend. 

No, they don't, strictly speaking, force them to watch anything, but they weaponize things like nostalgia and brand/franchise loyalty to create in the audience a sense of obligation to see something. In other words, they sell their products as events. These events attract attention, and hype, and screen space, and so they balloon to become even bigger events, so they attract even more hype, etc. And because they get this wildly disproportionate exposure, they condition the audience to spend the bulk of both their interest and their money on them, and because they all broadly follow the same template, they don't encourage the audience to be curious about/open to something different when going to the theater. 

 

So everything else then has to work around these events. The other studios see their best response in trying to create event movies of their own, and this puts 99% of non-blockbusters, adult movies, original movies, etc. into even greater disadvantage. It's not enough to just have a non-Disney film in wide release "somewhere". You gotta invest in it, push it, let people know that it's out there, be able to keep it in theaters for more than two weeks before Avengers 25 arrives and clears everything out. But because Disney movies are the biggest, you get both less opportunity and less inclination to do that, so fewer people get to know about those movies, so fewer of them get a wide release or even a theatrical release at all. The big movies get bigger and the small movies only get smaller. You end up with an unequal, self-enclosed, self-perpetuating, vicious circle-driven system the purest example of which is the Disney slate this year: literally only sequels and remakes get released and make money, because nothing else is worth it, because literally only sequels and remakes get released and make money. 

Edited September 7, 2019 by Jake Gittes

[sfran43]

WIDE (1000+)

#	TITLE	WEEKEND		LOCATIONS		AVG.	TOTAL	WKS.	DIST.
1	It Chapter Two	$91,000,000	—	4,570	—	$19,912	$91,000,000	1	Warner Bros
2	Angel Has Fallen	$6,100,000	-48%	3,229	-107	$1,889	$53,560,501	3	Lionsgate
3	Good Boys	$5,200,000	-45%	3,193	-265	$1,629	$66,659,700	4	Universal Pictures
4	The Lion King	$4,300,000	-38%	2,610	-580	$1,648	$529,213,439	8	Walt Disney Pictures
5	Overcomer	$3,500,000	-38%	2,153	326	$1,626	$24,456,163	3	Sony Pictures
6	Fast & Furious Presents: Hobbs & Shaw	$3,300,000	-49%	2,299	-673	$1,435	$163,832,145	6	Universal Pictures
7	Ready or Not	$2,300,000	-61%	2,350	-607	$979	$25,701,688	3	Fox Searchlight
8	Once Upon a Time In Hollywood	$2,200,000	-47%	1,402	-591	$1,569	$134,402,282	7	Sony Pictures
9	The Peanut Butter Falcon	$2,200,000	-27%	1,310	61	$1,679	$12,174,657	5	Roadside Attractions
10	Dora and the Lost City of Gold	$2,000,000	-51%	1,788	-689	$1,119	$53,989,150	5	Paramount Pictures
11	Scary Stories to Tell In The Dark	$2,000,000	-60%	2,101	-646	$952	$61,825,734	5	CBS Films / Lionsgate
12	The Angry Birds Movie 2	$1,600,000	-62%	1,854	-1457	$863	$37,977,894	4	Sony Pictures
13	Spider-Man: Far from Home	$1,300,000	-70%	1,433	-1729	$907	$388,182,846	10	Sony / Columbia

LIMITED (100 — 999)

#	TITLE	WEEKEND		LOCATIONS		AVG.	TOTAL	WKS.	DIST.
1	Brittany Runs A Marathon	$1,000,000	141%	230	181	$4,348	$1,000,000	3	Amazon Studios
2	47 Meters Down: Uncaged	$750,000	-69%	975	-1249	$769	$20,911,739	4	Entertainment Studios Motion Pictures
3	Don’t Let Go	$675,000	-71%	922	0	$732	$675,000	2	OTL Releasing
4	The Art of Racing in the Rain	$525,000	-60%	740	-735	$709	$25,275,078	5	20th Century Fox
5	Toy Story 4	$500,000	-79%	640	-2075	$781	$431,763,269	12	Disney
6	Tod@s Caen	$475,000	-57%	371	0	$1,280	$2,076,041	2	Lionsgate / Pantelion
7	Chhichhore	$450,000	—	195	—	$2,308	$450,000	1	FIP
8	Aladdin	$250,000	-44%	198	-32	$1,263	$354,790,999	16	Disney
9	John Wick: Chapter 3 – Parabellum	$45,000	-46%	113	-26	$398	$170,994,378	17	Lionsgate

PLATFORM (1 — 99)

#	TITLE	WEEKEND		LOCATIONS		AVG.	TOTAL	WKS.	DIST.
1	Mission Mangal	$125,000	-67%	94	-57	$1,330	$3,584,348	4	FIP
2	The Fighting Preacher	$50,000	32%	23	-9	$2,174	$50,000	7	Purdie Distribution
3	Tel Aviv on Fire	$20,000	-59%	22	-13	$909	$20,000	6	Cohen Media Group
4	Avengers: Endgame	$15,000	-79%	55	-55	$273	$858,368,685	20	Disney

[MikeQ]

While it won't hit 100 million, it is still a great opening in my book. For me, seeing that this would be the highest grossing opening for a horror film if the first film didn't exist, puts this in perspective. So, while I suppose it could have opened better, and understand someone feeling disappointed, this still seems like a great opening all things considered (the first really captured the zeitgeist in a way the second can't; the near 3 hour runtime; etc).

 

Largest Horror Film Opening Weekends

1. It (2017) — 123.4 million
2. It: Chapter 2 (2019) — 88.0-90.0 million (est.)
3. I Am Legend (2007) — 77.2 million
4. Halloween (2018) — 76.2 million
5. Us (2019) — 71.1 million 
6. War of the Worlds (2005) — 64.9 million
7. Signs (2002) — 60.1 million
8. Paranormal Activity 3 (2011) — 52.6 million
9. Van Helsing (2004) — 51.7 million
10. Prometheus (2012) — 51.1 million
11. The Village (2004) — 50.7 million
12. A Quiet Place (2018) — 50.2 million
13. The Conjuring (2013) — 41.9 million
14. Shutter Island (2010) — 41.1 million
15. Paranormal Activity 2 (2010) — 40.7 million
16. Friday the 13th (2009) — 40.6 million
17. The Conjuring 2 (2016) — 40.4 million
18. Insidious Chapter 2 (2013) — 40.3 million
19. Split (2017) — 40.0 million
20. The Grudge (2004) — 39.1 million
21. Alien vs. Predator (2004) — 38.3 million
22. Annabelle (2014) — 37.1 million
23. Freddy vs. Jason (2003) — 36.4 million
24. Interview with the Vampire (1994) — 36.4 million
25. Alien: Covenant (2017) — 36.2 million
26. The Ring Two (2005) — 35.1 million
27. Annabelle: Creation (2017) — 35.0 million
28. Scream 3 (2000) — 34.7 million
29. The Purge (2013) — 34.1 million
30. The Devil Inside (2012) — 33.7 million
31. Saw III (2006) — 33.6 million
32. The Haunting (1999) — 33.4 million
33. Get Out (2017) — 33.4 million
34. Scream 2 (1997) — 32.9 million

Side note: I'm reminded of how incredible the opening weekend for 'Us' was as an original horror film.

 

Peace,

Mike

[filmlover]

The Peanut Butter Falcon has become one of the more surprisingly solid performers in quite some time. Very good, especially considering how much indie fare has struggled this year.

[cannastop]

1 hour ago, Jake Gittes said:

And by doing so they limit the types of movies the audience gets, and would love, to see in a theater,

What movies would audiences love then?

[RealLyre]

4 minutes ago, Jake Gittes said:

. The big movies get bigger and the small movies only get smaller. You end up with an unequal, self-enclosed, self-perpetuating, vicious circle-driven system the purest example of which is the Disney's slate this year: literally only sequels and remakes get released and make money, because nothing else is worth it, because literally only sequels and remakes get released and make money. 

while you're correct in saying smaller movies don't get as big of an advertising push as bigger movies, that's mostly because they're never expected to bring blockbuster business. even before the recent Disney domination w/ superheroes and remakes. smaller movies never made it into the billion dollar club. 

 

you seem to imply that if Disney never pushed the MCU or made all those remakes that suddenly other movies (smaller or not) from other studios would still be as successful as Disney but I don't see anything pointing to that direction. the box office isn't a zero-sum game. 

[cannastop]

8 minutes ago, Jake Gittes said:

No, they don't, strictly speaking, force them to watch anything, but they weaponize things like nostalgia and brand/franchise loyalty to create in the audience a sense of obligation to see something. In other words, they sell their products as events. These events attract attention, and hype, and screen space, and so they balloon to become even bigger events, so they attract even more hype, etc. And because they get this wildly disproportionate exposure, they condition the audience to spend the bulk of both their interest and their money on them, and because they all broadly follow the same template, they don't encourage the audience to be curious about/open to something different when going to the theater. 

 

So everything else then has to work around these events. The other studios see their best response in trying to create event movies of their own, and this puts 99% of non-blockbusters, adult movies, original movies, etc. into even greater disadvantage. It's not enough to just have a non-Disney film in wide release "somewhere". You gotta invest in it, push it, let people know that it's out there, be able to keep it in theaters for more than two weeks before Avengers 25 arrives and clears everything out. But because Disney movies are the biggest, you get both less opportunity and less inclination to do that, so fewer people get to know about those movies, so fewer of them get a wide release or even a theatrical release at all. The big movies get bigger and the small movies only get smaller. You end up with an unequal, self-enclosed, self-perpetuating, vicious circle-driven system the purest example of which is the Disney slate this year: literally only sequels and remakes get released and make money, because nothing else is worth it, because literally only sequels and remakes get released and make money. 

sooo, what can you do? Do you want the government to regulate which movies are made? "Aladdin and The Lion King are dangers to the public interest and are now banned!"

 

If alternate strategies other than Disney's can work, it's up the competitors that are left (after the Fox buy-out) to implement them.

[lab276]

6 minutes ago, Jake Gittes said:

No, they don't, strictly speaking, force them to watch anything, but they weaponize things like nostalgia and brand/franchise loyalty to create in the audience a sense of obligation to see something. In other words, they sell their products as events. These events attract attention, and hype, and screen space, and so they balloon to become even bigger events, so they attract even more hype, etc. And because they get this wildly disproportionate exposure, they condition the audience to spend the bulk of both their interest and their money on them, and because they all broadly follow the same template, they don't encourage the audience to be curious about/open to something different when going to the theater. 

 

So everything else then has to work around these events. The other studios see their best response in trying to create event movies of their own, and this puts 99% of non-blockbusters, adult movies, original movies, etc. into even greater disadvantage. It's not enough to just have a non-Disney film in wide release "somewhere". You gotta invest in it, push it, let people know that it's out there, be able to keep it in theaters for more than two weeks before Avengers 25 arrives and clears everything out. But because Disney movies are the biggest, you get both less opportunity and less inclination to do that, so fewer people get to know about those movies, so fewer of them get a wide release or even a theatrical release at all. The big movies get bigger and the small movies only get smaller. You end up with an unequal, self-enclosed, self-perpetuating, vicious circle-driven system the purest example of which is the Disney slate this year: literally only sequels and remakes get released and make money, because nothing else is worth it, because literally only sequels and remakes get released and make money. 

 

This hits the nail on the head. There’s also something you don’t mention though, and that’s on the exhibition side. Disney can use their massive slate to give themselves more of an advantage with regards to premium screens or bigger theatres, and exhibitors can’t say no because they’d lose such big chunk of the box office otherwise. I’m pretty sure I’ve read of this happening. 

[Darth Lehnsherr]

Definitely do understand the concern of Disney's dominance but not like the other studios were handicapped or anything at the start of the decade. For instance WB has plenty of IP that should in theory rival Marvel but we saw how they handled Middle Earth, DC and Harry Potter this decade. As Illumination proved (and DreamWorks before) there's a definite hunger for animation that's not Disney or Pixar yet it took until the this decade for other studios to finally have their own animation studios up and running. 

 

The live action remakes definitely yeah not much you can do to compete that's just Disney cashing in on decisions that were made 20 years ago and I guess they got lucky with Star Wars too. 

[filmlover]

The notion that Disney is killing other movies from doing well is some real grasping at the straws. Even Doctor Strange could tell you that there's no universe in which movies like Booksmart or Long Shot would've been even close to billion dollar successes (or even 1/10th of that, really) if it weren't for those pesky live-action remakes of Disney's animated classics.

Edited September 7, 2019 by filmlover

[The Futurist]

People don't want your movies obsessed with gritty realism bullshit that create little to nothing and take you nowhere but in the gutter of our daily lives.

What is so hard to understand ?

CGI allow us to dream at the movies.

Who woudn't want that besides depressed  cinephiles and movie critics and their patronizing, moralizing politics in their movies ( that is infecting our fantasy films sadly ...) ?

Disney should get the Nobel Peace Prize ward for preveting societies in the west to tear themselves apart.

Be grateful for what you have for once.

[Legion Again]

1 hour ago, YourMother the Edgelord said:

What happens if the GA gets tired of remakes? Or the MCU

Bye bye theaters.   

 

But hey, at least it’ll have lasted longer than without the MCU

[Legion Again]

1 hour ago, Charlie Jatinder said:

So, if EG wasn't 3 hours long, perhaps even $377mn or $387mn or $407mn was possible.

Same reception and hype movie with a 2 hour runtime, clear 400 easy. Problem is that you can’t really make it much shorter and keep the quality.     

 

It 2 170 minutes is  a bit saggy, but Endgame 180 minutes was necessary.

[filmlover]

For all the worries that only brands/nostalgia sells tickets these days we're looking at a non-brand surprise next weekend in Hustlers. Starting to feel like it could potentially clear a $30M+ opening if all of the cards end up falling into place (it screens at TIFF today so we'll have reviews soon).

[The Futurist]

Can't wait for the hot & lame The Joker hit/think pieces this autumn.

 

They will be irrelevant the next month.

 

The Joker will be a slight annoyance in the scheduled program that will have no influence/impact on anything.

It will only bring delusions among the usual group of people.

Edited September 7, 2019 by The Futurist

[TMP]

23 minutes ago, Thanos Legion said:

It 2 170 minutes is  a bit saggy, but Endgame 180 minutes was necessary.

The Russos are on another level

[The GOAT]

What did ya'll expect? It's 3 hour movie and a horror movie at that.

You gotta remember they played Endgame 24/7 for 3-4 days straight.

I think the change from kids to adults also definitely didn't help appeal to the young guns.