‘Smile’ opened on Friday with $8.2 million as ‘Bruce’ bombed | Techno Glob


to anyone’s shock, The Hollywood Reporter Reporting that one An August with few major new releases and a September with even fewer major releases resulted in a 2022 ninth-month box office total ($328.7 million) lower than any such September (save for 2020) since 1996 ($326.7 million). . If you only count releases by month, it’s the lowest September since 2001…for obvious reasons. Either way, it’s a crude (unadjusted-ly-extreme) statistic reminiscent of the 1990s when the September crash occurred. rush hour or First Wives Club It was an unexpected and welcome surprise. Once again, the problem is the lack of openings between new big or big movies bullet train In early August and female king In the middle of September.

Accused of favoring covid-related post-production delays Salem’s Loot And Grind in Boots: The Last Wish. Blame a streaming > theater mentality that saw movies like (both for reasons and legal) Hocus Pocus 2 And Boredas well as Hellraiser And the hunter A token theatrical run without debuting on Disney+ or Hulu. Blame various commercial flicks for avoiding August and early September because they wanted an awards-friendly festival debut. Blame two years worth of studio programmers being leased or sold on streaming platforms. Although studios have suddenly realized that it’s good to make money from theatrical revenue, see: armor war Going from being a Disney+ series to a theatrical MCU movie, it’s not a light switch that can be turned on quickly.

In relatively good news, Parker Finn the smile ( review ) on Friday with $8.2 million at the domestic box office, setting the stage for a $19 million opening weekend. It will do so five weekends out of six (save for Labor Day when Top Gun: Maverick Topped Again) where a non-sequel/non-franchise, female-led, adult-skewing studio programmer has debuted at the box office over the weekend. It’s the third weekend in a row where the newbie earned nearly $19 million (Invitation And brutal with $7 million and $10 million). If this is happening between traditional tentpole startups and related holding businesses (three of those titles were fronted by black actors, natch), it would be a perfect case-scenario of theater revival. But now everyone is just waiting for Michael Myers and Blake Adam.

as for the smileParamount
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Yet another relative won the theater. It continues to be a great year (Scream, Jax Forever, The Lost City, Sonic the Hedgehog 2, Top Gun: Maverick) of an unimaginable theatrical revival for the often struggling major. OK, so an original, well-reviewed, well-marketed chiller (without a marquee director, at least) opening with around $20 million might have been par for the course even a few years ago. to think Do not breathe And Light out In the summer of 2016 or Happy Death Day At the end of 2017. But on a ‘giving up on everything again’ curve, it feels like a real win when black phone or the smile Opened above/below $20 million. Will pre-Covid regulations feel ‘back to normal’ anytime soon?

The high-concept thriller is about a young psychopath who (spoiler alert) basically gets cursed by an evil that threatens to end his life in an affair after driving him crazy through scary images and creepy smiley faces. is the. It’s a riff on the mid-2000s J-horror craze (the Rungo, fall water, mudetc.). Reviews (75% and 6.5/10 on Rotten Tomatoes) tend to be positive, and its B-Cinema Score grade is terrible. The main trailer, featuring a killer final gag with an upside-down grin, played in front Top Gun: Maverick, which undoubtedly helped with exposure and awareness. Paramount also had a few people stand in the crowd at sporting events so they could be caught on camera standing still and flashing creepy smiles. clear

In grimmer but not the most surprising news, Universal’s Bros Open with a twist. The Billy Eichner/Luke Macfarlane rom-com earned just $1.84 million on Friday (including $500,000 in previews), setting the stage for a $4.7 million weekend. The $22 million release, written by Eichner and Nicholas Stoller and directed by Stoller, is technically the first mainstream, wide theatrical release rom-com starring a same-sex couple. Unfortunately, much of the marketing and media coverage emphasized the importance and social value of whether a film is funny. To be fair, I think the film falls into the same trap, thriving when it’s ‘only’ a rom-com but stopping dead in its tracks to congratulate itself on its existence and hit every LGBTQIA talking point.

The film earned an A from CinemaScore and has a 91% and 7.18/10 on Rotten Tomatoes, so (like) the smile, which I felt was a warmed-over, inferior riff on its cinematic predecessors), I’m clearly in the minority. i loved AmsterdamSo maybe I’m turning into a bitter contrarian. True or not, the film should have been available 25 years ago, coming off the success Bird cage And in and out. Hollywood ignored its 90s inclusion success stories (Waiting to breathe, rush hour, anaconda, etc.) and spent much of the 2000s and 2010s chasing four-quadrant ‘white guy detects he is the special and saves the day while getting the girl’ action fantasy franchises. That we are only getting movies Bros or love simon Now it’s sad.

It’s a shame in terms of time wasted, careers unfulfilled and the new normal where studio programmers have less theatrical potential than pre-streaming. however, Bros It will probably end up grossing more than $12 million/minimum domestically in the end, with the hope that PVOD will ride to the rescue. At least Universal is trying to survive the likes of theatrical live-action comedies Marry Me, Easter Sunday, Bros And ticket to heaven. But the audience must still make an active choice to buy a ticket if they want even more. Still, Eichner isn’t a star, Stoller isn’t a marquee director and he only had the marketing bag of ‘the first mainstream LGBTQIA theatrical romantic comedy.’

Mani Ratnam’s Tamil-language period action epic Ponniyin Selvan I It opened in 510 theaters yesterday. The debut film adaptation of Kaki Krishnamurthy’s 1955 novel in two parts stars Vikram, Aishwarya Rai Bachchan, Jayam Ravi, Karthi and Trisha. Despite little domestic media attention (I’ll admit to missing it), the pic earned $2.14 million yesterday for a potential $4.11 million opening weekend. That’s a whopping $8,059 per theater average and compared to Disney overall Brahmastra Part One: Shiva ($4.5 million in 810 theaters) with more coverage and marketing. That’s a little higher than the per-theater average RRR ($9.5 million in 1,200 theaters last March). It’s a very strong start for a relatively (at least where I’m standing) under the radar Indian release.



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