of Chinoni Chowk up to The special got off to a strong start at the box office, grossing over $15k per theater from 16 locations in five markets, for an estimated weekend of $240.9k, possibly more depending on how Sunday goes.
“It’s as much as we could hope for,” said Eric Loomis, president of United Artists Publishing. The opening “bodes well for both the film’s ongoing rollout and the specialty film market as a whole, which sees audiences returning to adult fare.”
up to A stellar 100% Rotten Tomatoes critics’ score combined with exit polls – 92 in the top two boxes; 86 definite recommendation. “This is rarefied air,” Loomis noted. The film covers 25 markets and builds marketing with a ramp-up in linear television and digital spots ahead of a wider national rollout with 100 runs next week. It’s playing “smart house” (highly commercial) theaters, and commercial venues, not traditional art houses.
“Everyone at UAR and MGM’s Orion is incredibly proud of this film,” said Loomis. He said he salutes producers Barbara Broccoli, Keith Beauchamp and Whoopi Goldberg who struggled for decades to make this film.
up to Grow a diverse, multi-generational audience. The exit data is up to 47% black, 30% white, 21% Latino, 2% Asian/other – and 55/45 women. Age breakdown: 12% 18-24; 25% 25-34; 17.5% 35-44; 14.5% 45-54; 18% 55-64; and 11% 65+. Some 36% of the audience was 35 and under. “For a period drama, no matter how good, it was a higher percentage than I was [even] Hopefully,” Loomis said. Auds were 69% college graduates.
Danielle DeWyler is Mamie Till-Mobley, the mother of Emmett Till, a 14-year-old boy brutally murdered while visiting cousins in Mississippi in 1955, and the film is her story. His decision to hold a public funeral with an open casket created lasting images of cruelty that fueled the civil rights movement.
The film, which also stars Jillian Hall, Frankie Faison, Haley Bennett, and Goldberg, had its world premiere at the New York Film Festival on October 1. It had its UK premiere on Friday at the London Film Festival.
Moby Park had a successful weekend with Chan Wook The decision to leave which grossed an estimated $90.7k on three screens in NY/LA for a per-screen average of $30,243. It is the highest PSA for the director old man And handicraft And it’s the latest in a string of impressive art house debuts. The total included $57,308 from NYC’s Angelica Film Center, the theater’s third-highest opening after Covid and one of the top PSAs of 2022.
The romantic thriller will add 36 screens in week two, with more locations in New York, including LA and new markets including Atlanta, Austin, Boston, Denver, Portland, San Francisco and Washington DC. It is Mobi’s biggest release yet, which is expected to hit 200 locations.
“It’s really a pleasure The decision to leave “Among the many films in the arthouse market that are doing so well in pre-opening numbers,” said Chris Mason-Wells, head of Moby US distribution.
The winner of the best director award at the Cannes Film Festival follows a detective who becomes trapped in a web of deception and lust while investigating a recently widowed woman. It is the director’s first film in six years and the first time Park will represent South Korea in the Best International Film race at the Oscars.
The new openers were filled with a pair of strong performances week two films, string Focus features and The triangle of sadness from new
Todd Field by Tarr opened last week to a $40,000 per theater average at four locations. It expanded to 36 theaters in 13 markets on Friday and is posting a solid $10,000 per theater average for a weekend total of $360,000 and a running domestic cume of $585,000.
Recently certified with audience scores of 94% and 78% on Rotten Tomatoes, it opened at the top spot at the Alamo Mission in SF, the Music Box in Chicago and the Varsity in Toronto. It was the top film at Lincoln Square on Saturday, in its second weekend there. Next week, it expands to 25 total markets with about 100 plays. Cate Blanchett won Best Actress at the Venice Film Festival for her turn as a brilliant orchestra conductor and musician on the brink of power who abuses power.
The triangle of sadness, Ruben Östlund’s Cannes Palme d’Or winner, earned an estimated $657,051 in its second week on 31 screens for a PSA of $10,857 and a total of $657,051. Neon’s film had a strong opening last weekend at 10 locations for a PTA of $21,007. In this hilarious comedy about the relationship between power and beauty, celebrity model couple Carl (Harris Dickinson) and Yaya (Charlby Dean) are invited on a luxury cruise for the uber-rich, courtesy of an unstoppable yacht. The captain (Woody Harrelson) has done. ).
“We’re in this corridor where a lot of mainstream blockbusters haven’t come out, but in the niche world now, there are blockbusters,” said Paul Degarabedian, Comscore senior media analyst. There are more exclusive films, they are doing well on a per theater basis. And they are showing that independent film in the theater is important. It’s not just for streaming. These films deserve and should have their time on the big screen.