Top 5 Breakdown
1. Hotel Transylvania 2 – £6,302,576 – NE
3D took £430,166 – total £981,978 – 2D took £2,374,282 – total £5,320,599
After taking £3,211,638 after two weekends of previews its “opening” was already 85.6%ahead of the first film opening in 2012. The sequel added £2,804,447 in its “opening” weekend.
It is already two thirds of the way of original film box office with half term holidays next week likely to hold well over the next two weeks but then the two weekends of previews will likely have an impact on its long term playing time along with it likely to lose evening slots to Spectre.
2. Suffragette – £2,931,131 – NE
After opening the London Film Festival received positive reviews and debate over sexism within the film industry after comments from its Carey Milligan, Meryl Streep and its screenwriter Abi Morgan ahead of its premiere.
But its opening was less than last year’s opener The Imitation Game which opened with £2.68m and took £4.01m in opening 7 days whilst The Iron Lady opened 6th January 2012 with £2.15m and £3,688,821 in 7 days.
Opening was ahead of similar themed Made in Dagenham opened with opened 1st Oct 2010 with £674,059 and 7 days £1,283,769.
Word of mouth is likely to help it hold well in the coming week but will suffer like all other current releases next Monday when it will lose many screens to Spectre.
3. Pan – £2,730,832 -NE
After much receiving much negative media coverage since its world premiere in London on September 20th it surprisingly had a stronger launch but it was inflated by last weekend’s “previews” of £932,172. Will likely lose many of its screens before half term holidays begin next week dropping heavily in the coming weekend.
The one positive was its director Joe Wright biggest opening in the UK ahead of 2005’s Pride & Prejudice.
4. The Martian – £2,412,491 – £17,483,566
3D took £723,925 – total £6,675,445 – 2D took £1,688,566 – total £10,808,121
Dropping down three places but if preview box office wasn’t included would have been second dropping a strong 37.2% in its third weekend.
The Martian is ahead of Interstellar after three weekends had taken £15.8m but less than Gravity which had taken £19.44m was boosted by IMAX of £2,316,196; 78.3% of Gravity box office was from 3D compared with only 38.1% of The Martian was from 3D.
- Crimson Peak – £964,356 NE
2D took £796,288 – IMAX £168,067
After getting mixed reviews suffering over a busy weekend of new releases which receiving mmuch more media coverage was both positive and negative while Crimson Peak was pushed to the sides a problem when so many films are being released each weekend causing many to cannibalize against each other seen by Sicario dropping down the chart in its second weekend but holding well similar to The Martian. But then The Lobster and The Program getting lost in amongst the other releases both only released as they were hoping to build on the media coverage generated by the London Film Festival.
There was confusion in the marketing of the film what the audience was as its more a gothic horror Age of Innocence with ghosts rather than what many were expecting The Conjuring with corsets; It’s surprising studios spend years creating marketing campaigns for films but failed to market it properly not the first film this year to do this as Tomorrowland and Ant-Man also failed to market the films to the correct audiences meaning both disappointed.
Was one of director Guillermo del Toro’s lowest grossing films ahead of 1997’s B-movie Mimic £487,821; Crimson Peak is much more lavish with a bigger budget and had far bigger expectations from the studio.
Opening was close to 2004’s Hellboy £926,142.
But opening was far less than other gothic horrors and The Haunting many critics compared Crimson Peak with more 1963 original rather than 1999 remake which opened with £1,093,884.
Sleepy Hollow – Pathe -opened 9th January 2000 with £2,848,933
Dark Shadows – Warner –opened 11th May 2012 with £2,404,029
Interview with a Vampire – Warner – opened 20th January 1995 with £2,334,399
The Others – Disney – opened 4th November 2001 with £2,259,538
Other box office news:
Also released
The Program – Studiocanal – £144,181 from 150 screens
Hamlet – Barbican Live took £1.9m from its live broadcast last Thursday and will have an encore screening this week.
Last year Teenage Mutant Ninja Turtles opened with £4.76m, The Best of Me £634,554, The Judge £420,291 and Northern Soul £258,356.
This weekend’s top 10 box office took £17,362,134 up 100.9% from last weekend £8,641,237; this would be a lot less without preview and other box office added which added £5,538,581 (31.9%) to the total; was up 37% from same weekend last year. (£12,664,842);
This weekend last year Fury opened with £2,679,335, The Book of Life £979,415, Alexander And the Terrible, Horrible £570,804, Love, Rosie £481,969 and The Babadook £343,504.
With big drop offs due to preview box office next weekend is likely to be down from last year but then of course Spectre comes with its 7 day opening weekend likely to have the biggest ever opening “weekend”.
US Box Office
- Sony Pictures Goosebumps opened with $23.5m.
- 20th Century Fox The Martian took $21.5m in its third weekend down 41% $143.8.7m to date; in comparison after 3 weekend Interstellar had taken $120.9m and Gravity $169.5m.
3. Disney’s Bridge of Spies opening with $15.4m received positive reviews and A CinemaScore could hold well in coming weeks.
4. Universal Pictures Crimson Peak disappointed taking $12.9m; received B- CinemaScore likely to drop heavily this weekend.
5. Sony Pictures Hotel Transylvania 2 took $12.3m taking $136.4; in comparison first film had taken $118.5m after four weekends.
On limited release
Universal Pictures Steve Jobs expanded into 60 screens (going wide this weekend) taking $1.6m
A24’s Room opened with $120,000 from 4 screens
Sony Pictures Classics Truth took £76,646 from 6 screens.
Netflix’s Beasts of No Nation took $50,699 from 27 screens (day and date with its premiere on Netflix); released theatrically more to qualify it for Oscars rather than dollars. But the question is will the members of the Academy vote for a film financed by the enemy even though most Academy voters will watch all the other Award contenders via similar means rather than go into cinemas to watch them.
