1. Joker  – £3,464,682 – £46,738,367

Dropped 36.9% in its fourth weekend it is only the second film this year to remain #1 for four weeks after Aladdin;

Last week Joker overtook Disney and Maleficent: Mistress of Evil and this weekend Terminator: Dark Fate while likely to top £50m over next weekend.

16^th biggest fourth weekend ever in the UK between Harry Potter and the Philosopher’s Stone and Mamma Mia! after taking only taking only 3.9% less than Avengers: Infinity War in its third weekend

49^th biggest film in the UK between The Greatest Showman and The Jungle Book and 84^th biggest inflation inflated between The Da Vinci Code and Hobbit: The Battle of the Five Armies

13^th biggest Warner Bros film in the UK between Harry Potter and The Goblet Of Fire and Harry Potter and The Prisoner Of Azkaban (Warner Bros 16^th film to take over £40m at the box office since 2001’s Harry Potter and the Philosopher’s Stone and first film since Fantastic Beasts 2 and Warner Bros third biggest comic-book film in the UK after The Dark Knight Rises (£56,237,758) and The Dark Knight (£48,879,577).

4^th biggest film of 2019 after Avengers: Endgame, The Lion King and Toy Story 4 overtaking Captain Marvel, Aladdin and Spider-Man Far From Home.

14^th biggest film in the UK after 10 days on release ( of the films above it had extended openings).

After 24 days on release Joker has taken

1.03% more than 2012’s The Dark Knight Rises taking £46,259,177 82.2% of £56,237,758

3.4% more than 2008’s The Dark Knight taking £45,205,845 92.8% of £48,685,166

4.3% more than 2017’s Dunkirk taking £44,794,468 79.1% of £56,585,035

8^th biggest comic-book film in the UK between Avengers Age of Ultron and Guardians of the Galaxy Vol. 2; has overtaken both Captain Marvel and Spider-Man: Far From Home to be the second biggest comic-book film of 2019.

Joker will probably overtake The Dark Knight over next weekend to become the 6^th comic-book film to take over £50m and will likely end up becoming the third biggest comic-book film in the UK after Avengers: Endgame and Avengers: Infinity War.

Disney’s Bob Iger weighed in on the recent debate started by Martin Scorsese’s recent comments about Marvel Cinematic Universe not being cinema and Francis Ford Coppola calling them despicable saying “I reserve the word despicable to someone who committed mass murder. These are movies,”… “I don’t quite get what they’re trying to criticize us for when we’re making films that people are obviously enjoying going to because they’re doing so by the millions.”… “I’m puzzled by it. If they want to bitch about movies, it’s certainly their right.”

While surprisingly Benedict Cumberbatch came out supporting Martin Scorsese’s comments despite being on the Marvel memberries starring in Doctor Strange saying “We’re lucky as actors who get to do both kinds of [films] at either polarity of budgeting. I agree, we don’t want one king to rule it all and have a kind of monopoly. Hopefully that’s not the case and we should really look into and continue to support filmmakers at every level.”

Steven Spielberg’s comments about Three or four mega-budget movies flopping could happen next year with many long gap sequels, with the latest being Terminator: Dark Fate. While Disney’s rivals seemed to of waved the white flag on this year after they announced their slate all rival studios have much stronger slates next year, while Disney have one of their softest since moving into the properties business. Are massive questions over if millennials will be as excited to see the films their parents when to see when they were teenagers including Top Gun, Bad Boys, Ghostbusters and Coming to America.

In November 2017 Warner Bros dated Wonder Woman 1984, six months later they also dated Joker for October 2019 but then a few months later Warner Bros pushed Wonder Woman 1984 to June 2020 to give room for Joker and probably not to confuse the two as they are two very different comic-book movies and also give Joker more room.

Next from DC is Suicide Squad spinoff Birds of Prey opening in February (teaser trailer was attached to It Chapter Two with trailer attached to Joker) and Wonder Woman: 1984 in June with The Batman and The Suicide Squad opening in summer 2021. While Dwayne Johnson confirmed his Shazam spinoff Black Adam will start shooting next July for release in 2022 alongside DC Super Pets and Aquaman 2.

2. Terminator: Dark Fate – £2,864,941  – NE

Had the 479^th biggest opening in the UK between Insidious 2 and Titanic 3D (close to Arrival, Men in Black 3, Men In Black International and GI Joe: Retaliation) and 645^th biggest inflation inflated opening between Calendar Girls and The Other Woman (close to The Wolfman, Fury, Non-Stop and Total Recall (2012).

86^th biggest 20^th Century Fox opening between Rio 2 and Titanic 3D (close to Jumper, Alita: Battle Angel, The X- Files and Ad Astra) and 107^th biggest inflation inflated 20th Century Fox opening between Knight & Day and The Other Woman (close to Daredevil, Alien vs Predator, Chronicle and 28 Days Later).

Opened with £800,000 from two days of previews opening Wednesday and Thursday in third behind Joker and Maleficent: Mistress Of Evil; can always tell when a film isn’t performing as well as expected as the trades don’t have any early box office data, despite opening internationally from Wednesday it was surprising there was no early international box office on Saturday. There were some admission figures from France which were very low.

Terminator: Dark Fate opened

20645.41% more than 1985’s The Terminator (£13,810)

11.1% more than  1991’s T2: Judgment Day (£2,580,000)

52.8% less than 2003’s Terminator 3: Rise of the Machines (£6,080,369)

58.7% less 2009’s Terminator Salvation (£6,936,528)

24.4% less than 2015’s Terminator: Genisys (£3,793,617)

Terminator: Dark Fate will likely take about £7m+; 8250.59% more than The Terminator but over 60% less than T2: Judgment Day and Terminator 3: Rise of the Machines, almost 50% less than Terminator Salvation and a third less than Terminator: Genisys.

With James Cameron returning to The Terminator film series 28 years after T2: Judgment Day Terminator: Dark Fate was expected to bring new life to the film series instead its unlikely The Terminator will be back anytime soon.

Its disappointing performance does question the decision by studios to bring back many 80s and 90s film series are long gaps including Bad Boys For Life and Top Gun: Maverick as the cinema audience has changed a lot since the original films were released. The problem filmmakers have is if as with Terminator: Dark Fate and Bladerunner 2049 the films are similar to T2: Judgment Day and Bladerunner they will bring out fans who loved them, but then alienate younger audiences.

While Disney have gone the opposite route with Star Wars almost remaking the original trilogy with The Force Awakens, which was much more successful and younger audiences enjoy them much more than the older audiences who grew up with the original films.

Never understand the logic behind opening a film like Terminator: Dark Fate a week earlier internationally and only in 10 territories as this would likely harm it’s US opening and international expansion next weekend.

20^th Century Fox probably thought opening half-term in the UK would boost its BO (as Bohemian Rhapsody and several Marvel films have done) but the problem was the audience for Terminator Dark Fate is older demographic that included fans of T2 probably 35+ who were busy taking kids to Maleficent: Mistress of Evil, The Addams Family and Shaun The Sheep Movie 2

What studios keep forgetting when they open internationally early is the US is still the most important global market (even with the growth of China needing to more than double to be as valuable as US as rentals are less than half) and opening will often affect US BO.

Terminator: Dark Fate opened 39 years after the first Terminator was released as James Cameron took back ownership of the rights to the Terminator franchise he sold to Gale Anne Hurd for $1. The rights were originally shared between Hemdale producers of the original film and James Cameron, Hemdale sold its half share to Carolco in 1990 for $10m and they made 1991’s Terminator 2: Judgment Day.

But when Carolco also got into financial trouble in the late 90s after making Cutthroat Island and Showgirls rights were sold to C2 for $15m in 1997 and they produced 2003’s Terminator 3: Rise of the Machines. C2 sold the rights in 2007 to Halcyon for $25m and they produced 2009’s Terminator Salvation but soon afterwards Halcyon filed for bankruptcy selling Terminator rights for $29.5 million to Pacificor who sold the rights to Annapurna Pictures in 2012.

With James Cameron taking back ownership of Terminator franchise in 2019 there was a small window to make another film and Annapurna Pictures partnered with Skydance with Paramount Pictures signed as distributor of Terminator 5 in 2013 for a summer 2015 release date. At the time Paramount Pictures also dated two sequels for May 19, 2017 and June 29, 2018 but they were cancelled after the poor performance of Terminator Genisys both at the box office and critically.

Teaser trailer was released in May with the first trailer released on August 29th the anniversary of the original Judgment Day in the second film.

3. Maleficent: Mistress Of Evil – £2,159,306 – £7,564,005

349th biggest second weekend in the UK between Shazam! And Godzilla (close to Miss Peregrine’s Home for Peculiar Children, Snow White and the Huntsman, Christopher Robin and Night at the Museum 2) and 474^th  biggest inflated second weekend between Vertical Limit and Final Destination 3 (close to Flubber, Cars 2, National Treasure 2 and Fantastic Mr. Fox.

4th smallest Disney Reimagination second weekend ahead of Christopher Robin, Into the Woods and Alice Though the Looking Glass taking 17.1% less than Maleficent second weekend (£2,605,230).

Maleficent: Mistress Of Evil is Disney’s first current reimagination sequel previously making 102 Dalmatians in 2000 sequel to 1996’s 101 Dalmatians; Disney are currently in production with a second reimagination Cruella set for release in May 2021. After releasing for reimaginations this year have only Mulan dated for 2020 with Cruella the only one also currently dated for 2021.

2014’s Maleficent opened with £6,590,071 (including £2,767,018 previews) taking £19,292,000

The 13 Disney reimaginations have taken over £395m in the UK and over £403m inflation inflated;

The film was original set for release in May 2020 but was brought forward 9 months in March 2019 with Artemis Fowl moving to its May 2020 slot; teaser trailer was released in May and first trailer in July.

Did Disney bring forward the release of Maleficent: Mistress Of Evil to 2019 knowing that it wouldn’t be the success of the original film as with its already hugely successful year sandwiched between Toy Story 4, The Lion King, Frozen 2 and Star Wars: The Rise of Skywalker it wouldn’t be as noticeable. Next year Disney don’t have any major Marvel films, Pixar sequels or Star wars films and big questions over Artemis Fowl and The One and Only Ivan having Maleficent: Mistress Of Evil also there could be problematic.

Studios will often move problematic films to avoid them opening in certain times of the year to push them to another quarter, why probably 20th Century Fox opened Alita: Battle Angel and Dark Phoenix in 2019 instead of 2018 as it was after the acquisition of the studio by Disney. After 2019 will be a record year for Disney likely taking upwards of $10bn worldwide, 2020 will be far less successful so Maleficent: Mistress Of Evil would be far more noticeable

4. The Addams Family – £2,117,740 – NE

689^th biggest opening in the UK between The Fighter and Arthur Christmas (close to Goosebumps 2: Haunted Halloween, The Angry Birds Movie, Jumanji (1996) and Shaun The Sheep Movie) and 888^th biggest inflation inflated opening weekend Jackass Presents: Bad Grandpa and Get Smart (close to The Boxtrolls, Storks, Cloudy with a Chance of Meatballs and Shaun The Sheep Movie).

110^th biggest animation opening between Dinosaur and Arthur Christmas (close to Abominable, Storks, Early Man and Hotel Transylvania) and 123^rd biggest inflation inflated opening between Abominable and Atlantis: The Lost Empire (close to Moana, Smallfoot, Hotel Transylvania and Corpse Bride).

The Addams Family was previously made into a film in 1991 by Orion Pictures who went bankrupt and Paramount Pictures acquired US rights and Columbia Tristar international through an output deal with Orion Pictures; first film opened with £1.3m (£3.09m inflation inflated) taking £10.4m (£24.78m inflation inflated); the second Addams Family Values in 1993 opened with £853,923 (£1.92m inflation inflated) taking £6.5m (£14.61m inflation inflated)

Universal Picture were in an awkward position opening two animated films competing against each other due to only having international rights to The Addams Family but global rights to Dreamworks Animations Abominable. This saw The Addams Family opening the weekend half-term ended rather than weekend before which would have seen it competing against Abominable along with Shaun The Sheep Movie 2. With Halloween on Thursday The Addams Family will see a boost during the week.

The Addams Family open similar to 2012’s Hotel Transylvania (£1,734,231)

Rights were originally acquired by Illumination Entertainment in 2010 but in 2013 it was announced MGM would produce the film and Universal Pictures release it internationally as part of their distribution deal with the studio; MGM have already announced plans for a sequel to be released in October 2021.

The film has held strongly in the US since opening but had more competition in the UK so unlikely to match the box office of 1991 The Addams Family but more likely take similar to 2012’s Hotel Transylvania £7,722,310, that said 2012’s Hotel Transylvania 2 held very strongly over the weeks after opening, but all three animated films know that there are only three weeks before Frozen 2 opens.

Universal Pictures have had a strong 2019 with their 21 films taking over £142m with Last Christmas and Cats still to open could take upwards of £200m this year; this would be down from £232m from last year but against the might of Disney’s slate this year its positive, especially as it was from a mix of films and genres unlikely Disney. While of course Universal Pictures have the latest James Bond Never Time to Die likely to be the biggest film of the year taking upwards of £100m.

Up to end of October Disney have 36% share of the UK box office taking £350m+ (42% including 20^th Century Fox) with Frozen likely to take £60m+ and Star Wars: Rise of Skywalker £90m+ will take £500m+ at the UK box office over 40% of 2019 box office; Universal Pictures are #2 with 14% taking £142m and Warner Bros #3 £130m; despite It Chapter 2 and Joker likely taking over £70m between them the rest of their slate underperformed; Sony Pictures #4 taking £80m and have Jumanji 2 still to come with Paramount P:ictures #5.

Incredibly 20^th Century Fox will be fighting it out with eOne and Lionsgate to be the #6 biggest distributor of the year taking less than half of last years box office, only 5 years ago they were #1. 2019 was always going to be a tough year for them trying to build a slate of films for this year with the impending takeover by Disney, but also suffered with Alita: Battle Angel, Dark Phoenix and Ad Astra being delayed.

5. A Shaun The Sheep Movie: Farmageddon – £1,052,238 – £3,346,248

779^th biggest second weekend between Shallow Hal and Lost in Translation (close to Spice World, Goosebumps, Penguins of Madagascar and Hotel Transylvania) and 969^th biggest inflation inflated second weekend between The Heat and The Hills Have Eyes (close to Mr. Popper’s Penguins, Lemony Snicket’s A Series of Unfortunate Events, Goosebumps and Spy Kids 2).

Shaun The Sheep Movie: Farmageddon is currently 142^nd biggest animated film in the UK

Has Studiocanal’s 12th biggest second weekend in the UK between Rush and I Give It A Year; Shaun The Sheep Movie was their 4^th biggest second weekend in 2015 taking £13,675,389. 

18^th biggest Studiocanal film in the UK between Evil Dead and Silence; In 2015 Shaun the Sheep Movie was Studiocanal’s 4th biggest film in the UK now its 6th biggest film after Paddington 2 (£42.64m); Paddington (£37.91m); Legend (£18.2m); The Imitation Game (£15.95m); Tinker, Tailor, Soldier, Spy (£14.13m).

A Shaun The Sheep Movie: Farmageddon is Studiocanal’s third film made by Aardman Animations and currently have Chicken Run 2 in development; Aardman Animations films have been hugely popular in the UK since Wallace & Gromit: The Curse of the Were-Rabbit in 2005 with most of the films having very long legs as have very positive word of mouth. They were originally based at Dreamworks and then moved to Sony Pictures. j

Aardman Animations 2^nd weekends

2000’s Chicken Run dropped 7.3% taking £3,566,196 (£5,851,803 inflation inflated) and £9,561,846 of £29,514,237 (£48,430,180 inflation inflated)

2005’s Wallace & Gromit: The Curse of the Were-Rabbit dropped 50.2% taking £4,666,723 (£7,153,660 inflation inflated) and £16,688,112 of £32,007,310 (£49,064,284 inflation inflated)

2006’s Flushed Away dropped 60.6% taking £1,221,231 and £4,774,138 of £10,749,860 (£15,937,164 inflation inflated)

2011’s Arthur Christmas increased 9.7% taking £2,317,963 and £5,018,421 of £20,994,673

2012’s The Pirates! In an Adventure with Scientists! Dropped 0.4% taking £2,166,162 and £7,716,061 of £16,539,738

2015’s Shaun The Sheep Movie dropped 17.1% taking £1,736,986 and £4,370,805 of £13,675,389

2018’s Early Man dropped 25.6% taking £1,502,262 and £3,928,482 of £11,205,643

With half-term ending the marketplace is very crowded with three animated films Shaun The Sheep Movie 2, The Addams Family, Abominable and Maleficent: Mistress of Evil for slightly older children.

Despite very positive word of mouth for the sequel its very unlikely it will get close to £13,675,389 Shaun The Sheep took in 2015 as will be limited to weekend matinees and has Frozen 2 incoming in three weeks’ time.

In 2015 Shaun the Sheep Movie faced competition from Big Hero 6 opening the weekend before but still managed to increase its second weekend box office due to half-term holidays by 39% taking £2,429,181 and £10,352,125 in its third weekend, the sequel opened a week later due to Abominable, but had weekend previews; Big Hero 6 also increased its box office by 40% taking £2,581,806.

While Shaun The Sheep Movie: Farmageddon had a strong half-term week it still dropped 19.4% in its second weekend (Abominable 24%) would normally expect with half-term Fridays box office to be higher than the first.

A Shaun The Sheep Movie: Farmageddon highlights the dependency independent distributors have on one film taking a large percentage of their annual box office with the sequel already taken almost 40% of Studiocanal’s box office for 2019; it’s their 17th film released in 2019 taking £9m total.

UK box office in detail

This weekend’s top 10 box office took £14,176,038 up 3.7% from last weekend £14,701,610

The weekend admissions 1,887,622 down 3.6% from last weekend 1,957,605; my average ticket £7.51 up 5% from last year’s £7.22 and Applaudience estimate ticket price of £10.28 while Everyman Cinemas reported their average was £11.26 while Cineworld £6.80 likely heavily subsidised by subscription cinema sales dropping its average.

21 films opened at weekend taking (£6,612,186); Terminator: Dark Fate 43.3% (£2,864,941); The Addams Family 32.1% (£2,117,740); Countdown 5.9% (£390,872); remaining 18 films shared 18.7% (£1,238,632);

Top three took 57.7% (£8,488,929) of the top 10; Joker 23.5% (£3,464,682); Terminator: Dark Fate 19.5% (£2,864,941); Maleficent: Mistress Of Evil 14.7% (£2,159,306);   

Down 30.6% from 2018: (£20,418,070); Bohemian Rhapsody (£9,530,463); The Hate U Give (£911,309); La Fanciulla Del West – Met Opera 2018 (£186,621); Die Walkure – ROH, London 2018/19 (£185,066); Beetlejuice (30th Anniversary) (£33,825); #1 Bohemian Rhapsody £9,530,463 1st week 659 screens (46.6% of top 10)

Down 23.6% from 2017: (£19,248,577); Thor: Ragnarok (£12,375,804); Jigsaw (£1,851,249); Breathe (£535,675); Call Me by Your Name (£235,760); The Shining (Re: 2017) (£1,448); #1 Thor: Ragnarok £12,375,804 1^st week 611 screens (64.3% of the top 10)

Down 24.1% from 2016: (£18,662,678); Doctor Strange (£9,288,898); Ethel & Ernest (£19,202); #1 Doctor Strange £9,288,898 1^st week 602 screens (49.7% of the top 10)

Up 35.5% from 2015; (£10,858,414); Paranormal Activity: Ghost Dimension 3D (£1,472,427); The  week 588 screens 64% drop (20.9% of top 10)

Up 30.9% from 2014: (£10,824,678); Fury (£2,692,786); The Book of Life (£981,432); Alexander and the Terrible, Horrible, No Good, Very Bad Day (expansion) (£571,581); Love, Rosie (£482,535); The Babadook (£347,512); This Is Where I Leave You (£109,441); Serena (£95,109); #1 Fury £2,692,786 1^st week 462 screens (24.8% of top 10)

Up 13.1% from 2013: (£12,528,593); Cloudy with a Chance of Meatballs 2 (£3,658,618); Jackass Presents: Bad Grandpa (£1,940,476); Ender’s Game (£1,158,548); One Chance (£717,857); The Selfish Giant (£81,737); Reef 2: High Tide (£26,910); Closed Circuit (£19,998); #1 Cloudy with a Chance of Meatballs 2 £3,658,618 1^st week 510 screens (29.2% of top 10)

Down 46.7% from 2012 (£26,591,268); Skyfall (£20,180,369); #1 Skyfall £20,180,369 1^st week 587 screens (75.9% of top 10)

Up 26.3% from 2011 (£11,227,673); Paranormal Activity 3 (£3,405,036); Contagion (£1,463,638); Monte Carlo (£237,469); Judy Moody and the Not Bummer Summer (£33,605); Restless (£11,270); #1 Paranormal Activity 3 £3,405,036 1^st week 390 screens (30.3% of top 10)

Up 15.6% from 2010: (£12,266,017); Paranormal Activity 2 (£3,764,722); RED (£1,662,472); Legend of the Guardians (£737,444); Alpha and Omega (£643,425); Easy A (£277,975); Africa United (£177,827); Ramona and Beezus (£84,475); #1 Paranormal Activity 2 £3,764,722 1^st week 389 screens (30.7% of top 10)

Up 35.5% from 2009; (£10,454,829); Saw VI (£1,736,287); Fantastic Mr. Fox (£1,517,312); Cirque du Freak: The Vampire’s Assistant (£798,641); The Goods: Live Hard, Sell Hard (£35,362); #1 Up £3,807,003 3^rd week 549 screens 26% drop (31.1% of top 10)

Down 10.4% from 2008; (£15,824,329); High School Musical 3 (£8,409,375); Saw V (£2,436,817); Ghost Town (£1,347,678); Incendiary (£18,964); #1 High School Musical 3 £8,409,375 1^st week 493 screens (53.1% of top 10)

Up 32.2% from 2007: (£10,717,468); Saw IV (£2,482,889); Eastern Promises (£623,491); Sicko (£156,173); #1 Ratatouille £3,056,938 2^nd week 525 screens 19% drop (33.5% of top 10)

Up 67.1% from 2006; (£8,486,228); Barnyard: The Original Party Animals (£1,022,890); The Guardian (£826,569); The Grudge 2 (£773,422); The Last Kiss (£431,071); Marie Antoinette (£283,883); #1 The Departed £1,456,564 3^rd week 2^nd #1 358 screens 14% drop (17.1% of top 10)

Up 25.2% from 2005 (£11,324,493); Nanny McPhee (£2,603,834); Corpse Bride (£1,150,464); Sky High (£646,569); Broken Flowers (£395,880); Dreamer (£149,058); #1 Wallace and Gromit: The Curse of the Were-Rabbit £4,666,723 2^nd week 499 screens 50% drop (41.2% of top 10)

Up 46.9% from 2004 (£9,648,812); Alien vs Predator (£2,003,663); Alfie (£1,314,156); The Princess Diaries 2 (expansion) (£807,008); #1 Shark Tale £3,199,963 2^nd week 504 screens 58% drop (33.1% of top 10)

Up 38.1% from 2003 (£10,261,167); Intolerable Cruelty (£1,555,684); Second-hand Lions (£200,851); #1 Finding Nemo £3,887,996 4^rd week 3^rd #1 501 screens 34% drop (37.9% of top 10)

Up 94.8% from 2002 (£7,277,320); Halloween: Resurrection (£520,171); K-19 (£352,163); High Crimes (£208,727); Donnie Darko (£191,348); Simone (£147,372); Possession (£85,004); The Magdalene Sisters (£78,151); #1 XXX £2,044,850 2^nd week 435 screens 40% drop (28.1% of top 10)

Up 78.8% from 2001 (£7,926,562); Legally Blonde (£1,453,148); The Man Who Wasn’t There (£419,609); #1 American Pie 2 £1,626,438 3^rd week 417 screens 42% drop (20.5% of top 10);

Next weekend in 2018: (£14,405,189); The Nutcracker and the Four Realms (£1,733,235); Slaughterhouse Rulez (£397,792); Peterloo (£348,697); Juliet, Naked (£51,813); #1 Bohemian Rhapsody £5,750,267 2^nd week 681 screens 40% drop (39.9% of top 10)

Also opened

• Countdown – STX – opened with £390,873 from 357 screens

 

• Black and Blue – Sony Pictures – opened with £25,840 from 100 screens

Both films opened in a crowded marketplace that were unlikely to find an audience, always amazes me when distributors still give these kinds of films a theatrical release and feel they need to open day and date with the US.

Many similar films as these two are go straight to streaming and with Disney+, Peacock and HBO Max launching over the next few months they will surely be moving some planned theatrical releases to their streaming service, as Disney already did with Noelle and Warner recently did with Superintelligence.

21 films opened over the weekend what was interesting was 17 of them that didn’t enter into the top 10 took almost £1m, normally the smaller releases will take about a quarter as much, showing how crowded the marketplace.

UK Box Office Top 10

US Box office

• Maleficent: Mistress Of Evil – Disney

Took $19.36m in its second weekend down 47.5% and $66.24m

2014’s Maleficent dropped similar 50.6% in its second weekend but took 47% less ($18.4m Vs $34.32m) taking $128.17m 49% more than Maleficent: Mistress Of Evil.

After 10 days on release Maleficent had taken $128.17m 53.1% of its total $241.4m if Maleficent: Mistress Of Evil holds similar will take about $120m.

Maleficent: Mistress Of Evil is holding similar to Dumbo which took $18.2m in its second weekend and $76.26m of $114.76m 

Sunday estimates had Joker returning to #1in its fourth weekend with Maleficent: Mistress Of Evil taking $18.53m and Joker taking $18.9m but Disney found a little bit more behind the sofa than Warner Bros as they switched places with less than $120k between them. Disney often see final box office increase much more than rival studios estimates.

Trailer has been viewed over 19m times on YouTube

191th biggest Disney film in the US between Deuce Bigalow: Male Gigolo and Step Up

35th biggest 2019 film between Dark Phoenix and Dora and the Lost City of Gold

1,261st biggest film in The Taking of Pelham 123 and Step Up and 2,090th inflation inflated between The Thin Red Line and Police Academy 4: Citizens on Patrol

Disney’s 15 reimaginations have taken $3.47bn in the US and $9.2bn worldwide this year Dumbo took $353.3m; Aladdin $1.05bn and The Lion King $1.65bn worldwide:

Took $64.3m from 56 territories and $228.1m total and $293.5m worldwide; China $42m; Russia $21.2m; Mexico $15.1m; Brazil $10.1m; France $9.9m; UK $9.7m; Italy $9.1m; Korea $8.3m; Indonesia $8.1m; Japan $7.1m; Spain $6.3m; Philippines $6.2m; Germany $6.2m; Thailand $6m

92nd biggest Disney film worldwide between Mulan and G-Force (just overtaking John Carter and Alice Through the Looking Glass); 500th biggest film worldwide between Doctor Dolittle and G-Force

• Joker – Warner Bros

Dropped 34.2% in its fourth weekend taking $19.24m and $277.93m;

7^th biggest R-rated film in the US between The Matrix Reloaded and The Hangover

Joker trailers have been viewed over 140m times on YouTube

103th biggest film in the US between Meet the Fockers and The Hangover; 19th biggest Warner Bros film in the US between The Matrix Reloaded and The Hangover.

Joker overtook Deadpool 2 $785m worldwide box office which saw Ryan Reynolds send the traditional film congratulations when a film overtakes a previous box office record but with a twist on Twitter. Ryan Reynolds tweet featured Joaquin Phoenix’s Joker character dancing on the Bronx steps, each labelled with the films passed along the box office, with the message, “You mother f*cker.” tweeted, “R-rated box office congratulatory posts aren’t like the ones you’re used to…”

The congratulatory message started in 1977 when Star Wars overtook Jaws as the biggest US box office film which saw Steven Spielberg and George Lucas taking out trade advert congratulating each other.

The first advert was from George Lucas congratulating Steven Spielberg in 1982 after E.T overtook Star Wars, but when Star Wars re-release overtook E.T Steven Spielberg congratulated George Lucas. When Titanic overtook Star Wars in 1998 Steven Spielberg congratulated James Cameron who congratulated Marvel earlier in the year after Avengers: Endgame overtook Avatar global box office. 

Warner Bros biggest film of 2019 overtaking It Chapter Two ($209.6m);

Took $47.8m from 79 territories and $571.5m internationally and $849.1m worldwide; 7^th biggest film worldwide in 2019 between Aladdin and Hobbs & Shaw.

74^th biggest film worldwide between Venom and Star Wars Ep. III: Revenge of the Sith;  17^th biggest comic-book film worldwide

15th biggest Warner Bros film worldwide between Batman v Superman: Dawn of Justice and Inception; 13^th biggest Warner Bros film internationally between Harry Potter and the Goblet of Fire and Fantastic Beasts and Where to Find Them.

5^th biggest DC film worldwide after Aquaman, The Dark Knight Rises, The Dark Knight and Batman v Superman

7th biggest worldwide of 2019 between Aladdin and Hobbs & Shaw

UK: $57.6m; Mexico: $39.8m; Korea: $35.9m; Japan: $32.8m; Brazil: $30.2m; Russia: $27.7m; France: $27.6m; Germany: $27.4m; Italy: $27.2m; Spain: $22.5m; Australia: $22.1m; Indonesia: $13.4m

• Zombieland: Double Tap – Sony Pictures

Dropped 55.9% in its second weekend taking $11.81m and $47.21m

After opening similar to  2009’s Zombieland ($24.73m) last weekend Zombieland: Double Tap dropped 20% more in its second weekend despite opening 10 years later, the sequel is unlikely to match $75.59m total the 2009 film took.

Zombieland: Double Tap is one of a number of long gap sequels with many more to open over the next year, the question I have with these films is who their target audience is, it the teens who saw them in cinemas a decade ago or todays teens, this is more relevant with films like Bad Boys For Life and Top Gun: Maverick next year.

Trailer was viewed 15.5m times on YouTube

Took $9m from 40 territories $16.6m internationally and $63.6m worldwide.

• Countdown – STX

Opened with $8.86m; received 26% Rotten Tomatoes and C+ CinemaScope

After STX had strong success with Hustlers opening in September taking over $100m Countdown pens similar to other STX horrors and will have a very short stay in the top 10 as will Black and Blue, both these films need to be able to have a shortened theatrical window, as these re the kinds of films other studios will move to streaming services in the future.

Opened with $1.7m internationally taking $1057m worldwide

• Black And Blue – Sony Pictures

Opened with $8.37m; received mixed reviews 46% Rotten Tomatoes

Unlikely to last long in the charts

• The Addams Family – United Artists

Dropped 26.4% in its third weekend taking $12m and $73.1m

Trailers have been viewed over 24m times on YouTube

The Addams Family was previously made as a live-action film in 1991  taking $113.5m and $191.5m worldwide. The sequel Addams Family Values released two years later wasn’t nearly as successful taking $48.9m.

Took $10m from 18 territories and $11.2m total and $83.8m worldwide

• Jojo Rabbit – Fox Searchlight

Expanded into 55 screens in its second weekend up 199% taking $1.04m and $1.5m

Trailers have been viewed over 14m times on YouTube

While Disney have had huge success at the box office over recent years after buying Pixar, Marvel and Lucasfilm they are the one studio that has yet to win a Best Picture Oscar, they went close this year with Black Panther nominated for Best Picture; The English Patient in 1996 and Chicago in2002 were the last times Disney were connected to a Best Picture winner while they owned Miramax.

Since then Fox Searchlight has won Best Picture Oscar for Slumdog Millionaire, 12 Years a Slave, Birdman, and The Shape of Water and won 15 other Oscars and The Full Monty, Sideways, Little Miss Sunshine, Juno, Black Swan, 127 Hours, The Tree of Life, The Descendants, Beasts of the Southern Wild, The Grand Budapest Hotel, Brooklyn, Three Billboards Outside Ebbing, Missouri and The Favourite have also been nominated for Best Picture.

Over the last 25 years Fox Searchlight have released 186 films taking $2.66bn in the US.

Jojo Rabbit had a similar platform as previous Fox Searchlight award winners

2^nd weekend expansions

2018’s The Favourite added 30 screens to 34 taking $1,072,282 and $1,646,592 expanded into 91screens in third weekend; took 11 weeks to expand into its widest 1,554 screens going on to take $34,366,783 and played in cinemas for over 16 weeks.

2017’s Three Billboards Outside Ebbing, Missouri added 49 screens to 53 taking $1,102,166 and $1,536,391 expanded into 614 screens in third weekend; took 5 weeks to expand into widest 1,620 screens going on to take $54,513,740 and played in cinemas for over 20 weeks.

2017’s The Shape of Water added 39 screens to 41 taking $1,141,546 and $1,372,554 expanded into 117 screens in third weekend; taking 10 weeks to expand into widest 2,341 screens going on to take $63,859,435 and played in cinemas for over 18 weeks.

2015’s Brooklyn added 18 screens to 23 taking $479,971 and $827,967 expanded into 111 screens in third weekend; taking 6 weeks to expand into 947 screens going on to take $38,322,743 and played in cinemas for over 20 weeks.

2014’s Birdman added 46 screens to 50 taking $1,379,640 and $2,010,081 expanded into 231 screens in third weekend; taking 8 weeks to expand into 738 screens (expanded into 1,213 screens after Oscar win) going on to take $42,340,598 and played in cinemas for over 20 weeks.

2013’s 12 Years A Slave added 104 screens to 123 taking $2,134,325 and $3,394,268 expanded into 410 screens in third weekend; taking 6 weeks to expand into widest 1,474 screens going on to take $56,671,993 and played in cinemas for over 25 weeks.

If Jojo Rabbit expands over 4 weeks as these other Fox Searchlight films it would mean the film would be expanding wide against Ford v Ferrari (20th Century Fox’s other major Oscar contender).

Fox Searchlight have had much more successful Oscar winners that also started on platform, but they had a much wider target demographic before opening (Juno, Slumdog Millionaire, Black Swan, The Descendants, Sideways and The Full Monty) JoJo Rabbit s not yet that must-see Oscar contender receiving polarised critical reaction.

• Parasite – Neon

Expanded into 129 screens in its third weekend 47% taking $1.81m and $4.1m

Received critical acclaim (99% Rotten Tomatoes)

• The Lighthouse – A24

Expanded into 586 screens in its second weekend up 608% taking $2.02m and $3.61m total

Received critical acclaim (92% Rotten Tomatoes) since premiering at the Cannes Film Festival

 

UK Box Office Predictions

 The Shinning is one of Stephen King’s most famous novels and the1980 film one of the best known.

6 years ago the ‘Here’s Johnny!’ scene in The Shinning was voted as the most-scariest scenes in film history ahead of 1984’s A Nightmare on Elm Street and 1973’s The Exorcist; the three scariest scenes in the film were “Here’s Johnny”, Twin girls scene and Red rum scene.

So no pressure on Doctor Sleep sequel to The Shinning opening 39 years after original film. As with many of these long gap sequels it is hard to known who Doctor Sleep’s target audience is as its unlikely targetting the teens who saw the original in cinemas now in close to 60.

Horror has changed a lot over the decades when the original The Exorcist was released in 1973 audiences were fainting in the cinema, but reaction was very different in 1998 when was re-released for its 25^th anniversary.

Steven King tweeted on Saturday “The first reactions to Doctor Sleep are nothing short of ecstatic. Delighted for Mike Flanagan and company.”

Doctor Sleep opens on Thursday (Halloween); Warner Bros have 4 of the top 5 biggest horror openings in the UK It (£10,002,443); It Chapter 2 (£7,368,586); The Conjuring 2: The Enfield Case (£4,637,862) and The Nun (£4,098,198).

Doctor Sleep trailers have played before both It Chapter Two and Joker which should help Doctor Sleep target similar audience

20 years ago The Blair Witch Project opened over Halloween weekend with £5,875,318 (£10.7m today)

The Shinning was originally rated X in 1980 and then 18 for home video in 1986 but was re-classified 15 in 2007, Doctor Sleep was also given a 15.

Over the last decade Halloween saw the release of many Paranormal Activity and Saw films while last year Halloween remake opened with £2,656,097 (opening 40 years after original, but the difference was there have been many sequels since).

One thing working against Doctor Sleep as was with It Chapter Two is its running time of 153mins, but its four-day opening should open with £3m-£4m and see Warner Bros hold top two.

Doctor Sleep’s biggest competition will be how Joker holds in its fifth weekend having already defeated Maleficent and The Terminator, after dropping only 37% in its fourth weekend will likely take £2m+ in its fifth weekend which could see it eat into Doctor Sleep opening. If Joker was to take £2m+ in its fifth weekend would be the 22^nd film to do so, no comic-book film gas done so yet

eOne and Ken Loach have heavily promoted Sorry We Missed You with a UK tour and Ken Loach doing many interviews including being on Question Time last week generating much media coverage. Labour Party are likely to use it as propaganda ahead of the likely general election next month and a nice happy film for the weekend that was to be Brexit.

Opening similar to 2016’s I, Daniel Blake with £444,800 from 94 screens expanding into 211 screens in its second weekend up 7% taking £476,020 and £1,328,072 and then 273 screens in its third weekend taking £3,095,102.

Over recent weeks eOne has release several films on what would be seen as a platform opening but weren’t expanded but Sorry We Missed You will likely open similarly to I, Daniel Blake. Platform releases used to be regularly occurrence for films distributors wanted to build buzz and word of mouth, but few films open on platform anymore, unlike in the US.

With half-term ended Maleficent: Mistress of Evil, The Addams Family, Shaun The Sheep Movie 2 and Abominable will likely drop off as audiences await the arrival of Frozen 2 in 3 weeks’ time.

While Terminator: Dark Fate will likely drop over 65% (45%+ without previews) taking £1.2m+ in its second weekend

Opening in UK Next Week

• Midway – Lionsgate

Second World War epic starring Ed Skrein, Patrick Wilson, Luke Evans, Aaron Eckhart, Nick Jonas, Mandy Moore, Dennis Quaid, Darren Criss and Woody Harrelson and directed by Roland Emmerich.

Roland Emmerich is famous for directing action films including 1994’s Stargate, 1996’s Independence Day, 1998’s Godzilla, 2000’s The Patriot, 2004’s The Day After Tomorrow, 2009’s 2012, 2013’s White House Down and 2016’s Independence Day: Resurgence.

In the 90s and early 00s they were hugely successful at the box office but his most recent White House Down and Independence Day: Resurgence weren’t nearly as successful. It’s surprising that Roland Emmerich is making a film based on real events as his previous attempts of making those films 2011’s Anonymous and 2015’s Stonewall were poorly received both critically and at the box office.

The first trailer was released in June and the second trailer was released in September.

Recent second world war films include

2017’s Dunkirk opened £10,023,720 taking £56,585,035

2017’s Hacksaw Rudge opened £1,490,158 taking £4,945,211

2014’s Fury opened £2,692,786 taking £8,135,654

2014’s The Monuments Men opened £1,616,625 taking £5,800,101

2009’s Valkyrie opened £1,854,195 taking £6,346,645

2009’s Inglorious Basterds opened £3,596,415 taking £9,477,051

2002’ Windtalkers opened £388,212 taking £761,276

2001’s Pearl Harbour opened £3,075,147 taking £12,733,469

1998’s Saving Private Ryan opened £2,704,522 taking £18,740,016

As often what seems to be an original film is actually a retelling of 1976 film also called Midway (in the UK Battle of Midway) that featured ensemble star-studded cast including Charlton Heston, Henry Fonda, James Coburn, Glenn Ford, Robert Mitchum, Robert and Wagner. Despite mixed reviews it was the 10^th biggest film of the year.

The film was one of only four films released in Sensurround sound; other Sensurround films were 1974’s Earthquake, 1977’s Rollercoaster and 1978’s Battlestar Galactica.

The film industry launched formats like Sensurround sound in the 70s and also 50s to get people back to cinemas, similar formats like Screen X, 4DX, PLF, 3D are the modern-day equivalents that all have surcharges to the already expensive ticket prices. Did cinemas in the 50s and 70s increase ticket prices for cinemas showing films in these different formats as they must have been costly for cinemas to install as todays versions are.

• The Good Liar – Warner Bros

Thriller starring Ian McKellen and Helen Mirren and directed Bill Condon based on the novel by Nicholas Searle.

The book was compared to The Talented Mr Ripley, the film opened in 2000 with £1,267,833 taking £6,598,782 (sequel 2003’s Ripley’s Game opened £244,457 taking £999,305);

Other comparisons include 1989’s Dirty Rotten Scoundrels (taking £1,411,626); 1991’s The Grifters (taking £343,012); 2003’s Matchstick Men (opened £564,481 taking £1,163,698) and 2003’s Confidence (opened £325,685 taking £829,671)

Have been other more high-profile hustler films recently including 2002’s Catch Me If You Can, 2013’s American Hustle and 2013’s Now You See Me.

• Luce – Universal Pictures

Drama starring Naomi Watts, Octavia Spencer, Kelvin Harrison Jr., Norbert Leo Butz and Tim Roth and directed by Julius Onah.

Had its world premiere at Sundance Film Festival receiving positive reviews (93% Rotten Tomatoes); opened in August on limited release in the US with $132,987 taking $2.01m.

• The Irishman – Netflix

Epic crime drama starring Robert De Niro, Al Pacino and Joe Pesci and directed by Martin Scorsese and based on the 2004 book I Heard You Paint Houses by Charles Brandt,

The film started development in 2007 and after years of development the Irishman was announced as Scorsese’s next film after Silence; with a budget of $149m it is one of Martin Scorsese most expensive films.

At the Cannes Film Festival In May 2016 Fábrica de Cine came on board to finance the film with Paramount Pictures keeping US rights and STX acquired international rights for $50m. After Martin Scorsese’s Silence flopped Paramount Pictures dropped US rights and then Netflix came onboard to fully fiancé the film.

Had  its world premiere at the 57th New York Film Festival and closed the London Film Festival last month receiving critical acclaim (100% Rotten Tomatoes) highlighting the direction, screenplay, and the performances of De Niro, Pacino, and Pesci.

Has a limited theatrical release in the US and UK as major exhibitors have refused to book the film due to Netflix wanting a shortened theatrical window of only three weeks, as they also did with last year’s Best Picture nominee Roma.

Opening in US Next Week

• Doctor Sleep – Warner Bros

Sequel horror to the 1980 film The Shinning based on the 2013 novel by Stephen King set several decades after the events of The Shining starring Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Carl Lumbly, Zahn McClarnon, Emily Alyn Lind and Bruce Greenwood and is written, directed, and edited by Mike Flanagan.

Warner Bros started development of the film in 2013 but it was only after the success of It in 2017 that they fast-tracked the film to open after It Chapter Two.

Was originally set for release January 24th, 2020 but then Warner Bros brought forward its release to open October 30th internationally and November 8th in the US.

Being 39 years since The Shinning was released completely impossible to compare box office even if I had box office data

The original film is a classic horror directed by featuring Jack Nicholson’s iconic performance; 2019 is the 20th anniversary of the death of director Stanley Kubrick who completed Eyes Wide Shut weeks before he died.

Trailers have been viewed over 17m times on YouTube

Stephen King has published 54 novels including 7 under the name Richard Bachman, 6 non-fiction books and almost 200 short stories. Over 40 have been adapted into films taking over $1.67bn in the US and $2.13bn worldwide.

Tracking to open between $20m-$30m

• Midway – Lionsgate

Roland Emmerich films have taken $1.29bn in the US (27^th highest grossing director between Todd Phillips and Bill Condon) and $3.83bn worldwide (15^th biggest  between Chris Columbus and Pierre Coffin).

Majority of this box office was from the big action disaster films he directed in the late 90s to early 00s one of the most popular film genre at the time;

1996’s Independence Day opened $50.22m taking $306.1m and $817.4m worldwide

1998’s Godzilla opened $44.04m taking $136.31m and %376m worldwide

2000’s The Patriot opened $22.41m taking $113.33m and $215.3m worldwide

2004’s The Day After Tomorrow opened $60.74m and $186.74m and $556.31m worldwide

2009’s 2012 opened $65.23m taking $66.11m and $757.67m worldwide

Since 2012 his films haven’t performed as well with 2013’s White House Down opening with $24.85m (overshadowed by Olympus Has Fallen) taking $73.1m and $205.44m worldwide and 2016’s Independence Day: Resurgence opening with $41.03m taking $103.14m and $384.16m worldwide; opened 20 years after the first film but taking less than half despite ticket inflation of over 100%.

The 1976 film Midway took $42.2m; was the 9^th biggest film of the year after Rocky ($117.23m); To Fly! ($86.6m); A Star is Born ($63.12m); King Kong ($52.61m); Silver Streak ($51.07m); All the President’s Men ($51.04m); The Omen ($48.5m); The Enforcer ($46.2m).

Opening the same weekend as 2016’s Hacksaw Ridge (opened with $15.19m taking $67.2m and $168.9m worldwide) expected to open similar $15m-20m

• Last Christmas – Universal Pictures

Romantic comedy starring Emilia Clarke, Henry Golding, Emma Thompson and Michelle Yeoh and directed by Paul Feig. The film features music from George Michael including some previously unreleased tracks.

When the first trailer was released in August comparisons were made with Love Actually which also starred Emma Thompson who also co-wrote Last Christmas screenplay.

Many believe the twist in the film is that Henry Golding’s character is an angel

2003’s Love Actually opened $6,886,080 taking $59,696,144 and $244,931,766 worldwide

2006’s The Holiday opened $12,778,913 taking $63,224,849 and $205,135,175 worldwide

2008’s Four Christmases opened $31,069,826 taking $120,146,040 and $163,733,697 worldwide

2001’s Serendipity opened $13,309,241 taking $50,294,317 and $77,516,304 worldwide

2000’s The Family Man opened $10,554,960 taking $75,793,305 and $124,745,083 worldwide

The rom-com genre has underperformed over the last decade with audiences going to Netflix for their rom-com fix so will cinemagoers come back to see Last Christmas.

1989 is the 30^th anniversary of the classic rom com When Harry Met Sally (opened with taking $92,823,546) and the 25^th anniversary of Miracle on 34th Street remake (opened $2,753,208 taking $17,320,136).

Paul Feig

2018’s A Simple Favor opened $16,011,689 taking $53,548,586 and $97,628,717 worldwide

2017’s Snatched opened $19,542,248 taking $45,852,178 and $57,852,177 worldwide

2015’s Spy opened $29,085,719 taking $110,825,712 and $232,585,748 worldwide

2013’s The Heat opened $39,115,043 taking $159,581,587 and $229,727,774 worldwide

2011’s Bridesmaids opened $26,247,410 taking $169,211,718 and $289,632,023 worldwide

Tracking to open between $15m-$20m

• Playing with Fire – Paramount Pictures

Comedy starring John Cena, Keegan-Michael Key, John Leguizamo, Brianna Hildebrand, Dennis Haysbert, and Judy Greer and directed by Andy Fickman.

John Cena has been slowly following in Dwayne Johnson footsteps starring in comedies Daddy’s Home, Daddy’s Home 2, Blockers and Fighting with My Family and then Transformers prequel Bumblebee. Next year stars in Dolittle and Fast & Furious 9 next year and then The Suicide Squad in 2021 which will see him crossover into possibly similar action star was Dwayne Johnson.

Tracking to opened with $10m-$15m

• Honey Boy – Amazon

Drama Shia LaBeouf, Lucas Hedges, Noah Jupe and FKA Twigs and directed by Alma Har’el and screenplay by Shia LaBeouf based on his childhood and his relationship with his father.

Premiered at the Sundance Film Festival where Amazon acquired rights receiving positive reviews 97% Rotten Tomatoes.

2019 has been Shia LaBeouf’s comeback year with Honey Boy following the critical acclaim The Peanut Butter Falcon.

Shia LaBeouf’s career had many twists and turns since starring in Holes in 2003, starring in the Transformers franchise and prestigious films and then some controversies (wearing a paper bag on his head on the red carpet at the 2014’s Cannes Film Festival for the Nymphomaniac premiere saying “I am not famous anymore”)l and legal snags and political protest and two years ago his thriller Man Down opened in the UK with only £7 playing in one screen.