Top 5 Breakdown

1. Mary Poppins Returns – £8,152,210 – NE

Took 49% share of the top 10 weekends box office; Disney reported opening was triple the weekend of both The Greatest Showman (£2,575,147) and Into The Woods (£2,476,409) and almost double the opening weekend of Cinderella (£3,803,799) and Jumanji (£4,040,490) and also +15% ahead of Bohemian Rhapsody (£6,430,463) (all without previews).

But Mary Poppins Returns can’t be compared with any of those films as it is the sequel to one of the most beloved children’s films for over 50 years and on its original release in 1964/65 was the 10^th biggest film of all time at the UK box office taking £2.4m.54 years later it’s the 29^th biggest film of all time with over 14m admissions would be over £100m today.

Far better comparison would be 2017’s Beauty and the Beast re-imagination opening with £19.7m taking £72.43m (the 28^th biggest film ever at the UK box office) and Mary Poppins Returns opened with over 60% less.

Being a beloved British film Mary Poppins Returns was always going to have the Brit boost and open far stronger in the UK than the US and also received more positive reviews.

Had the 119^th biggest opening weekend in the UK between Jumanji: Welcome to the Jungle and Les Miserables (close to Paddington 2, High School Musical 3, The Lion, The Witch And The Wardrobe, Bridget Jones’s Baby, Charlie and the Chocolate Factory); 195^th biggest inflation inflated between Godzilla and Sex and the City 2 (close to Notting Hill, Elf and A Bug’s Life) 86^th biggest Fri-Sun opening between Paddington 2 and Les Miserables (close to Avatar, Finding Dory, Toy Story 2 and Bridget Jones’s Baby).

Was the 9^th biggest opening of 2018 and the 3^rd biggest Fri-Sun opening this year after Fantastic Beasts: The Crimes Of Grindelwald and Mamma Mia! Here We Go Again (showing how previews affect film opening so much nowadays).

Interesting all three films are “British” films and distributors felt they didn’t need to bother with extended weekends as the regular three-day weekend is enough. Rival distributors kept their distance from opening against Mary Poppins Returns despite it being the start of the lucrative  Christmas holidays and it meant four films would open against each other the previous weekend. which saw them cannibalize each other.

Ahead of Mary Poppins Returns opening comparisons were difficult as what film can you compare Mary Poppins Returns to as the original played to family’s inn the 60s and has played to their families ever since, it’s one of a few cross-generational films similar to Star Wars but even more so.

Being a re-imagination of a Disney classic it had to be up there with 2017’s Beauty and the Beast opened with £19,700,000 taking £72,430,579 and 2016’s The Jungle Book opened with £9,901,921 taking £46,235,032.

Being a British favourite was always going to play stronger than the US and be comparable to films like 2018’s Mamma Mia: Here We Go Again! opened with £9,735,930 taking £65,515,994; 2005’s The Lion, The Witch And The Wardrobe opened with £8,884,111 taking £43,905,853; 2016’s Bridget Jones’s Baby opened with £8,111,077 taking £48,150,737; 2017’s Paddington 2 opened with £8,260,160 taking £42,642,938

Many have compared Mary Poppins Returns with The Greatest Showman but are two very different films little was expected from many when The Greatest Showman opened a year ago and became “the film we need right now” over weeks while Mary Poppins Returns was marketed as the film we need now. Mary Poppins Returns has much more in common with Mamma Mia Here We Go Again.

It is also interesting that while 20^th Century Fox sold The Greatest Showman heavily with the songs and the soundtrack became one of the highest selling albums of the year, this weekend it celebrates its first anniversary on release and has been in the top 5 for every week apart from its first.

The Greatest Showman is the 44th biggest film at the UK box office taking £47.3m and Bohemian Raposody is the 46th biggest taking £46.2m for many months I exprvted Mary Poppins to take £60m+ and be the second biggest film of the year but will it now beat The Greatest Showman?

Disney in comparisons didn’t sell the songs as hard in Mary Poppins Returns marketing and are far less memorable than the original film. Despite being nominated for Best Comedy or Musical at the Golden Globes none of its songs were nominated. While even critics who loved the sequel many had issues with the songs being not so memorable.

I am much more critical about Mary Poppins Returns as I was with Star Wars The Force Awakens and The Last Jedi than The Greatest Showman and Bohemian Rhapsody because these are sequels to the films of my childhood, film I have loved for decades. The Greatest Showman and Bohemian Rhapsody are popcorn films they have no nostalgic connection to the past, they are just films to enjoy.

Watched The Greatest Showman and Pretty Woman o Christmas Day two films I’ve seen many times but its hard to think of a recent Disney film apart from Inside Out I would be happy to watch over and again.

Maybe I’m just an old grinch but most of Disney’s films don’t feel special anymore they have instant pixie dust rather than the long life pixie dust maybe I notice it more with Disney films as they are a brand that  used to be easily identifiable, Now they are for the wrong reasons in my eyes but saying that they make billions so what do I know as being in my 40s these films aren’t made for me.

If these re-imaginations were more than just remakes, then I would have more time for them but just see them as a cynical money grabbing exercise as Disney know that audiences will go and see them, but to quote Obi-Wan “Who is more foolish, the fool or the fool who follows him?”

As Disney know exactly what they are doing why change the formula, as the reimaginations of Disney classics is just a modern-day version o what they did for decades before home video, they re-released their classic animation films every few years to a new audience, and every re-issue was successful as it attracted a new audience.

Despite the outcry over the first The Lion King trailer with many including me just saying it looks like a shot-by-shot animated remake of the animated classic, but despite this will still likely be the biggest film of next year. Similarly was an outcry over Aladdin costumes looking pantomime, but both are remakes of animated films that were hugely successful at the UK box office so their reimaginations will likely be similar.

While audiences enjoy these reimaginations at the time a few hours or a few days later come to a realisation that they weren’t as good as they thought, as South Park explained in 2016 its just to memberberries.

In a few months’ time Disney will swallow up 20^th Century Fox but both The Greatest Showman and Bohemian Rhapsody will probably take more than Mary Poppins at the UK box office and globally few would have possibly predicted that would happen a year ago.

P.L Travers famously rejected Walt Disney’s approach to make a Mary Poppins film spending 20 years trying to purchase the film rights she then disapproved of the film and hated the animation and stopped Disney from making any further films. In the late 80s Walt Disney Studios tried again to make a sequel with Julie Andrews returning with the Banks children grown up, but P.L Travers again rejected the idea instead wanted to have a sequel set one year after Mary Poppins but with an older actress playing her and the studio stopped their plans.

P.L Travers died in 1996 and relations improved between Disney and her estate to allow them to make Saving Mr Banks and then shortly after a sequel was discussed and also received approval from her estate. The story Disney developed in 2015 was similar to the one Disney had developed in the late 80s and had pitched Travers set 20 years later with the Banks children.

At the start of the year and up to a week ago I believed Mary Poppins Returns would be one of the biggest fims of the yeat taking £60m+ similar to Mamma Mia! Here We Go Again but now a box office closer to The Greatest Showman’s 2018 BO is likely.

2. Aquaman – £2,383,993   – £10,056,787  

Down 54.4% in its second weekend; down 37.6% not including previews

Was Warner Bros 48^th biggest second weekend between Ready Player One and Superman Returns and 65^th biggest inflation inflated second weekend between Ready Player One and The Great Gatsby

.Had the 281^th biggest second weekend in the UK between Ready Player One and Brave (close to X-Men: First Class, Ant-Man and Superman Returns) and the 444th biggest inflation inflated second weekend between Kingsman: The Secret Service and The Great Gatsby (close to Thor, Ant-Man and The Wasp and Teenage Mutant Ninja Turtles).

Had the lowest second weekend of DC Extended Universe film in the UK but had the second best second weekend drop after 2017’s Wonder Woman showing it has much better word of mouth than other DC Extended Universe films.

Depending on how Aquaman holds against Bumblebee next week (over the last two weeks has opened against previews) with the lucrative Christmas holidays it could overtake last years Justice League to be the fifth biggest DC Extended Universe film but that will still be half 2016’s Batman Vs Superman: Dawn of Justice and Suicide Squad despite receiving far more positive reviews and stronger word of mouth.

The six DC Extended Universe films will shortly take over £150m at the UK; previous five DC films that included Christopher Nolan’s Dark Knight Trilogy took £142m and the previous four Batman films took £55,887,378; 15 DC films since Batman in 1989 have taken £347m.

3. The Grinch – £1,890,121 – £24,565,591

Up 8.3% in its seventh weekend; with Christmas holidays now started The Grinch received the second biggest boost of the children’s films (Nativity Rocks! Up 30%).

Has been surprising how strong The Grinch has held since it opened seven weeks ago especially as Dr Seuss film adaptations haven’t performed as strongly in the UK as they have done in the US, but has been helped having a Minions short attached.

Has become the 11th biggest film of 2018 and the second biggest animated film this year behind Incredibles 2; The Grinch has become Universal Pictures third biggest film of 2018 after Mamma Mia: Here We Go Again and Jurassic World; Fallen Kingdom overtaking Darkest Hour.

The Grinch is getting close to overtaking 2000’s How the Grinch Stole Christmas inflation inflated total of £27,129,219.

Has become the 33^rd biggest animated film in the UK between Home and Ratatouille (overtaking Wreck-It Ralph, Zootropolis and Trolls) and the 55^th biggest inflation inflated animated film between Bolt and Zootropolis (overtaking How to Train Your Dragon, Big Hero 6 and Hotel Transylvania 2)

Has overtaken 2011’s Despicable Me to be Illumination Entertainment 6th biggest film in the UK (8 films have taken over £255m) Depending on how The Grinch holds over the Christmas holidays it might overtake Sing £28,840,000.

Despite being inferior to Ralph Breaks The Internet opening three weeks before it gave it strong foundations before the Wreck-It-Ralph sequel opened and has taken more than double as the first family film released always has the advantage over the film that opens a few week later.

4. Ralph Breaks The Internet – £1,054,166  – £11,065,011 

Down 24.8% in its fourth weekend

Ralph Breaks The Internet took 25% less than Wreck-It Ralph in its fourth weekend taking £1,402,000 and 40.5% less than its total of £18,624,692 78.9% of its £23,607,542 total.

Wreck-It Ralph opened the week before half-term and was the only children’s film on release, while Ralph Breaks The Internet opened three weeks after The Grinch and for its firs three weeks its box office was mostly limited to weekends as The Grinch.

While The Grinch increased its box office by 8% in its seventh weekend Ralph Breaks The Internet dropped by 24.8% in its fourth weekend

Two years ago Moana took similar £1,105,469 in its fourth weekend taking 11.1% less £9,833,507; Moana went on to take £8,358,415 over the Christmas period with total of £20,041,031.

In 2016 Mona was the only family film released for Christmas holidays as Monster Trucks and Ballerina weren’t really much competition, but Ralph Breaks The Internet has to deal with The Grinch continuing to hold much stronger than many expected.   

In 2015 The Good Dinosaur took £890,350 and £8,087,040 and took £5,741,737 over the Christmas period with total of £14,810,130; The Good Dinosaur had competition from Snoopy And Charlie Brown: The Peanuts Movie and Daddy’s Home.

If Ralph Breaks The Internet was to holds similar to Moana it could take £20m but with The Grinch continuing to hold as it is will probably come short of Coco total of £18.3m.

5. Spider-Man: Into The Spider-Verse – £993,303  – £4,112,743

Down 56.4% in its second weekend; down 19.7% no including previews

Had the 787th biggest second weekend in the UK between Bounty Hunter and Saw IV (close to  Smallfoot, Aladdin and SpongeBob Movie: Sponge out of Water) and 941^st biggest inflation inflated opening between A Simple Favour and Dracula Untold.

Had the 66th biggest comic-book film opening between Green Lantern and Batman (close to 2015’s Fantastic Four, Men in Black 3 and Kick-Ass 2)  and the 119^th biggest animated second weekend between Open Season and Bee Movie and 128^th biggest inflation inflated between Dr. Seuss’ The Lorax and Pixels.

It is having a difficulty of finding its audience is it animation if so, has The Grinch and Ralph Breaks The Internet as competition or is it comic-book and then has Aquaman and Bumblebee. In the US was helped not having the weekend to itself with The Mule and Mortal Engines targetting different audience but in the UK went directly against Aquaman or Bumblebee (previews). Originally Sony had dated Into The Spider-Verse to open December 21^st but

Big Hero 6 opened in January 2015 (Disney Animation film based on Marvel comics but without Marvel) dropped 41% in its second weekend taking £2,540,116 and £7,476,518 total £20,123,298.

UK box office in detail

This weekend’s top 10 box office took £16,504,160 up 13.2% from last weekend £14,579,803       

The weekend admissions 2,112,280 9.36f% from last weekend 1,931,100; average ticket up  from last year’s £7.49 to £7.67 for 2018;

6 films opened at weekend taking £xx; Mary Poppins Returns xx% (£8,152,210); remaining 5 films shared xx% (£xx): Top three took 75.3% (£12,426,324) of the top 10; Mary Poppins Returns 49.3% (£8,152,210; Aquaman (£2,383,993) 14.4%; The Grinch (£1,890,121) 11.4%;

The weekend was down 44.3% from 2017: (£29,632,571); Jumanji: Welcome to the Jungle (£8,154,548); Pitch Perfect 3 (£4,334,525); Ferdinand (£3,644,748); #1 Star Wars: The Last Jedi (£10,158,640) 2nd weekend

Up 32.3% from 2016: (£12,473,395); Passengers (£2,418,976); Ballerina (£1,094,317); Donnie Darko: 15th Anniversary (£12,918); #1 Rogue One: A Star Wars Story £5,652,730 (2^nd week )

Down 57.2% from 2015; (£38,533,406); Star Wars: The Force Awakens (£34,011,849); Sisters (£1,215,368); #1 Star Wars: The Force Awakens £34,011,849 (1^st week)

Up 11.4% from 2014: (£14,808,248); Night at the Museum: Secret of the Tomb (£1,851,424); Dumb & Dumber To (£1,807,059); The Nutcracker – Bolshoi 2014 (£293,192); Guys and Dolls (Re: 2014) (£5,570); #1 The Hobbit: The Battle of the Five Armies £5,409,312 (2^nd week)

Down 7.7% from 2013: (£17,885,304); Anchorman 2: The Legend Continues (£4,545,934); Walking with Dinosaurs (£982,023); The Harry Hill Movie (£549,736); Moshi Monsters: The Movie (£334,748); Sleeping Beauty – Bolshoi 2011 (£86,942); American Hustle (£39,595); #1 The Hobbit: The Desolation of Smaug £5,358,380 £9,325,626 (2^nd week) Down 11.8% from 2012 (£14,717,807); Life of Pi (£3,610,604); Pitch Perfect (£952,107); West of Memphis (£1,103); #1 The Hobbit: An Unexpected Journey £5,979,241 (2^nd week)  

Up 50.9% from 2011 (£10,935,855); Sherlock Holmes: A Game of Shadows (£3,827,697); Alvin and the Chipmunks: Chipwrecked (£2,361,867); #1 Sherlock Holmes: A Game of Shadows £3,827,697 (1^st week)

Up 150.1% from 2010: (£6,599,055) Tron Legacy (£1,970,692); Burlesque (£425,931); Animals United (£307,409); Fred: The Movie (£257,133); #1 Tron Legacy £1,970,692 (1^st week)  

Up 20.6% from 2009 (£13,679,336); Avatar (£8,509,050); St. Trinian’s 2 (£1,586,832); Nine (£44,443); #1 Avatar £8,509,050 (1^st week) 

Up 96.3% from 2008; (£8,404,783); Twilight (£2,508,422); The Tale of Despereaux (£560,870); A Bunch of Amateurs (£91,156); #1 Twilight £2,508,422 (1st week)

Up 55.1% from 2007:(£10,638,757); St. Trinian’s (£1,832,594); Alvin and the Chipmunks (£1,433,937); P. S. I Love You (£224,096); I’m Not There (£58,491); #1 Enchanted £2,294,576 (1^st week)

Up 105.7% from 2006; (£8,021,487); Flags of Our Fathers (£97,765); #1 Happy Feet £2,048,266 (3^rd week)

Up 176.8% from 2005 (£5,961,400); No new releases; #1 The Chronicles of Narnia: The Lion, the Witch and the Wardrobe £2,843,353 (1^st week)

Up 101.1% from 2004 (£8,205,320); Lemony Snicket’s A Series of Unfortunate Events (£2,210,979); Ella Enchanted (£107,730); #1 Lemony Snicket’s A Series of Unfortunate Events £2,210,979 (1st week)

Down 19.4% from 2003 (£20,475,870); Lord of the Rings: Return of the King (£15,021,761); Freaky Friday (£1,214,559); Good Boy! (£146,354); #1 Lord of the Rings: Return of the King £15,021,761 (1^st week)

Down 6.9% from 2002 (£17,727,804); Lord of the Rings: Two Towers (£13,063,560); Sweet Home Alabama (£758,267); Hey Arnold (£35,881); #1 Lord of the Rings: Two Towers £13,063,560 (1st week)

Up 13.5% from 2001 (£14,532,108); The Lord of the Rings: Fellowship of the Rings (£11,058,045); The Princess Diaries (£587,677); #1 The Lord of the Rings: Fellowship of the Rings £11,058,045 (1^st week)

Next weekend in 2017: (£24,534,387); The Greatest Showman (£4,754,049); Berliner Philharmoniker: New Year’s Eve Concert (£61,387) Star Wars: The Last Jedi £7,975,174 (3^rd week)

UK Box Office Top 10

 

US Box office

• Aquaman – Warner Bros

Opens with $67.4m: received A- CinemaScore and mostly positive reviews 64% Rotten Tomatoes score

Aquaman took another $4.7m from Amazon Prime previews

Had the lowest opening for DC Extended Universe film in the US less than half 2016’s Batman v Superman: Dawn of Justice $166m and 26% less than 2017’s Justice League ($93.8m).

But Aquaman opened against Bumblebee and second weekend of Spider-Man: Into The Spider-Verse all three targeting similar audience which was always likely to split its box office. Normally these films would be given bigger gaps between them, but the Christmas period is a lucrative time and without Star Wars film for the first time in four years is much more room in the marketplace for films to share box office.

The six DC Extended Universe films have now taken $1.66bn at the US box office and $4.25bn worldwide.

Next year Warner Bros release Shazam! In April and Joker in October and then Birds of Prey in February 2020 and Wonder Woman 1984 in June 2020

Took $91.3m internationally from 70 territories $410.7m total and $482.8m worldwide; #209 biggest film worldwide between Shrek and Saving Private Ryan; Top 5 international territories China ($232.8m); Brazil ($17.1m), Mexico ($16.1m), Russia ($12.8m) and the UK ($12.6m).

• Mary Poppins Returns – Disney

Opens with $23.52m and $32.33m over 5 days opening; received A- CinemaScore and 77% Rotten Tomatoes score British critics were predictable more positive than US many described it as fine, but the problem is when the original was practically perfect in every way fine isn’t good enough.

After opening with $4.8m on its opening day box office analysts dramatically dropped their box office predictions for Mary Poppins Returns from $55m opening weekend and $70m for its five-day opening to less than half.

After Mary Poppins Returns opened lower than expected many are saying it will have similar long legs as The Greatest Showman last year but while they might be both musicals, they are very different films. Mary Poppins Returns developed to be the “movie we need now” but The Greatest Showman became that film originally.

Mary Poppins Returns has much more in common with Mamma Mia! Here We Go Again which was a similar attempt to cash into the nostalgia that it was 10 years since Mamma Mia opened. Mamma Mia! Here We Go Again opened with $34.95m taking $120.63m and $393.78m worldwide compared to Mamma Mia taking $144.16m in the US and $465.7m  10 years ago and the Greatest Showman taking $174.34m and $434.99m worldwide.

Mary Poppins took $31m in 1964 had 33.3m admissions average ticket price in 1964 $0.93 which would be $313m.  

Opened with $20.3m from 17 territories (almost 50% from the UK)

• Bumblebee – Paramount Pictures

Opens with $21.65m. received A- CinemaScore and 94% Rotten Tomatoes score receiving the best reviews for a Transformers film.

Had the lowest opening for Transformers film and half of the last film 2017’s Transformers: The Last Knight opened with $44.68m taking $130.16m, but Bumblebee is expected to hold much stronger than all of the sequels and play well across the lucrative Christmas holidays.

The seven Transformers films have taken $1.47bn In the US  and $4.43bn worldwide.

Bumblebee plays to a younger audience than the other Transformers films and should have much stronger legs than previous transformers films.

Opening Bumblebee same weekend as Aquaman and weekend after Spider-Man: Into The Spider-Verse was always likely to cannibalize the three films.

Took $31.1m from 38 territories (expands into 17 more territories this weekend including the UK where it has had several days of previews already)

• Spider-Man: Into The Spider-Verse – Sony Pictures

Down 53% in its second weekend taking $16.63m and $64.73m

Having a decent hold against Aquaman and Bumblebee targeting similar audience should perform well across Christmas holidays having better legs than Aquaman.

 Big Hero 6 dropped 38.3% in its second weekend taking $34.66m and $110.3m of $222.52m but faced far lesser competition of Dumb and Dumber To.

Took $38m from 53 territories and $64.8m total

• The Mule – Warner Bros

Down 45.7% in its second weekend taking $9.5m and $35.2m

Being an alternative to all o the family films targeting older audiences

• Second Act – STX Entertainment

Opens with $6.48m; received B+ CinemaScore and average reviews 41% Rotten Tomatoes score

Has been compared to Working Girl which opened almost 30 years to the day with $4.71m taking $63.77m and $102.95m worldwide.

Jennifer Lopez has had mixed success over the last 23 years had breakthrough role in Steven Soderbergh’s Out of Sight 20 years ago followed with Antz, The Wedding Planner and Maid in Manhattan. but then came Gigli in 2003 was a massive flop. In recent years Jenifer Lopez is better known for animated films Ice Age and Home and TV as Second Sight was her first major acting role since 2015’s The Boy Next Door.

• Dr. Seuss’ The Grinch – Universal Pictures

Down 27.3% in its seventh weekend taking $8.45m and $253.49m 

Despite losing 900 screens only dropped 27.3% in comparison Ralph Breaks the Internet dropped 1,080 screens and dropped almost double (49.3%)

The Grinch continues to hold similar to How the Grinch Stole Christmas despite opening 18 years later taking $7.28m down 40.5% in its seventh weekend and $251.62m taking $260.04m and $345.1m worldwide 

Previous Illumination Entertainment (not Despicable Me sequels)

The Secret Life of Pets in July 2016 dropped 35.1% with $5.88m and $346.82m and $368.3m and $875.4m worldwide

Sing in 2017 down 36.8% with $4.05m and $262.87m taking $270.3m and $634.1m worldwide

While the first Despicable Me in July 2010 dropped 33.1% with $4.66m taking $231.05m and $251.5m and $543.1m worldwide

Took $23.7m from 62 territories and $23.7m total and $422.5 worldwide; #258 biggest film worldwide between Dances with Wolves and The Chronicles of Narnia: Prince Caspian.

2000’s How the Grinch Stole Christmas took 75% of its total box office from the US $260.1m Vs $85.1m and $345.1m worldwide; Dr. Seuss’ The Lorax took 61% of its total box office from the US $214.1m Vs $134.8m and $348.8m worldwide

• Welcome to Marwen – Universal Pictures

Opens with $2.35m; received B- CinemaScore and poor reviews 25% Rotten Tomatoes score

Following on from Universal Pictures massive flop Mortal Engines which dropped 77.2% in its second weekend and could lose over $100m Welcome to Marwen is another original film failure for the studio that could lose $50m+.

When Robert Zemeckis signed to direct the film in 2013 Universal Pictures were looking for a big-name actor for the lead Leonardo DiCaprio was mentioned while Steve Carell is great vocally in Despicable Me and brilliant in The Office he hasn’t opened a film on his own since Evan Almighty in 2007.

While Universal Pictures had strong success this Fall with Halloween remake and The Grinch Welcome to Marwen is their third original film failure part of this must be down to dating of the three films.

First Man keeping its October 12^th release date after Warner Bros dated A Star Is Born the week before and Mortal Engines opening internationally early and why open Welcome to Marwen against five other films, it was always going to get cannibalized.

30 years ago Robert Zemeckis directed Who Framed Roger Rabbit which was followed by Back to the Future sequels, Forrest Gump, Contact, Cast Away and The Polar Express all box office hits. Many of his films since have been technically stunning Beowulf, The Walk and Welcome to Marwen but underperformed at the box office. In August it was announced Robert Zemeckis’s next film is The King starring Dwayne Johnson which is expected to film in 2020.

• Ralph Breaks the Internet – Disney

Dropped 49.3% in its fifth weekend taking $4.7m and $162.19m

Wreck-It Ralph November 2012 took $6.94m in its fifth weekend and $158.18m of $189.42m and $471.22m worldwide.

After opening 15% bigger than Wreck-It Ralph it has now taken only 2.4% more; The Grinch opening three weeks before Ralph Breaks the Internet squeezed its box office which has seen both films not match the box office levels many might have expected.

Ralph Breaks the Internet received far better reviews than The Grinch but as so often happens the first family film holds far stronger than the film that opens a few weeks later.

Took $9.3m from 45 territories and $145.5m and $307.6m worldwide; #433 biggest film worldwide between The Blind Side and The Fault in our Stars; still has more territories including Australia, Italy, Korea, Brazil, Germany and France to open between now and February.

• Mortal Engines – Universal Pictures

Dropped 76.8% in its second weekend taking $1.75m and $12.01m;

The $100m+ budget film is expected to be one of the biggest flops this century losing over $100m the one positive for Universal Pictures is they share the loss with MRC and Legendary Pictures who put up the bulk of the budget; MRC had a similar failure with fantasy film The Dark Tower last year.

2016’s Warcraft dropped 70% in its second weekend taking $7.24m and $38.43m of $47.36m total and $443.67m worldwide

2007’s The Golden Compass dropped 65.8% in its second weekend taking $8.25m and $40.76m of $70.1m total and $372.2m worldwide.

Took $4m from 54 territories and $42.3m total and $54.3m worldwide.

• If Beale Street Could Talk – Annapurna Pictures

Down 51.3% in its second weekend taking $109,264 from 5 screens and $422,412              

Barry Jenkin’s previous film 2016’s Moonlight expand into 36 screens  in its second weekend taking $850,114 and $1,420,907 and went on to take $27,854,932 winning Best Picture at Oscars in 2017 after La La Land was mistakenly announced as the winner.

Received critical acclaim ever since it premiered at the Toronto Film Festival in September receiving 94% Rotten Tomatoes score

Expands into 65 screens on Christmas Day with further expansion in January

• The Favourite – Fox Searchlight

Added 349 screens in its fifth weekend down 20% taking $2.08m and $10.11m.

Despite adding 349 screens dropped one place and again failed to climb into the top 10, Mary Queen of Scots is playing on a similar number of screens but despite receiving inferior reviews did climb into the top 10 in its second weekend. Have audiences got confused between with the two films?  

Expands into 775 screens this weekend

• Mary Queen of Scots – Focus Features

Added 729 screens in its third weekend up 225.5% taking $2.27m and $3.58m total

Climbed into the top 10 in its third weekend surprising Mary Queen of Scots is holding better than The Favourite as it received far more mixed reviews maybe the fact that its part of the Elizabeth Extended Universe helped it perform better.

Mary Queen of Scots received 60% Rotten Tomatoes score Vs 94% The Favourite and nominated for five Golden Globes while Mary Queen of Scots Margot Robbie has been nominated for SAG Best Supporting Actress.

Adds 700 screens this weekend

UK Box office predictions 

Mary Poppins Returns should hold strongly in its secnd weekend holding similar to Mamma Mia! Here We Go Again and Bridget Jones’s Baby (both had three day openings)  taking about £6.5m+.

Christmas Eve was the start of the Christmas holidays for many  and the two weeks have become the most kuctarive weeks of the year as apart from shopping and eating there is little elese to do this time of year. Cinemas across the UK used to close early on Christmas Eve and be closed Christmas Day,but over recent years more and more cinemas open. The Odeon Leicester Square had two shows of Mary Poppins Returns close to sell outs, while none of its opening weekend shows were close to selling out  was interesting to see Christmas Day shows almost did with prices ccloser to they were before refurbishment. Opening weekend tickets were up to £40.75. 

after having six days of previews Bumblebee opens but despite having extenstive previews (as Transformers: Dark of the Moon and Transformers: Age of Extinction both had inflated their opening with £4,226,736 and £8,044,230) snd positive reviews still likely to open close to the last film 2017’s Transformers: The Last Knight opened with £4,635,570.

Despite poor reviews Holmes and Watson might generate a little interest being a new take on Sherlock Holmes 

Opening in UK

• The Favourite – 20^th Century Fox

Historical period drama starring Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Joe Alwyn, James Smith, and Mark Gatiss and directed by Yorgos Lanthimos; had the world premiere at the Venice Film Festival winning two awards: the Grand Jury Prize and the Volpi Cup for Best Actress for Olivia Colman and received five Golden Globes nominations, including Best Motion Picture Musical or Comedy and won 10 Bifas earlier this month; received its UK premiere at the London Film Festival in October.

The film has received critical acclaim (94% Rotten Tomatoes) has been the Oscar frontrunner since it had its world premiere. Yorgos Lanthimos previous films 2017’s The Killing of a Sacred Deer and 2015’s The Lobster also received critical acclaim but were too quirky to find a mainstream audience; The Killing of a Sacred Deer opened with £286,448 taking £817,756; The Lobster opened with £229,619 taking £1,342,630.

Deborah Davis originally wrote the first draft in 1998 then called The Balance of Power, Yorgos Lanthimos was approached to direct the film in 2009 and in 2014 Film Four came on board as producers along with Waypoint Entertainment. In September 2015 Yorgos Lanthimos signed to direct the film now called The Favourite and started shooting in March 2017, two months later Fox Searchlight acquired the film

Since launched 24 years ago Fox Searchlight has had 19 films nominated for Best Picture Slumdog Millionaire, 12 Years a Slave, Birdman, and The Shape of Water, 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 and Three Billboards Outside Ebbing, Missouri; have released 181 films taking almost $2.6bn at the US box office

The Favourite is Fox Searchlight’s key Oscar contender this year in their final year before it is absorbed within Disney next year after they acquire 20^th Century Fox early next year.

The Favourite opened in London on Boxing Day and then across the UK from January 1^st will give the film a 12-day opening weekend.

Every year is always a must-see award Oscar/BAFTA award contender opening in January this year was Darkest Hour and next year will be The Favourite.

• Welcome to Marwen – Universal Pictures

Drama starring Steve Carell, Leslie Mann, Diane Kruger, Merritt Wever, Janelle Monáe, Eiza González, Gwendoline Christie, Leslie Zemeckis, and Neil Jackson and directed by Robert Zemeckis; inspired by Jeff Malmberg’s 2010 documentary Marwencol.

Robert Zemeckis’s production company ImageMovers acquired the film rights in 2013 wanting a big named actor like Leonardo DiCaprio to star

Robert Zemeckis last directed 2016’s Allied opened with £1,331,919 taking £4,171,764; 2015’s The Walk opened with £795,115 taking £1,253,929; 2013’s Flight opened with £1,401,214 taking £4,690,651

Welcome to Marwen had one of the lowest opening weekends of the year for a wide release in the US opening just before Christmas in a crowded marketplace after receiving poor reviews.

Opens January 1^st in the UK so will likely e DOA as Mortal Engines was three weeks ago.

While Steve Carell was excellent in The Office and vocally in the Despicable Me films he hasn’t been able to open a film he is better off as part of an ensemble as in films like The Big Short, Crazy Stupid Love, Date Night and Get Smart.

• Life Itself – Sky Cinema

Drama starring an ensemble cast Oscar Isaac, Olivia Wilde, Mandy Patinkin, Olivia Cooke, Laia Costa, Annette Bening, and Antonio Banderas and written and directed by Dan Fogelman; had its world premiere at the Toronto Film Festival receiving negative reviews.

Amazon Studios acquired it in December 2017 and released it in the US in September 2018 opening with only $2.1m having second worst opening, since 1982 for a film with opening in over 2,500+ screens.

Sky Cinema will premiere it on their film channel and cinemas same day but will be showing in only a handful of cinemas as previous films they have released as major exhibitors won’t book it as they demand all films have a 90-day theatrical window.

While exhibitors demand a 90-day theatrical window they can pull the film anytime during those 90 days if the film is underperforming so a film like Mortal Engines or The Nutcracker will be pulled from cinemas after less than a month and then won’t be legally available for another two months.  

Opening in the US

• Vice – Annapurna Pictures

Biographical comedy-drama starring Christian Bale, Amy Adams, Steve Carell, Sam Rockwell, Alison Pill, and Tyler Perry and written and directed by Adam McKay.

Received polarized reviews with some very positive reviews describing it as “cleverly biting” while others described it as “a clumsy display of political hatred,” The performances of Bale and Adams received universal praise and has been nominated for six Golden Globe Awards, including Best Motion Picture Musical or Comedy.

The film was originally developed at Paramount Pictures by Plan B but put the film into turnaround in early 2017 after Jim Gianopulos joined the studio. Was shortly acquired by Annapurna Pictures after they announced a production deal with Plan B.

Since Annapurna Pictures announced the production deal with Plan B all of the films, they have released to date have failed to find an audience.

Vice is one of three award contenders Annapurna Pictures have this year the others If Beale Street Could Talk and Destroyer.

• Destroyer – Annapurna Pictures

Crime drama starring Nicole Kidman, Toby Kebbell, Tatiana Maslany, Scoot McNairy, Bradley Whitford, and Sebastian Stan and directed by Karyn Kusama.

Had its world premiere at the Telluride Film Festival in August; Nicole Kidman is nominated for  Golden Globe Best Actress Drama; received positive reviews 78% Rotten Tomatoes score with all highlighting Nicole Kidman’s performance.

Opened om platform release in 3 screens

• On the Basis of Sex- Focus Features

Biographical legal drama based on the life of Supreme Court Justice Ruth Bader Ginsburg starring Felicity Jones, Armie Hammer, Justin Theroux, Jack Reynor, Cailee Spaeny, Sam Waterston, and Kathy Bates and directed by Mimi Leder.

Had its world premiere at the AFI Fest on November 8, 2018 receiving mixed reviews saying it was a well-acted biopic but no were nearly as ground-breaking as Ruth Bader Ginsburg.

Earlier this year documentary RBG was also released opened on limited release with $578,470 taking $13.01m

Opened in 33 screens

• Stan & Ollie – Sony Classics

Biographical comedy-drama starring Steve Coogan and John C. Reilly and directed by Jon S. Baird and written by Jeff Pope (previously wrote Oscar-nominated screenplay Philomena); had world premiere at the London Film Festival in October; Sony Classics acquired US rights in September 2018;

Received positive reviews 93% Rotten Tomatoes score; John C. Reilly has been nominated for Globe Awards Best Actor Motion Picture Musical or Comedy.

• Holmes and Watson – Sony Pictures

Mystery comedy starring Will Ferrell, John C. Reilly, Rebecca Hall, Ralph Fiennes, Rob Brydon, Kelly Macdonald, Lauren Lapkus, and Hugh Laurie and written and directed by Etan Cohen.

The film was first announced in 2008 with Sacha Baron Cohen as Holmes and Will Ferrell as Dr. Watson after many years of development announced in 2016 John C. Reilly and Will Ferrell would star together almost 10 years after starring together in the classic comedy Step Brothers.

Filming started in December 2016 and was originally set for August 2018 release before moving to November and then December; first trailer was released in September.

Has received poor reviews from critics with many comparing it to the equally as dreadful 1988’s Sherlock Holmes comedy Without a Clue.

 

• Escape Room – Sony Pictures

Psychological thriller starring Logan Miller, Deborah Ann Woll, Taylor Russell, Tyler Labine, Jay Ellis, and Nik Dodani and directed by Adam Robitel.

Was originally titled The Maze and set for September 2018 release, in May 2018 its title was changed to Escape Room and release date delayed to November and then pushed back to February 2019 before being brought forward to January 4^th which is normally seen as the weekend studios dump films.  

Horror film Eli was due to open against it from Paramount Pictures but in early December it was announced Netflix had acquired rights.