- Eternals – £2,918,585 – £10,571,175
Down 46.5% from the opening weekend; while it might have dropped only 46.5% only need to look at the films it shares at its second weekend to see how soft it is showing it played only to the most obsessed comic-book fans. While holding better than it probably would have done due to the lack of any major releases opening against it in its second weekend.
4th biggest 2nd weekend in 2021 between Dune and F9; Eternals is one of 8 films that have had similar second weekends since Tenet opened in August 2020 between £1.8m and £2.9m (with No Time To Die the second weekend £15,235,947 and Shang-Chi (£3,583,848) Dune (£3,312,159);
Eternals (£2,918,585); F9 (£2,681,393); Venom 2 (£2,470,168); Free Guy (£2,267,660); The Suicide Squad (£2,267,135); Tenet (£2,151,490); Peter Rabbit 2 (£2,045,999); Jungle Cruise (£1,960,317); Black Widow (£1,801,017) with all except Peter Rabbit 2 targeting similar audience and taking similar BO.
Normally MCU films have a 50%-60% drop in their second weekends due to having preview inflated openings but then they stabilise with a 40%+ drop in third weekends as word of mouth helps them hold for a few more weeks, this won’t happen with Eternals and with Ghostbuster Afterlife opening this weekend taking IMAX and PLF screens.
232nd biggest second weekend in the UK between Batman Begins and The Hangover Part III (close to Thor: The Dark World, Justice League, The Bourne Ultimatum and F9) and 355th biggest inflated second weekend between Beverly Hills Cop II and Daddy’s Home (close to X-Men Origins: Wolverine, Venom, Kill Bill Volume One and Maleficent).
The 18th biggest MCU second weekend in the UK between Thor: The Dark World (£2,979,564) and Captain America: Winter Soldier (£2,764,030) taking £1,117,568 more than Black Widow (£1,801,017) and (£665,263) less than Shang-Chi (£3,583,848).
Eternals did have the fourth lowest 3rd-weekend drop between Shang-Chi (-37.8%) and Guardians of the Galaxy Vol 1 (-47.6%) what helped Ant-Man, Shang-Chi, The incredible Hulk and Eternals have smaller drops was they didn’t have previews inflating their opening, Guardians of the Galaxy Vol 1 had previews but its opening was during the summer holidays and it was boosted by strong word of mouth.
591st biggest film in the UK between Knives Out and Gangs of New York (632nd film to take £10m+ at the UK BO) close to The Hitchhiker’s Guide to the Galaxy, Moonraker, Oblivion and The Spy Who Loved Me) and 860th biggest film in the UK between Knives Out and Master and Commander (close to Shaun of the Dead, 28 Days Later, London Has Fallen and Bad Boys).
42nd biggest comic-book second weekend in the UK between Batman Begins and Captain America: The Winter Soldier (close to Doctor Strange, Justice League, X-Men: Apocalypse and Venom 2) and 48th biggest inflated second weekend between X-Men Origins: Wolverine and Justice League (close to X-Men, Fantastic Four: Rise of the Silver Surfer, The Incredible Hulk and X-Men: Apocalypse).
54th biggest Disney second weekend between Cinderella and Monsters University (close to
Solo: A Star Wars Story, Thor: The Dark World, Maleficent and Pirates of the Caribbean: Salazar’s Revenge) and 142nd biggest inflation inflated between Sin City and Freaky Friday (close to Tron Legacy, Starship Troopers, Dangerous Minds and Atlantis: The Lost Empire).
Last week there were reports Doctor Strange in the Multiverse of Madness was going to have “significant reshoots” this was announced a few weeks after its release date was delayed from March to May next year. After Marvel’s massive success in 2019 with Captain Marvel, Avengers: Endgame and Spider-Man: Far From Home this year’s films have failed to match their high expectations both critically and at the box office. Many will make excuses for Black Widow, Shang-Chi and Eternals but with MCU massive fanbase, their massive global success over the previous 11 years, and that they were 24th-26th films of the series they should be attracting similar audiences as the story arc continues over these films.
What is interesting is that Eternals being the worst-reviewed MCU film comes so soon after Star Wars: The Last Jedi was the worst Star Wards film and Disney are creating many more TV spinoff series for both which does dilute their cinema value, as you can have too much of a good thing, as while fans were excited to hear they would get a Star Wars film every year infinitely, but the problem was the films they were getting felt
The problems facing Eternals were predictable as it needed to introduce all the 10 Eternals with their backstories, (originally there were 12) this was the biggest issue with the first X-Men film in 2000 which spent more than half of the film telling the backstories leaving limited time for plot. The other big issue with the film is it’s trying too hard to be diverse and inclusive but just comes off as dull, this is highlighted by the best part of the film is the end credit scenes setting up a Jerry Springer spinoff between Thanos and his brother as family gatherings are as hostile as the Roy family.
The Eternals are an immortal alien race, appear from hiding after thousands of years to protect Earth from the Deviants, but why didn’t they do that when the Earth was in trouble in the earlier 25 MCU films. In the trailer, Eternals are asked why they didn’t help the Avengers fight against Thanos and they say someone stopped them from being involved but they don’t say who, as surely they must have a WhatsApp to stay connected with each other so must know what the others are up to and offer to help?
My biggest issue is that it feels like corporate diversity is cynically done as with Black Panther when Disney felt the fanbase would be more acceptable. As Black Panther as Shang-Chi was originally meant to be one of the first 10 MCU films that were made when Marvel announced in 2005, instead Black Panther was the 18th MCU (20 years after Blade was released) and Captain Marvel 21st film. DC get a lot of deserved criticism for their films, but they released Wonder Woman two years before Captain Marvel.
The problem was while audiences want original stories Eternals wasn’t that it was as many MCU films have been by the numbers it was how can we make the most diverse film lets hire art-house director Chloé Zhao (soon to be Oscar-winning), have a very diverse cast that has a gay superhero and a deaf one. It feels like Marvel thought let’s throw everything into Eternals but in doing so it’s a mess. The other issue that frustrates many is they change the rules as they go along Chloé Zhao was asked if Eternals were snapped by Thanos saying they can’t technically be blipped, this was similar to in other interviews that superheroes never really die.
When Disney announced Black Widow was going to have a hybrid theatrical and Disney+ release there were rumours Eternals would have a similar release. It was surprising they didn’t do so but it was more to be seen to be supporting cinema after releasing several other films straight to Disney+ and receiving much criticism from exhibitors, which said Disney will do what Disney believes is best for their films. But after having so much success with earlier MCU films Black Widow, Shang-Chi and Eternals were always likely to be far less successful than the two Marvel films released by Sony this year Venom 2 and Spider-Man No Way Home.
Despite all the success Marvel has had over the last 13 years while they have a library of over 7,000 characters the question is how they incorporate them into films. Will they go back to how they launched Black Widow, Black Panther and Spider-Man feature them in other MCU films before launching their solo films or use TV shows?
2. No Time To Die £1,567,870 – £92,717,959
Down 20.6% in its seventh weekend; 6th week took £1,230,962 Mon-Thurs and £3,204,892 Fri-Thurs.
10th biggest 7th weekend between LOTR: The Fellowship of the Rings (£1,623,707) and Slumdog Millionaire (£1,561,139); 13 films have taken over £1.5m in their 7th weekend (Avatar, Titanic, Harry Potter and the Philosopher’s Stone, Arthur Christmas, The Greatest Showman, The Kings Speech, Frozen 2, Paddington 2, LOTR: The Fellowship of the Rings, No Time To Die, Slumdog Millionaire, Harry Potter and the Chamber Of Secrets and Mamma Mia!
5th biggest film in the UK between Avatar (£94,025,474) and Avengers: Endgame (£88,719,051) (5th film to take over £80m since Avatar in 2009) and 13th biggest inflation inflated film in the UK between Spectre and The Full Monty.
James Bond seventh weekend drops
2002’s Die Another Day Down 27.5% £1,092,631 and £33,798,703 93.7% of £36,043,520 (£62,858,506 inflation inflated)
2006’s Casino Royale up 40.1% £1,417,179 and £49,641,433 89.5% of £55,495,547
2008’s Quantum of Solace down 54.46% £328,067 and £49,602,557 97.1% of £51,089,938
2012’s Skyfall down 37.2% £1,428,708 and £96,333,036 93.7% of £102,816,893
2015’s Spectre down 34.97% £807,462 and £92,042,790 96.7% of £95,183,468
2021’s No Time To Die down 20.6% £1,567,870 and £92,717,959 94% of £96m
No Time To Die is released on PVOD on Friday along with the opening of Ghostbusters Afterlife will likely see it drop 40%+ in its 8th weekend.
Had a similar sixth-weekend drop as 15.18% The Kings Speech; 18.58% Free Guy; 20.14% Moulin Rouge; 20.17% Avengers Assemble; 20.19% Black Panther; 20.21% Harry Potter and the Deathly Hallows Part 2; 20.66% Frozen 2; 24.24% LOTR: Return of the King; 24.86% The Incredibles; 27.49% Die Another Day; 28.29% Captain Marvel; 29.87% Mamma Mia!
James Bond film stands above any other film franchise or series in the UK their success and long legs in the UK for 60 years is incomparable to any other with only Star Wars: The Force Awakens taking more than Skyfall and Spectre.
Die Another Day opened on 430 screens on November 20th, 2002
7th weekend £1,092,631 down 28% #4 415 screens; #1 Lord of the Rings: Two Towers £5,774,170 #2 Star Trek X: Nemesis £1,957,845 N£; #3 Harry Potter and the Chamber Secrets £1,144,473
8th weekend £640,382 down 41% #5; stayed in the top 5 for 8 weeks and top 10 for 9 weeks
Casino Royale opened in 505 cinemas (988 screens) on 19th November 2006
7th w/e £1,417,179 up 40% #3 377 screens; Night at the Museum #1 £7,690,312
8th w/e £1,055,546 down 26% #5; Night at the Museum #1 £2,958,093 2nd w/e
Stayed in the top 5 for 8 weeks and top 10 for 12 weeks
Quantum of Solace opened on 540 screens on 31st October 2008
7th w/e £328,067 down 55% #8 322 screens; #1 The Day the Earth Stood Still £2,752,132
Stayed in the top 5 for 6 weeks and top 10 for 8 weeks
Skyfall opened on 587 screens on 26th October 2012
Dropped to #2 7th weekend taking £1,428,708 (513 screens); #1 Rise of the Guardians #1 £1,602,689
Dropped to 4th 8th weekend taking £809,406 (434 screens); #1 The Hobbit: An Unexpected Journey £11,601,538.
Stayed in the top 5 for 8 weeks and top 10 for 11 weeks
Spectre opened in 651 cinemas and on over 2,500 screens on October 26th, 2015
7th w/e £807,462 #3 dropped 35% 442 screens; #1 The Hunger Games: Mockingjay, Part 2 £2,240,723; #2 The Good Dinosaur £1,273,2943
8th w/e £297,803 #6 dropped 63% 308 screens; #1 Star Wars: The Force Awakens £34,011,849
Stayed in the top 5 for 7 weeks and top 10 for 10 weeks
No Time To Die opened this weekend with $8.2m in Australia having the biggest opening since December 2019 opening bigger than Spectre despite the film being available on VOD in the US and widespread available illegally online. As I have always said if it’s a film people want to see in the cinema they will see it in the cinemas no matter if it’s available elsewhere and exhibitors are just using PVOD as an excuse. As seen with the success of both The Croods 2 and The Boss Baby 2 in the UK with both widely available illegally online before both were released in cinemas in the UK.
In an interview, Daniel Craig said that the ending of No Time To Die was planned 15 years ago before he made Casino Royale, but this can’t be true as after making Spectre in 2015 he said he would rather slash his wrists instead of playing Bond again. A similar comment was made by Sean Connery after making You Only Live Twice in 1967 which saw him replaced by George Lazenby in 1969’s On Her Majesty’s Secret Service.
But after he left after making the one James Bond film the producers offered Sean Connery more money to return in Diamonds Are Forever in 1971, Roger Moore took over James Bond in 1973 in Live And Let Die. Daniel Craig was offered much more money and creative control on No Time To Die which probably caused some of the creative differences that saw Danny Boyle leave the film in August 2018 which pushed back the film a year and then COVID pushed it back another 18 months.
Many believed Daniel Craig had the perfect ending for James Bond in Spectre with him driving off with Madeleine, but many believe that this was a figment of his imagination as he’s dying on Blofeld’s operating table as the ending of Spectre makes no sense otherwise with the drill digging into Bond’s brain at that immediate moment Madeleine says she loves him and then Bond seems to break free using his strength. So maybe No Time To Die is also part of his dream and Bond 26 will have a Bobby Ewing shower scene where he just imagined his time as James Bond.
Have been so many articles saying No Time To Die will ‘save cinema’ but this will only be the case if the millions who went to see No Time To Die will see other films opening over the next few months as the big question is what would be the next £50m+ film?
On Monday Cineworld announced revenues hit a pandemic high due with October 127% more than October 2019 this is mostly due to No Time To Die taking almost double what Joker took in October 2019 and Dune and Venom 2 also performing strongly. This saw Cineworld say “Our partnerships with the studios are as strong as ever and with the incredible movie slate to come, there are real grounds for optimism in our industry.”
This is despite antagonizing both Universal Pictures and Warner Bros in how they reacted to COVID. With Universal moving Trolls World Tour to PVOD which saw Cineworld and AMC ban their films from their cinemas and being hostile to Warner Bros plans to release 2021 slate in cinemas and on HBO Max. This saw Cineworld shares increase 15% on Monday morning but by Tuesday shares were back to the level they were before showing the City need to see far more from the company in how they are going to deal with their massive debt before the champagne is drunk.
The problem is while Cineworld now talks about the strong line-up for the rest of the year with Ghostbusters: Afterlife, Encanto, Spider-Man: No Way Home, The King’s Man, and The Matrix Resurrections.
The problem is only Spider-Man: No Way Home is a dead cert all others have big question marks attached, who is the target audience for Ghostbusters: Afterlife?, while Encanto has received mixed reviews and is unlikely to match the success of previous Disney animated films, while its 18 years ago since the last Matrix film how The Matrix Resurrections will perform opening only a few days after Spider-Man: No Way Home and against The King’s Man. Will those films perform anywhere close to the films that opened in November/December 2019 (Little Women, Star Wars: The Rise of Skywalker, Jumanji: The Next Level, Knives Out, Frozen 2 and Last Christmas.
As In 2019 were 6 films taking £50m+ Avengers: Endgame (£88,719,051); The Lion King (£76,019,595); Toy Story 4 (£65,802,558); Star Wars: The Rise of Skywalker (£58,265,708); Joker (£58,166,427); Frozen 2 (£53,549,035) and four taking £30m+ Captain Marvel (£39,234,293); Spider-Man: Far From Home (£37,333,748); Aladdin (£37,236,939) and Jumanji: The Next Level (£36,079,399). Spider-Man: No Way Home is probably the only film that will top £30m+ and then there won’t be another until Downton Abbey 2 in March 2022.
3. Dune £1,172,873 – £18,942,227
Down 24.2% in its fourth weekend;
287th biggest film in the UK between X-Men: The Last Stand and Terminator 3: Rise of the Machines (close to Seven, 2012, Blade Runner 2049 and It Chapter 2) and 472nd biggest inflation inflated between American Pie: Reunion and Tintin: Secret of the Unicorn (close to Aliens, War for the Planet of the Apes, A Few Good Men and Pulp Fiction).
45th biggest Warner Bros film in the UK between The Hangover Part III and It Chapter 2 (close to Interstellar, Aquaman, The Matrix Revolutions and Tenet) and 71st biggest inflation inflated between Gremlins 2: The New Batch and It Chapter 2 (close to 300, Wonder Woman, The Last Samurai and Godzilla).
The gap between Dune and No Time To Die has grown over the last three weeks after being separated by £93,070 its opening weekend, took £202,149 less at its second, £425,624 in its third and £394,997 more in its fourth weekend.
Fourth weekends
Took £376,564 more than Tenet (£796,309) dropped 36% #1 from 616 screens (still playing in IMAX and PLF) taking £5,062,592 more (£18,942,227 Vs £13,879,635); Tenet had taken 79.5% of its total £17,467,059 if Dune held similar it would take £23.8m but Tenet had no competition staying #1 for 6 weeks.
£479,874 more than 2017’s Blade Runner 2049 (£692,999) dropped 61% #5 from 421 screens (Thor: Ragnarok #1 £12,375,804 611 screens) taking 1,525,401 more (18,942,227 Vs £17,416,826); Blade Runner 2049 had taken 92.5% of its total £18,820,009.
But if Dune were to be the massive blockbuster many thought it was going to be a be to (as Tenet) deserve a sequel or two Denis Villeneuve is often compared to Christopher Nolan so far better comparison would be Inception in 2010.
Took £1,086,722 less than Inception (£2,259,595) dropped 30% #3 from 468 screens (Toy Story 3 #1 £4,666,021; Knight & Day £2,404,163) taking £6,777,417 less (£18,942,227 Vs £25,719,644) Inception had taken 73.5% of its total £34,976,999 if Dune held similarly would have taken £30m+ which is surely the level Warner were hoping for when they greenlit Dune (as they expected Tenet to take last year until they were forced to open it in the middle of a pandemic).
Denis Villeneuve’s Arrival took £398,364 in its fourth weekend #6 down 49% from 367 screens taking £8,128,726 90.4% of £8,994,774 it opened early autumn which had strong success over previous years with adult sci-fi films; Gravity took 48.5% more £1,741,279 down 27.1% taking £22,522,241 68.7% of £32,692,161; Interstellar took 1.3% more £1,157,875 down 38.1% taking £18,001,495 89.7% of £20,066,636; The Martian took 47.7% more £1,732,329 down 28.4% taking £20,391,517 86.5% of £23,578,878.
The problem with Dune as with Arrival and Blade Runner 2049 they were always going to struggle to play beyond its fanbase while that might be ok with Arrival it’s not for a film like Dune which is expected to be an $800m+ global box office hit.
What this also shows is films like Dune and Tenet need to open with several other similar sized films as it was never big enough to be the saviour of cinema on its own despite Christopher Nolan’s delusions of grandeur.
Christopher Nolan’s biggest films have all opened in crowded marketplaces with several other films targetting different demographics. Dune had a similar second weekend as 2010’s Inception as Dune only had one-week #1 with Toy Story 3 (opening with £21,187,264) taking £4,172,568 down 29% while Interstellar held #1 for two weeks taking £3,777,804 down 30% had The Imitation Game opening #2 with £2,742,725 and then The Hunger Games: Mockingjay, Part 1 opening #1 in its third weekend.
2017’s Dunkirk was a different story as it played to all demographics so didn’t need the support down only 18% in its second weekend (£8,235,532) but that was never going to happen with either Tenet or Dune as they both weren’t going to play as wide.
45th biggest Warner Bros film in the UK between The Hangover Part III and It Chapter 2 (close to Interstellar, Wonder Woman, The Matrix Revolutions and Tenet).
4. Spencer £698,065 – £1,532,418
Up 41.7% in its second weekend in 648 screens adding 465 from last weekend opening in 183 screens with £492,643.
As Eternals opened last weekend and Ghostbuster Afterlife this weekend meant the weekend in the middle would be a quiet weekend so gave STX a chance to expand Spencer much further but expanding what is still an art-house film with a limited audience shortened the legs of the film. Distributors now feel the need to open these art-house films far too wide, Spencer opening weekend had the second-best screen average after Eternals.
In January 2020 Lionsgate opened The Personal History of David Copperfield on 656 screens its widest ever taking £1,524,147
2017’s My Cousin Rachel opened #6 £637,704 from 467 screens
There are two types of films that receive the premieres during the London Film Festival, those that open within a month of release and then others that are held back to January and February in the hope they get BAFTA or Oscar nominations. The problem with holding back a film to January and February is distributors have to double up with the film’s marketing as the film receives its premiere in October with the cast in attendance, but then need to do it again in January and February. The benefit is Academy members have very short memories and films opening in October/November will often be forgotten by January when it’s time to vote.
Received world premiere at the 78th Venice International Film Festival with critical acclaim (92% Rotten Tomatoes) praising Kristen Stewart’s performance with many suggesting she will receive her first Oscar nomination. The film received its UK premiere at the London Film Festival; STX bought UK rights in January.
As Daniel Radcliffe and Emma Watson with Harry Potter franchise Kristen Stewart and Robert Pattinson have struggled over the years since Twilight to break away from the film series they had so much success with. Last year Robert Pattinson starred in Christopher Nolan’s Tenet and stars in Matt Reeves’s The Batman next year and with Spencer (and Happiest Season last year) Kristen Stewart has been able to break away from being Bella Swan.
Opened as counterprogramming for Eternals and early November has been used often over recent years to open a British film 2019 The Good Liar opened £960,536; 2018 Widow £2,409,112; 2017 Murder on the Orient Express £4,985,600; 2015 The Lady in the Van £2,256,121; 2014 The Imitation Game £2,742,725; 2013 Philomena £1,509,726.
Many of these films also received UK premiere at the London Film Festival. Distributors will normally release films that premiere at the London Film Festival at the end of October/early November or else open them in January. With many believing, Kristen Stewart could have received an Oscar nomination for her performance it would have been far better to hold back its release to January. The film opened last weekend in the US and also struggle to find an audience.
In 2013 another biopic Diana was released by eOne receiving poor reviews opened #5 in September with £623,051 from 523 screens taking £1,847,427 lasting only two weeks in the top 10.
Stephen Frears’ The Queen opened to #2 £856,273 from 347 screens in September 2006, up 6% in its second weekend taking £908,295 #2 from 349 screens and £2,658,523 taking £9.4m.
Previous films directed by Pablo Larrain include 2012’s No (£345,571 total); 2017’s Jackie (opened £663,110 taking £3.8m).
- The Boss Baby 2 – £574,218 – £6,477,199
Down 5.3% in its fourth weekend
As with The Croods 2, it’s impossible to compare The Boss Baby with any other animated films as both opened several months after they were released in the US, The Boss Baby 2 opened in the US in July in cinemas and on Peacock taking $57.22m and $112.98m worldwide; 2017’s The Boss Baby took $175m in the US and $527.96m worldwide.
147th biggest animated film between Storks and Monster House (close to Spies In Disguise, Shaun the Sheep 2, Cloudy with a Chance of Meatballs and ParaNorman).
Fourth weekends
The Croods: A New Age 3% drop (summer holidays) £867,255 623 screens #4 taking £5,932,160 60% of £9,882,749; opened in UK cinemas 8 months after its US release despite opening far less than the original in July it has had long legs taking almost £10m over 12 weeks despite opening with £696,563 taking 13.8x opening compared to the 2013’s The Croods taking 4.9x opening.
2017’s The Boss Baby dropped 38% taking £1,293,372 580 screens #3 and £23,930,280 83.4% of £28,682,992 3.57x opening.
2013’s The Croods dropped 15% taking £1,999,475 541 screens #2 and £22,736,517 86.3% of £26,328,511 5.22x opening
The Boss Baby 2 was the third family film that opened before half-term but held the best with The Addams Family 2 #6 dropping the most 70.2% as had the double whammy of end of half-term and have pasted Halloween, while the best of the three Ron’s Gone Wrong dropped 55.9% #9 taking only £3,973,728.
Also Opened
• Mothering Sunday – Lionsgate
Opened with £156,940 #11 from 170 screens
Had a world premiere at the Cannes Film Festival in July receiving positive reviews (83% Rotten Tomatoes).
• Cry Macho – Warner Bros
Opened with £72,130 #15 from 341 screens
It was always going to struggle to find an audience in the UK as many recent Clint Eastwood films have done over recent years.
Clint Eastwood is 90 years old but keeps making films, Richard Jewell is the 9th film he has directed over the last 10 years having huge success with 2014’s American Sniper and 2016’s Sully with his last 2018’s The Mule taking over $100m
Richard Jewell is Clint Eastwood’s 38th film directed over 50 years taking over $2bn in the US and $3.34bn worldwide; Richard Jewell is his 12th film in a row for Warner Bros since 2008’s Gran Torino.
BO of some of Clint Eastwood’s recent films
2020’s Richard Jewell opened with £158,868 from 319 screens
2019’s The Mule opened with £725,554 taking £1,421,554
2018’s The 15:17 to Paris opened with £290,577
2016’s Sully: Miracle on the Hudson opened with £1,786,844 taking £7,386,195
2015’s American Sniper opened with £2,530,473 taking £13,424,242
2012’s J. Edgar opened with £413,210
Based on the 1975 novel by N. Richard Nash, the novel is based on a film script 20th Century Fox rejected in the 70s. In 1988 Clint Eastwood was approached to star in the film but choose to star in The Dead Pool, Arnold Schwarzenegger was approached in 2003 to star but was put on hold when he was elected the governor of California. In October 2020 it was announced Clint Eastwood star and direct.
The film was released in September in the US receiving mixed reviews (60% Rotten Tomatoes) and opened third taking $4.4m behind Shang-Chi and Free Guy. As with all of Warner Bros films, this year was released on HBO Max the same day with SambaTV reporting it was watched by 693k over opening weekend.
Box Office News
Moviepass co-founder has brought back the brand with plans to relaunch in 2022. Moviepass only existed because US exhibitors failed to launch their subscription cinema despite Cineworld Unlimited launching over 20 years ago and are hugely popular and subscribers seeing a much wider mix of films. As many of those with Cineworld Unlimited or Odeon Limitless see 50+ films a year with some watching over 200. While the majority are seeing only a handful of films in cinemas every year.
Moviepass should have never been needed if US exhibitors launched subscription cinema more than a decade ago as subscription cinema is the simplest way to get people to see many more movies in cinemas and exhibitors always say they never make money from cinema tickets. Moviepass filled a gap customers wanted in a similar way other disruptors Apple iTunes, Netflix and Uber only exist as their music, video and private hire companies were too slow to change with customer’s needs.
For all of Moviepass’ many failures what it did do was get cinemagoers seeing a much wider mix of films and that’s what cinemas need it’s not healthy for so much of the BO to be concentrated on 10 films. With No Time To Die likely taking close to 20% of 2021 UK BO. As many millions of people came out to the cinema for the first time in almost 2 years to see No Time To Die but then won’t return to the cinema again for many many months. But those with subscription cinema have probably seen about a dozen films since it opened 7 weeks ago.
Disney talked about having flexible theatrical windows for their films with some films having shorter windows than other films with Disney’s 60th animated film Encanto opening Thanksgiving having a 31-day window being released on Disney+ on Christmas Day.
But, just cutting the theatrical window to 45/31 days ahead of films opening doesn’t fix the problem, this needs to be able to change depending on how it’s performing. Disney announced The Last Duel and Free Guy would both have a 45-day window but after The Last Duel underperformed at the BO should have been able to switch to 17 days rather than be forced to play out a 45-day window despite dropping over 2,000 screens in the third weekend. While Free Guy theatrical window could have been extended after opening with $28.36m and holding well over the following weeks of release.
Always go back to Paramount’s 2015 plan for Paranormal Activity 6 and Scouts Guide To The Zombie Apocalypse which was predictably rejected by exhibitors that would see films released o PVOD the week after films drop below 1,000 screens. This makes it in exhibitors interest to keep successful films playing wider for longer while flops like The Last Duel could be released on VOD after 17 days.
As the problem with just cutting theatrical window ahead of films opening from 90 to 45 days means that word of mouth films like The Greatest Showman would never happen again as ahead of opening expectations were very low, opening fourth behind Star Wars: The Last Jedi ($71.56m); Jumanji: Welcome to the Jungle ($36.16m); Pitch Perfect 3 ($19.92m); The Greatest Showman ($8.8m) only $1.5m ahead of Ferdinand in fifth. But then in its second-weekend word of mouth spread and it became the people’s champion. It stayed in the top 10 for 11 weeks taking $174.34m and $434.99m worldwide but as its 31-day theatrical window length would have been set a month or more before opening would have never had the success it had. Disney announced in September Eternals, West Side Story, The Kings Man, and Ron’s Gone Wrong all would have 45-day windows.
After opening in selective cinemas globally Red Notice was released on Netflix with 4.2m watching it over its opening weekend in the US the highest viewing numbers for Netflix this year; in the UK it was seen by 712k
Biggest Films of 2021
The top 10 biggest films of 2021 are currently
No Time To Die £92.71m; Shang-Chi (£21.2m); Peter Rabbit 2: The Runaway (£20.4m); Dune £18.94m; Black Widow (£18.83m); Venom 2 £17.09m; Free Guy (£16.78m); F9 (£16.44m); The Suicide Squad (£14.2m); Space Jam 2 (£12.85m).
No Time To Die is the only film that is performing as it would in normal circumstances all others opened about a third less than they would and taken a third less.
The following 10 biggest films from 11-20
Jungle Cruise (£12.55m); A Quiet Place 2 (£11.54m); Eternals £10.57m; The Addams Family 2 £9.9m; The Croods 2 (£9.8m); Cruella £9.45m; The Conjuring 3 £9.36m; PAW Patrol: The Movie £8.47m; Candyman £5.12m.
UK box office in detail
This weekend’s top 10 box office took £8,515,059 down 29.4% from last weekend E12,060,490; 2020 Lockdown 2
The weekend admissions 1,197,617 down 29.4% 1,696,271 from last week; 2020 Lockdown 2.
Top 3 took £66.3% of the top 10; Eternals 34.2% (£2,918,585); No Time To Die 18.4% (£1,567,870); Dune 13.8% (£1,172,873).
xx from 2020; Lockdown 2
Down 0.3% from 2019 (£8,534,914); The Aeronauts (£1,042,337); The Good Liar (£960,536); Midway (£755,181); 42nd Street – The Musical (£560,680); Luce (£116,098); #1 Joker £1,668,466 down 32% 601 screens 6th week (6 weeks #1)
Down 48.8% from 2018: (£16,637,613); The Grinch (£5,019,677); Widows (£2,409,112); Overlord (£677,844); They Shall Not Grow Old (With Recorded Q&A) (£271,302); #1 The Grinch £5,019,677 1st week 559 screens (30.2% of top 10)
Down 54.2% from 2017: (£18,610,649); Paddington 2 (£8,260,160); Only the Brave (£268,680); The Florida Project (£241,490); Predator (30th Anniversary) (£99,689); Professor Marston and the Wonder Women (£9,148); #1 Paddington 2 £8,260,160 1st week 607 screens 1st week (44.3% of the top 10)
Down 22.5% from 2016: (£10,984,043); Arrival (£2,924,059); American Pastoral (£56,832); #1 Arrival £2,924,059 1st week 561 screens (26.6% of the top 10)
Down 42.5% from 2015; (£14,812,116); The Lady in the Van (£2,256,121); Steve Jobs (£903,214); The Hallow (£51,742); Fathers and Daughters (£25,199); #1 SPECTRE £7,833,891 3rd week 617 screens 40% drop (52.8% of top 10)
Down 27.3% from 2014: (£11,703,689); The Imitation Game (£2,742,725); Nativity 3: Dude, Where’s My Donkey? (£1,800,419); The Drop (£637,867); Third Person (£2,294); #1 Interstellar £3,777,804 2nd week 576 screens 30% drop (32.3% of top 10)
Down 28% from 2013: (£11,818,983); The Counsellor (£815,051); The Butler (£794,044); Don Jon (£343,535); Dom Hemingway (£98,232); In Fear (£41,335); Battle of the Year (£34,821); #1 Gravity £4,838,152 2nd week 571 screens 22% drop (40.9% of top 10)
Down 43.9% from 2012 (£15,185,020); Argo (£1,287,770); Here Comes the Boom (£433,052); The Sapphires (£337,641); Love Bite (£73,129); People Like Us (£19,981); #1 Skyfall £10,447,385 3rd week 589 screens 35% drop (68.8% of top 10)
Down 12% from 2011 (£9,676,951); Immortals (£2,166,432); Arthur Christmas (£2,112,516); The Rum Diary (£608,055); The Awakening (£273,083); Trespass (£247,957); Wuthering Heights (£156,931); Tabloid (£4,618); #1 Immortals £2,166,432 1st week 428 screens (22.4% of top 10)
Up 10.4% from 2010: (£7,711,855); Skyline (£1,206,207); You Again (£145,034); #1 Due Date £1,898,324 2nd week 452 screens 19% drop (24.6% of top 10)
Down 39.2% from 2009; (£14,013,567); 2012 (£6,489,809); Harry Brown (£1,271,814); The White Ribbon (£72,226); Amelia (£49,224); Taking Woodstock (£41,348); #1 2012 £6,489,809 1st week 480 screens (46.3% of top 10)
Down 13.1% from 2008; (£9,795,141); Max Payne (£1,004,995); Zack and Miri Make a Porno (£798,205); The Baader-Meinhof Complex (£108,791); #1 Quantum of Solace £5,164,182 3rd week 549 screens 44% drop (52.7% of top 10)
Up 11% from 2007: (£7,673,228); Good Luck Chuck (£1,316,325); Lions for Lambs (£658,282); Into the Wild (£196,994); Planet Terror (£80,894); The Band’s Visit (£18,704); Silk (£15,880); #1 Good Luck Chuck £1,316,325 1st week 379 screens (17.1% of top 10)
Down 8.9% from 2006; (£9,349,640); The Prestige (£1,184,996); Breaking & Entering (£364,886); Starter for Ten (£207,345); #1 Borat £4,510,657 2nd week 430 screens 28% drop (48.2% of top 10)
Up 11.6% from 2005 (£7,626,912); In Her Shoes (£1,337,176); The Constant Gardener (£1,004,641); Kiss Kiss, Bang Bang (£458,826); #1 In Her Shoes £1,337,176 1st week 325 screens (17.5% of top 10)
Down 44.3% from 2004 (£15,300,361); Bridget Jones: The Edge of Reason (£10,435,193); Ladies in Lavender (£423,313); Anacondas: The Hunt for the Blood Orchid (£194,597); #1 Bridget Jones: The Edge of Reason £10,435,193 1st week 504 screens (68.2% of top 10)
Up 28.3% from 2003 (£6,633,990); The Medallion (£106,797); The Mother (£59,077); Octane (£9,910); #1 The Matrix Revolutions £2,575,595 2nd week 466 screens 70% drop (38,8% of top 10)
Down 61.8% from 2002 (£22,279,336); Harry Potter Chamber Of Secrets (£18,871,829); Super Troopers (£269,696); Bowling For Columbine (£157,898); #1 Harry Potter Chamber Of Secrets £18,871,829 1st week 524 screens (84.7% of top 10)
Up 78.9% from 2001 (£4,758,297); Kiss of the Dragon (£478,811); The Piano Teacher (£71,911); #1 The Others £1,687,041 2nd week 386 screens 25% drop (35.4% of top 10).
Next weekend in 2019 (£8,886,417); Last Christmas (£2,654,354); Le Mans ’66 (£2,000,000); #1 Last Christmas £2,654,354 1st week 512 screens (29.9% of top 10)
US Box Office
- Eternals – Disney
Down 62% in its second weekend taking $26.85m and $118.15m.
Had the 22nd biggest MCU second weekend between Ant-Man and the Wasp and Black Widow taking $0.98m more than Black Widow ($25.87m) and $7.85m less than Shang-Chi ($34.7m)
Similar drops to The incredible Hulk (-60.1%) Captain America: The First Avenger (-60.7%) Ant-Man and the Wasp (-61.6%) Spider-Man: Homecoming (-62.2%) Venom 2 (-64.7%) Black Widow (-67.8%); had the 25th biggest second-weekend drop with only Black Widow dropping more.
Dropped 75% on Friday taking $7.5m from $30.84m;
IMAX Took $5.6m at its second weekend with $2.3m from 404 screens in the US and $11.7m total and $3.3m from international IMAX cinemas taking $22.5m worldwide.
580th biggest film between Salt and Basic Instinct; 1,100th biggest inflation inflated between Are We There Yet? And The Santa Clause 3: The Escape Clause; 8th biggest film in 2021 between Free Guy and Jungle Cruise; 67th biggest comic-book movie between The Mask and Green Lantern; 110th biggest Disney film in the US between G-Force and Jungle Cruise.
Some have said Eternals opening is a wake-up call for Marvel it’s not as they will see it as audiences said they wanted a different kind of MCU film, so we gave them something different. But as audiences didn’t come out to see the different MCU as they previously didn’t with Ant-Man they will see it as a reason to instead make MCU films as they have done previously. Eternals was always going to be a hard sell beyond the comic-book fanbase.
Took $48m from 49 territories $162.6m international total and $281.4m worldwide; Korea $22m; UK $14.3m; France $11.5m; Mexico $10.2m; Brazil $7.8m; Australia $7.8m; Italy $7.5m; Japan $6.8m; Germany $6.6m; Taiwan $6.4m; Spain $5.5m; Hong Kong $5.4m; Russia $5.4m;
764th biggest worldwide between The Patriot and Valerian and the City of a Thousand Planets; 15th biggest 2021 film between Cruella and Jungle Cruise; 74th biggest comic-book movie between Green Lantern and Birds of Prey; 125th biggest Disney film between The Sorcerer’s Apprentice and Flight plan.
- Clifford the Big Red Dog – Paramount Pictures
Opened with $16.62m and $22.2m over 5 days; received average reviews (48% Rotten Tomatoes) and A CinemaScore
Opened on Wednesday taking $5.58m over two days
The film is also available on Paramount+
The film was originally due to be released in November 2020 delayed to September 2021 but then was removed from the release schedule in July due to the delta variant and the rescheduled November 12th in October.
Reaction was mixed when the first trailer was released in June
- Dune – Warner Bros
Down 29% in its fourth weekend taking $5.43m and $93.16m
827th biggest film in the US between The Poseidon Adventure and Elysium; 1,502nd biggest inflation inflated between Three Fugitives and Penguins of Madagascar; 11th biggest 2021 film between Godzilla vs. Kong and Halloween Kills; 144th biggest Warner Bros film between Two Weeks’ Notice and The Town.
In comparison 2017’s Blade Runner 2049 dropped 44% taking $4.11m and $81.53m of $92.05m
The industry needs to slow down before calling these films a hit as after having predictable $50m+ opening the second weekend is now more important than the first to see if it drops below 60% and most films are taking around $200m US and $400m WW which can’t be seen as a hit anymore. 30+ years ago when a film took $100m at US BO was celebrated as was rare and a sign of success with budgets under $50m, but now when films can take that in a day budgets are 4x as much as ticket prices success needs to be recalibrated with $300m ($600m worldwide) the new $100m.
While all of Denis Villeneuve earlier films Prisoners, Sicario, Arrival and Blade Runner 2049 have received widespread critical acclaim, but they haven’t been hugely successful at the box office compared with other blockbuster directors with all of his films performing far stronger internationally than in the US.
Prisoners $46m budget took $61m US, $61.12m international and $122.12m worldwide
Sicario budget $30m took $46.88m US, $38.23m international and $85.12m worldwide
Arrival budget $47m took $100.54m US, $102.84m international and $203.38m worldwide
Blade Runner $150m budget took $92.05m US, $167.28m international and $259.33m worldwide
Dune budget $165m took $93.61m US, $259m international and $353.21m worldwide; 396th biggest film in the worldwide; #397 I, Robot; #386 Minority Report; #377 Planet of the Apes; #373 Tenet; #361 Edge of Tomorrow; #347 Mad Max: Fury Road; #313 Alita: Battle Angel
Tenet took $363m last year globally but Warner would have surely expected it to take double but after Christopher Nolan forced them to open in the middle of a pandemic it lost at least $50m.
The seven films Denis Villeneuve directed have taken $401.5m in the US and $1.033bn worldwide
Dune took internationally in 36 territories in September taking $129.3m.
Took $6.8m (41% drop from last weekend) from 76 territories $259.57m total and $351.2m worldwide; China $38m; France $30.7m; UK $26m; Germany $21.4m; Russia $21.1m; Spain $9.6m; South Korea $11m; Italy $8.6m.
398th biggest film worldwide between Noah and Basic Instinct; 10th biggest 2021 film worldwide between Black Widow and Free Guy; 76th biggest Warner Bros film between The Great Gatsby and 45m The Legend of Tarzan. (will shortly overtake Tenet #71 $362.4m and Mad Max: Fury Road #65 $367.45m worldwide but unlikely to get close to Godzilla vs. Kong #44 $467.8m.
When Warner Bros greenlit Dune they would have surely expected it to take similar to 2013’s Gravity their #23 biggest film $688.21m and the2017’s It #22 $701.08m the first part of a similar two partner. Instead, it’s going to take just over half as much.
- No Time To Die – Universal Pictures
Dropped 25% in its sixth weekend taking $4.53m and $150.38m
No Time To Die was released on PVOD in the US on Tuesday after a 31-day theatrical window
378th biggest film in the US between We’re the Millers and Terminator 3: Rise of the Machines; 791st biggest film inflation inflated between The Bridges of Madison County and Ride Along; 6h biggest film of 2021 between A Quiet Place: Part II and Free Guy.
Sixth weekends
2002’s Die Another Day up 8.3% #10 taking $4.36m and $146.69m 91.1% of $160.94m US, $271.02m internationally $431.97m worldwide
2006’s Casino Royale down 44.1% #11 $3.14m and $143.7m 85.8% of $167.44m US, $449.05m internationally $616.5m worldwide
2008’s Quantum of Solace dropped 44.8% #10 taking $2.05m and $161.2m 95.7% of $168.36m US, $421.21m internationally $589.58m worldwide
2012’s Skyfall dropped 39.2% #4 taking $6.55m and $271.92m 89.3% of $304.36m US, $804.2m internationally $1.1bn worldwide
2015’s Spectre dropped 26.8% #7 taking $4.04m and $190.81m 95.3% of $200.07m; $680.6m internationally $880.68m worldwide
The 25 James Bond films have taken $2.287bn in the US and $7.793bn worldwide but inflation inflated this is $20bn
The five Daniel Craig James Bond films have taken $3.85bn worldwide to date while the last 6 Mission Impossible films have taken $1.15bn in the US and $3.57bn worldwide.
Took $27.2m from 72 territories internationally ($57.9m from China) and $524.1m total and $674.43m worldwide (including $42.3m from IMAX worldwide); 134th biggest film worldwide between Doctor Strange and The Sixth Sense (overtaking Casino Royale #167 $594.42m and Quantum of Solace #168 $591.69m); 5th biggest 2021 film worldwide between Detective Chinatown 3 and Godzilla vs. Kong.
- Venom: Let There Be Carnage – Sony Pictures
Dropped 12% in its seventh weekend taking $3.92m and $202.62m.
2018’s Venom dropped 59.8% in its seventh weekend taking $1.97m and $210.07m of $213.51m and $856.1m worldwide.
210th biggest film in the US between World War Z and The Mummy Returns; 477th biggest inflation inflated between 2012 and Ralph Breaks The Internet; 45th biggest comic-book movie between The Amazing Spider-Man 2 and Superman Returns; 18th biggest Sony Pictures film between The Amazing Spider-Man 2 and Spectre; #14 Venom $213.51m.
6 of Sony Pictures top 10 films are Spider-Man films with Spider-Man No Way Home becoming their 7th next month showing how important Spider-Man now is to the studio since losing James Bond with the two Jumanji films starring Dwyane Johnson the other films in their top 10.
Seventh weekends
Shang-Chi dropped 22.9% taking $3.32m and $217.85m and $224.06
Black Widow dropped 41.7% taking $1.11m and $180.16m of $183.65m
Took $7.7m from 55 international territories $238.8m total and $441.5m worldwide; Russia $31.5m; Mexico $22.8m; UK $22.1m; South Korea $17.8m; France $12.5m; Brazil $11.1m; Germany $9.8m; still to open in Australia and Japan.
286th biggest film worldwide between Pokémon: Detective Pikachu and The King’s Speech; 7th biggest 2021 film worldwide between Godzilla vs. Kong and Shang-Chi; 45th biggest comic-book movie worldwide between Thor and Shang-Chi; 27th biggest Sony Pictures film worldwide between Men in Black 2 and Bad Boys For Life.
- The French Dispatch – Searchlight Pictures
Down 32% in its fourth-weekend #8 taking $1.76m and $11.53m
Many have said this has shown the art-house market is back but up only 0.1% in its third weekend despite adding a third more screen is far from positive especially when you see how previous Wes Anderson films performed after their much slower expansion (apart from Fantastic Mr Fox), This was predictable as the film is performed well in major cities New York and Los Angeles (both requiring proof of vaccine) but struggling to find an audience elsewhere.
4th weekend
2018’s Isle of Dogs up 20% adding 1,385 screens to 1,939 #7 taking $5.47m ($2,823 average) and $18.92m taking $32.01m and $64.24m worldwide
2014’s The Grand Budapest Hotel up 25.8% adding 673 screens to 977 #6 taking $8.53m ($8,740) and $24.17m expanding into 1,467 screens over 6 weeks taking $59.3m and $172.93m worldwide
2009’s Fantastic Mr Fox up dropped 58.1% 2,033 screens #11 taking $2.91m ($1,434) and $14.08m taking $21m taking $46.47m worldwide
2012’s Moonrise Kingdom up 43.5% added 82 screens to 178 #9 taking $2.23m ($12,571) and $6.83m slowly expanded into 924 screens after 8 weeks taking $45.51m taking $68.26m worldwide
2007’s The Darjeeling Limited up 19.1% added 106 screens to 201 #16 taking $1.29m ($6,431) and $3.87m slowly expanded into 698 screens after 5 weeks taking $11.9m taking $35.3m worldwide
Wes Anderson 10 directed films have taken $264m in the US and $500m worldwide; The French Dispatch is the 5th film he has directed for Fox Searchlight since The Darjeeling Limited previously directed four films for Disney.
Has taken $14.7m from 22 territories including the UK $4.5m; France $2.7m; Germany $1.7m.
- Belfast – Focus Features
Opened $1.77m #7 from 580 screens; received positive reviews (86% Rotten Tomatoes)
Surprising again a film that has received critical acclaim and strong buzz since its world premiere at the Telluride Film Festival is opening limited wide rather than on a platform as previously they would open far more limited and have a slow expansion.
With older audiences very slow to return to cinemas would have thought these films would have a much slower expansion as seen with The French Dispatch which expanded much more quickly than previous Wes Anderson films.
UK Box Office Top 10
UK Box Office Preview
Ghostbusters Afterlife is a big unknown as the big question with all these long-gap sequels is who is its target demographic the children who saw original in cinemas in the 80s or their children? This was probably the real reason why Paramount delayed Top Gun Maverick as they wanted to see what the audience demographic comes out to see Ghostbusters Afterlife. As reviews have said it plays heavily on nostalgia to original films would indicate they were targeted original fans but as its children discover their relative was a Ghostbuster it’s trying to do what Disney did with Star Wars The Force Awakens remake A New Hope for next generation?
2016’s female Ghostbusters reboot received a lot of hostility with a lot of misogynistic comments. Separating the misogyny from the reboot was very disappointing lacking all the charm and humour of the original films. The biggest problem Sony seem to have with these films is they feel the need to add far too much in the films this was seen in the pre-MCU Spider-Man films and the Ghostbusters as often less is more. The new trailer for Spider-Man No Way Home was released this week and it sees Spider-Man face many multiverse villains, rather than the earlier films when there was only one, this does get tiresome for many to watch.
Ghostbusters opened with £4,388,944 (including £1,702,528 previews) taking £10,554,557. Sony would be hoping a better comparison would be 2017’s Jumanji: Welcome to the Jungle opening £8,154,548 (including £4,114,058 previews) Fri-Sun £4,040,490 taking £36,968,605 and 2014’s 22 Jump Street £4,854,991 taking £18,322,998. Ghostbuster Afterlife has previews on Thursday to inflate its opening.
1989 Ghostbusters 2 opened with about £1.5m in 1989 (£3.8m inflation inflated) taking £8.3m (£25.71m inflation inflated); have no UK BO figures for Ghostbusters that opened December 1984 the same weekend as Gremlins.
2014’s 22 Jump Street could also be a comparable film opening with £4,854,991 taking £18,322,998
Biographical sporting drama King Richard starring Will Smith has received critical acclaim since its world premiere at Telluride Film Festival and UK premiere at the London Film Festival.
Sporting dramas often have mixed success at the box office with Will Smith comparisons could be made with his Ali biopic released 20 years ago but while Bad Boys for Life, Suicide Squad and Aladdin reimagination were successful at the box office it’s 15 years since his last original drama The Pursuit of Happyness.
Almost exactly four years ago biographical sporting drama Battle of the Sexes had a similar world premiere at Telluride Film Festival and UK premiere at the London Film Festival and also received critical acclaim but struggled to find an audience opening #7 with £552,521 from 464 screens taking £1,332,759 (UK BO was more crowded with Daddy’s Home 2, Paddington 2, Justice League, Murder on the Orient Express and Frozen all taking £1m+).
King Richard is likely to perform much stronger in the US as another sporting drama in November 2009 The Blind Side with $34.11m taking $255.95m in the US and Sandra Bullock won Best Actress Oscar for this feel-good inspirational drama; opened in March 2010 in the UK £1,313,317 and £5,933,635
Biographical sporting dramas used to be very popular at the US BO with films including Remember the Titans, Rudy, Miracle, Cool Runnings, Coach Carter, We Are Marshall, Invincible, Moneyball, The Fighter And Ali (opened £1,315,506 in 2002 taking £4,367,867.
The current 2021 biggest global film taking $882m in China The Battle at Lake Changjin opens in the UK on limited release.
Opening in two weeks
The weekend after Thanksgiving is normal dump week as distributors clear their shelves before the Christmas films start opening next week with West Side Story and Clifford The Big Red Dog. It wasn’t always this way as before films went day and date with the US films would often open this weekend delayed from Thanksgiving or the summer as with films like Who Framed Roger Rabbit in 1988 and Ghostbusters 2 and When Harry Met Sally in 1989. Or as studios wouldn’t open anything big this weekend British films would be released as is the case this year with Boxing Day a film Warner Bros acquired for the UK.
The other dump weekend used to be the weekend after August Bank Holiday (Labor Day weekend but this year saw Shang-Chi open strongly, but that was probably a one-off to try to lower expectations as there is currently nothing dated for that weekend next year.
- Resident Evil: Welcome to Raccoon City – Sony Pictures
Sci-fi horror reboot of the Resident Evil film series based on the video game and the seventh film of the series starring Kaya Scodelario, Hannah John-Kamen, Robbie Amell, Tom Hopper, Avan Jogia, Donal Logue, and Neal McDonough and directed by Johannes Roberts.
2002’s Resident Evil opened £801,628 taking £2.68m
2004’s Resident Evil: Apocalypse opened £801,171 taking £1.82m
2007’s Resident Evil: Extinction opened £931,991 taking £2.37m
2010’s Resident Evil: Afterlife opened £1.69m taking £4.12m
2012’s Resident Evil: Retribution opened £792,265 taking £1.79m
2017’s Resident Evil: The Final Chapter opened #8 £463,691
These films are very front-loaded with the last film staying in the top 15 for only one week.
- Blue Bayou – Universal Pictures
Drama starring Justin Chon, Alicia Vikander, Mark O’Brien, Linh Dan Pham, Sydney Kowalske, Antônio Jackson, Vondie Curtis-Hall and Emory Cohen and written and directed by Justin Chon
Had world premiere at the Cannes Film Festival receiving mixed reviews (76% Rotten Tomatoes) and was released in the US in September on limited wide release 477 screens #13 $329,840 taking $738,175. It will have a limited release in the UK
- Boxing Day – Warner Bros
British rom-com starring Aml Ameen, Aja Naomi King, Leigh-Anne Pinnock, Marianne Jean-Baptiste, Tamara Lawrance, Sheyi Cole, Samson Kayo, Joshua Maloney, Lisa Davina Phillip, Claire Skinner, and Stephen Dillaneand directed by Aml Ameen.
While Christmas films have a short cinema window from early December to January 1st many then become a festive mainstay shown on TV every Christmas or as Home Alone, Love Actually and Die Hard any time of the year.
Boxing Day is the first British Christmas rom-com featuring an all-black cast, but there have been many similar films in the US and many family central films but for many years they didn’t travel very well internationally with films like About Last Night and Think Like a Man Too. But then in 2015, Kevin Hart came over to the UK to promote The Wedding Ringer opening #5 with £990,445 from 384 screens taking £2,119,244 and they started finding audiences in the UK.
Aml Ameen starred in the critically acclaimed and BAFTA-winning TV series I May Destroy You and Leigh-Anne Pinnock is a member of Little Minx which will help the film build-up media coverage. While Christmas films are very popular in the UK with the last major one Last Christmas in 2019 opened with £2,654,354 taking £17,758,583.
- C’mon C’mon – Entertainment Film Distributors
Drama starring Joaquin Phoenix, Gaby Hoffmann, Scoot McNairy, Molly Webster, Jaboukie Young-White, and Woody Norman and written and directed by Mike Mills.
Had world premiere at the Telluride Film Festival receiving critical acclaim (92% Rotten Tomatoes) and was the Surprise Film at the London Film Festival.
- The Matrix (22nd Anniversary) – Warner Bros
Ahead of the release of The Matrix Resurrections on December 22nd the first film is re-released in cinemas including IMAX. The Matrix was last re-released in July 2019 (4K Restoration) for its 20th anniversary with £163,812 #11 from 286 screens with The Matrix Reloaded (4K Restoration) #61 £876 12 screens; The Matrix Revolutions (4K Restoration) #66 £583 10 screens.
The first film opened in UK cinemas in June 1999 receiving rave reviews (a month before Star Wars: The Phantom Menace) with £3,384,948 (£5,805,065 inflation inflated) taking £17,279,897.
Two sequels opened back-to-back in 2003 6 months apart with receiving mixed reviews; The Matrix Reloaded opened May with a massive £12,165,276 (including £3,267,952 previews) £19,782,273 inflation inflated taking £33,423,117 (£54,350,204 inflation inflated)
The Matrix Revolutions opened with £8,712,350 (including £3,002,097 previews) £14,167,380 inflation inflated taking £17,754,338 (£28,870,793 inflation inflated) it was the first live-action film to be released in regular and IMAX cinemas at the same time.
There are now 50 IMAX cinemas in the UK over half opened in the last 8 years mostly retrofitted in conventional cinemas and they take about 10% of the BO of the opening weekend BO of films including Eternals last weekend.
In 1999 The Matrix gave audiences something they hadn’t seen on the big screen, remember doing many preview screenings of the first film and the audience reaction was always so good afterwards. So the hype and expectation for the sequels in 2003 were almost as high as Star Wars: The Phantom Menace and of course when that happens the films can never live up to that hype. Over the years since there have been many film series that have taken up the mantle of The Matrix from John Wick to MCU and The Matrix Resurrections opens the week after Spider-Man No Way Home with both films targetting a similar demographic.
In 2003 when The Matrix Reloaded opened in May X-Men 2 was #2 £903,221 in its fourth weekend taking £18,303,458 having comedies opening the weeks after Bringing Down the House, Anger Management, Dumb and Dumberer: When Harry allowing it to stay #1 for 4 weeks until 2 Fast 2 Furious.
While in November The Matrix Revolutions opened against the 6th weekend of Finding Nemo £1,659,861 and dropped 70% in its second weekend despite no films opening against it (taking £ 2,575,595) with Love Actually opening in its third-weekend #1 with £6,657,479 as The Matrix Revolutions dropped 55% (£1,158,971).
With The Matrix Resurrections opening less than a week after Spider-Man No Way Home it’s unlikely to get many IMAX screens and will also struggle to get the largest screens in multiplexes as The Matrix films are all about the visual experience this will lessen the impact of the experience of watching the film.
- Christmas With Andre – Piece Of Magic Entertainment
Andre Rieu’s 2021 Summer Concert: Together Again opened with a disappointing £420,056 in August which was better than September 2021’s Andre Rieu’s Magical Maastricht: Together In Music opening with £124,101 but both were far from the £1m+ openings for Andre Rieu’s Event Cinema concerts pre-pandemic since 2014.
2020’s Andre Rieu: 70 Years Young – Piece Of Magic Entertainment opened January 4th taking £1,717,073 from screenings on Saturday evening and Sunday afternoon
2019’s Andre Rieu’s New Year Concert from Sydney taking £1,745,941.
Andre Rieu 2019 Maastricht Concert – Shall We Dance? – £1,492,154; 2018’s André Rieu’s Maastricht Concert, ’Amore £1,783,222; Andre Rieu’s 2017 Maastricht Concert £1,439,604; Andre Rieu’s 2016 Maastricht Concert £1,414,075; Andre Rieu’s 2015 Maastricht Concert £1,107,000; Andre Rieu’s 2014 Maastricht Concert £830,586.
I’ve always said Event Cinema was a fantastic addition to cinema giving cinemagoers a chance to experience shows and concerts they would never be able to see but the issue I have always had is the price which for most is up to double regular prices.
Event Cinema had a record-breaking year at the UK box office in 2019 but tickets are almost 250% more than regular prices, in 2020 my local Vue standard prices were £6.74 but tickets for Andre Rieu: 70 Years Young were £23.24, 18 months later the same local Vue cinema regular prices are £7.99 and tickets for Andre Rieu’s 2021 Summer Concert were £19.99.
Christmas With Andre is the canary in the coalmine for Event Cinema and films targetting older demographic, while older audiences came out to see No Time To Die the question has always been what film would make them come back to the cinema the next time.