Film

EXCLUSIVE: The highest grossing movie during the pandemic, MGM/United Artists Releasing’s No Time to Die was also the most pirated movie for the period of November 15-21. In addition, the most ripped TV season over the last week was Amazon’s adaptation of the Robert Jordan fantasy novel The Wheel of Time. All of this information

Refresh for latest…: There was a lot of holdover play this session overseas with one new Hollywood addition in Sony’s Ghostbusters: Afterlife which came in essentially on par with pre-weekend offshore projections at $16M in 31 international box office markets. However, with domestic’s overperformance, the Jason Reitman-directed sequel trapped a better-than-expected $60M global opening. In

C’mon C’mon from A24 turned in the best per-screen average for a limited platform release since Covid at five theater in New York and LA as stellar critical response was met by strong exit polls ahead of a wider rollout into top markets over Thanksgiving and continued expansion thereafter. The Mike Mills’ awards contender led

MGM/Eon/Universal’s No Time To Die is crossing $733M worldwide this weekend, making it the highest grossing Hollywood film of 2021 — and of the pandemic era. After topping $708M through last Sunday, and becoming the biggest Hollywood movie overseas in 2021 and throughout the pandemic, we’ve been expecting Mr Bond to overtake the previous global

Sony’s Ghostbusters: Afterlife is off to a promising start at the pre-Thanksgiving box office with $4.5M, ahead of Sony’s 2016 all-femme reboot which posted a Friday of $3.5M. While Sony was projecting $27M-$28M, and the industry higher $30M-$35M, Thursday night’s ticket sales (which started at 4PM at 3,450 locations) puts the Jason Reitman-directed feature in a position

C’mon C’mon is distributor A24’s first platform release post pandemic, opening on five screens in New York (Angelika and Lincoln Square) and LA (Grove, Landmark and AMC Burbank) It’s s vote of confidence — launching in the strongest markets and letting word of mouth spread only works if there are signs of life. Specialty distributors

In the wake of Sony’s attempt to reboot Ghostbusters in 2016 with a female leading cast, the studio hasn’t given up on the IP and finally is releasing an all-new Jason Reitman-directed sequel, Ghostbusters: Afterlife, which it has protected for a theatrical release throughout the pandemic. Exhibition bosses went nuts at CinemaCon for the movie, which has

Following the news of Marc Weinstock’s new oversee of a unified global marketing and distribution team at Paramount as President of Worldwide Marketing & Distribution, we’ve received news that a re-organization of both departments is underway Wednesday as the studio looks to meet consumers’ accelerated demands for content in a continued pandemic world. In total,

Broadway’s total weekly box office of $25,565,641 was up last week by about 12% over the previous week, with new re-arrival of a slimmed-down, one-part Harry Potter and the Cursed Child joining the roster. For the week ending Nov. 14, the 31 Broadway productions drew a combined total attendance of 214,681, up about 11% from

In the wake of redefining the measurement of binge-watching on streaming, Netflix’s new top 10 film chart for the week of Nov. 8-14 lists Rawson Marshall Thurber’s $200M action feature Red Notice as the No. 1 film for the period with 148.7M hours watched since Nov. 12; easily the most watched movie ever on Netflix for

Refresh for latest…: After seven weekends of offshore release, MGM/Eon/Universal’s No Time To Die continues to bond with audiences and has crossed $700M global. Importantly, that includes over $558M at the international box office, making Bond 25 the biggest Hollywood movie overseas in 2021 and throughout the pandemic era. The Cary Joji Fukunaga-directed NTTD had

Warner Bros.’ Elvis movie from Baz Luhrmann is going a bit later from June 3, 2022 to June 24, 2022. The pic will be a pure theatrical release, not hybrid day-and-date with HBO Max as Warner Bros. pivots from its pandemic 2021 distribution plan. Elvis’ departure from the first weekend of June leaves the frame up for grabs by

“There are real grounds for optimism in our industry,” Cineworld CEO Mooky Greidinger beamed today as the world’s second largest exhibitor issued a trading update. The company reached “an important milestone” in its recovery, generating positive cash flow in October, it said in the statement. Although it didn’t get into exact figures, Cineworld did report

Belfast, Kenneth Branaugh’s intensely personal story of one boy’s childhood in tumultuous late 1960s Northern Ireland, earned an estimated $1.8M in 580 locations this weekend for a PTA of $3,111 – a solid showing for a black-and-white film in a specialty market that’s waging what one distribution exec calls an “an inch-by-inch, week-by-week recovery.” The

Saturday AM Update: Despite the worst reviews for a Marvel movie, and a B CinemaScore, the second weekend of Disney/Marvel’s Eternals didn’t implode, now on track for a -62% weekend, which is on the high end of where we were expecting it with $27.4M. The pic made $7.8M yesterday, -75%. Through ten days, the Chloe Zhao directed

Sony, which doesn’t mess around with theatrical day-and-date releases like some other motion picture studios, can celebrate their Marvel sequel Venom: Let There Be Carnage crossing the $200 million mark in the US and Canada. It is the second movie to do so during Covid, after Disney/Marvel’s Shang-Chi and the Legend of the Ten Rings.

This just in from Paramount: Transformers: Rise of the Beasts will no longer be opening on June 24, 2022 rather June 9, 2023. And the new Star Trek movie they’ve been in development on won’t launch on June 9, 2023 rather Dec. 22, 2023. The pic is in development with Matt Shakman attached to direct, as we first told

Sony Pictures Classics releases Telluride-darling documentary Julia with a national TV push, culinary events and virtual screenings through November hosted by famous chefs from Alice Waters (San Francisco) and Johnny Spero (Boston) to Jamie Bissonnette (Houston) and luminaries from New York, LA, Philly and Miami. Directors Betsy West and Julie Cohen talked up the film