Tag Archives: Box Office

“Ice Age 4″ surpasses $500 million

Ice Age: Continental Drift

Ice Age: Continental Drift

Ice Age: Continental Drift” grossed $50.7 million at 15,932 screens in 69 foreign countries over the weekend, raising its overall gross abroad to $516.3 million.

The second highest-grossing movie overseas this past weekend, Ice Age: Continental Drift – the fourth installment of the computer-animated franchise — has now made nearly as much as 2009 Ice Age: Dawn Of The Dinosaurs, the series’ most successful entry, which made a total of $693.9 million abroad.

Opening in first place in China this weekend, Continental Drift made $15.7 million in about 3,500 locations.

National records for a Fox animated film were set during opening weekends in South Korea ($3 million at 501 venues) and in India ($1.6 million on screens).

Leading the foreign box office this weekend was Warner Brothers’ live-action The Dark Knight Rises. It made $126.2 million at 17,200 locations in 57 countries during its second weekend.

Pixar’s Bravewas No. 5 internationally, making $9.6 million for a total foreign gross of $92 million. It was seen in 24 countries, which distributor Disney says is about 38% of the international market. North American revenues now total $217.3 million.

DreamWorks Animation’s Madagascar 3: Europe’s Most Wantedopened in first place in Spain ($2.6 million at 395 theaters) and Portugal ($1.1 million at 67 locations for an average of nearly $16,000 per venue). Over the weekend, it made a total of $6.9 million at 2,366 venues in 41 countries for a cumulative foreign total of $291.7 million. Distributor Paramount will open movie this week in seven countries, including Japan and Hong Kong.

Universal’s 3D animation Dr. Seuss’ The Lorax opened in second place in the United Kingdom, where a month of school holidays began. There, it made $2.9 million at 502 venues. It opened in China to garner $964,000 million on 1,060 screens. Overall, it made $5.9 million at 3,506 venues in 13 countries this weekend, contributing to a foreign cumulative total of $110.6 million.

Another Universal release, the partly animated Ted, made $2.7 million this weekend at 497 locations in 10 countries for a foreign total of $44.1 million.

Madagascar 3 rules box office with $60.4M opening

Madagascar 3: Europe's Most Wanted

Madagascar 3: Europe's Most Wanted

Leading a hugely successful North American box office, DreamWorks Animation’s Madagascar 3: Europe’s Most Wanted opened with $60.4 million over the weekend.

Not far behind was Ridley Scott’s live-action alien tale Prometheus, which debuted at $50 million.

Madagascar 3 led among family audiences. Voice actors Ben Stiller, Chris Rock, Jada Pinkett Smith and David Schwimmer were heard again as zoo animals who join a circus, continuing their travels.

Prometheus, from 20th Century Fox, overcame its R rating, which can cut into business. Moviegoers under 17 must see it with an adult.

In Prometheus, Noomi Rapace, Michael Fassbender and Charlize Theron star in a remake of Scott’s 1979 science-fiction horror story Alien.

Booty call: Aardman’s “The Pirates!” makes $11.4M

The Pirates! Band of Misfits

The Pirates! Band of Misfits

The Pirates! Band of Misfits,” co-produced by Aardman Animations and Sony Pictures Animation, opened in North America in a very close second place, making $11.4 million at the box office between Friday and Sunday.

Making nearly as much were three live-action films: Warner Bros. romantic drama The Lucky One with $11.3 million, Lionsgate’s The Hunger Games with $11.25 million, and Universal’s romantic comedy The Five-Year Engagement with $11.2 million.

Placing fourth abroad, The Pirates! Band of Misfits collected $7.8 million as it debuted in a dozen countries, drawing another $7.8 million over the weekend. Featuring the voices of Hugh Grant and Selma Hayek, the kids’ comedy reached second in the United Kingdom.

The Pirates! Band of Misfits cost about $55 million to make. The movie has been seen overseas last March and has made a total of $75.1 million abroad through Sunday.

For the second weekend in a row, romantic comedy “Think Like a Man” — also a Sony release — topped the receipts, makind $18 million in United States and Canadian ticket sales, according to studio estimates released Sunday.

Love story “The Lucky One” was third in North America, collecting $11.3 million during its second weekend in movie houses. It was distributed by Time Warner Inc.’s Warner Bros. studio.

Third place overseas went to 3D family film Dr. Seuss’ The Lorax, which garnered $14.5 million in 17 countries. So far, it’s made $227.3 million around the world.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters were released by Hollywood.com. Where available. Final domestic figures are scheduled for release Monday

Alain Chabet’s Houba! stays at numero un in France

Sur la Piste du Marsupilami

Sur la Piste du Marsupilami

Combining live action with animation, Pathe’s release of the adventure story Houba! Sur la Piste du Marsupilami stayed at No. 1 spot in France for the third weekend in a row.

Created by Alain Chabet, the tale (known in English as HOUBA! On The Trail Of The Marsupilami) brought in $6.1 million from 750 venues this past weekend for a total in France of $29.8 million.

The Pirates! Band of Misfits, a Sony Pictures Animation-Aardman Animations co-production, made $7.8 million this weekend at 4,580 theaters in 46 countries, raising its overseas total to $55.9 million. It opens this coming Friday in the United States and Canada.

Universal Studios’ 3D Dr. Seuss’ The Lorax collected $5.1 million from 3,298 locations in 49 countries abroad, raising its total foreign gross to $83.3 million.

Universal’s “The Lorax” makes $8.6 million abroad

Dr. Seuss' The Lorax

Dr. Seuss' The Lorax

With opening dates in 16 major countries yet to be determined, Universal Studios’ 3D-animated Dr. Seuss’ The Lorax made $8.6 million at 3,753 venues in 51 overseas countries this past weekend.

That ups the ecological tale’s total foreign gross to $74.3 million.

Meanwhile, Aardman Animations/Sony Pictures Animation’s The Pirates! Band of Misfits opened this past weekend in Venezuela and was in a strong fourth place in the United Kingdom, where it made $2.5 million in 8,990 cinemas for a cumulative national total of $20.7 million. Over the weekend, The Pirates! collected $8.4 million in booty from 4,200 screens in 34 countries. Overseas, it’s made a total of $44.4 million so far.

In France, Pathe’s partly animated Sur la Piste du Marsupilami (Houba! On The Trail Of The Marsupilami) stayed at No. 1 in its second weekend, down only 15% from the first. This past weekend, it brought in an estimated $8.2 million from 805 venues. Created by Alain Chabet, the adventure has made a total of $21.8 million in France.

“The Lion King” takes Broadway’s box-office throne

The Lion King

The Lion King

Based on Disney’s 1994 movie of the same name, The Lion King is the new ruler of Broadway, having now outgrossed The Phantom of the Opera.

Box office figures released Monday indicate that The Lion King is now Broadway’s highest-grossing show of all time. Numbers give the cumulative gross at $853,846,062, according to the musical’s publicist — just above The Phantom of the Opera‘s $853,122,847.

For the week ending Sunday, The Lion King made over $2 million, while Phantom drew about $1.2 million. Whereas the Disney show debuted in November 1997, Phantom opened in January 1988.

“It doesn’t surprise me,” said music historian and biographer Cary Ginell, editor of the seventh edition of Broadway Musicals: Show By Show. He compared The Lion King to a Disneyland ride.

“It’s a spectacle that satisfies on many different sensory elements — audio, visually, emotionally. It’s also good for all ages — just like Disneyland is,” Ginell said.

“For the kids, it’s the visual elements — the colors, the costumes and the puppetry. For the adults, it’s Hamlet, basically. And the music is not geared to one age or gender or race. It’s as universal a show can get.”

Thomas Schumacher, producer and president of Disney Theatrical Productions, credited to Julie Taymor, the musical’s director, costume and mask maker.

”Her vision, continued commitment to the show and uncommon artistry account for this extraordinary success,” he said in a statement.

“This accomplishment belongs to our audiences, millions of whom are experiencing their first Broadway show at The Lion King,” Schumacher added. “Surely, introducing so many to the splendor of live theater is our show’s greatest legacy.”

Factors in The Lion King‘s financial success include a somewhat larger theater and higher average ticket prices.

Lion is on Broadway at the 1,677-seat Minskoff, while Phantom is at the 1,605-seat Majestic. Figures released Monday indicate that The Lion King had an average paid admission of $155.09, while Phantom had a corresponding figure of $98.97.

Phantom remained Broadway’s longest-running show, with over 10,000 performances. It’s also sold 14.8 million tickets.

That’s a lot more than The Lion King, the sixth longest-running show on Broadway. It’s had over 5,900 Broadway performances, selling sold just over 10 million tickets.

Total worldwide grosses for Lion are estimated at $4.8 billion, compared with $5.6 billion for Phantom.

Lion has been seen by 64 million around the world, just about half the 130 million people who’ve seen Phantom.

According to H. Todd Freeman, vice-president of operations at ticket broker Applause Theatre & Entertainment Service, Inc., The Lion King‘s success can be ascribed to big visuals, its family-friendly nature and ticket prices that were twice those for Phantom when it opened.

“The Lorax” at #5 abroad, “The Pirates!” at #10

Dr. Seuss' The Lorax

Dr. Seuss' The Lorax

Universal’s 3-D animated film “Dr. Seuss’ The Lorax” was in fifth place overseas this past weekend, drawing $11.7 million from 3,925 venues in 49 countries.

Adapted from the famed children’s book, Dr. Seuss’ The Lorax opened in seven countries, including Hong Kong, where it was seen on only 34 screens. It brought in $341,000 for an average of over $10,000 per venue. The film has made a total international gross total of $59 million so far.

The Pirates! Band of Misfits, co-produced by Aardman Animations and Sony Pictures Animation, came in 10th overall overseas. It grossed $6.7 million this past weekend at 1,959 theaters in 29 countries.

Featuring the voices of Hugh Grant and Selma Hayek, the family film opened in Italy at 434 locations to make $1.2 million. It opened at No. 9 in Australia, garnering $925,000 at 286 venues. The overseas gross total for The Pirates! now stands at $22.2 million.

In No. 1 spot at the French box office is director-writer-actor Alain Chabet’s Sur la piste du marsupilami (Houba! On The Trail Of The Marsupilami). Combining animation with live action, the Pathe adventure is based on a series of comic books about the finding of a mythical long-tailed marsupial. In its opening five days, the film drew an estimated $8 million from about 700 venues.

Disney’s partly animated John Carter made $2.6 million in 54 countries abroad over the weekend for an overseas total of $195.6 million.

“Pirates! Band of Misfits” opens at No. 4 abroad

The Pirates! Band of Misfits

The Pirates! Band of Misfits

A co-production by Britain’s Aardman Animations and Sony Pictures Animation, The Pirates! Band of Misfits opened to collect $7.8 million over the weekend, placing fourth among films overseas.

Featuring the voices of Hugh Grant (in his animation debut) and Selma Hayek, the stop-motion tale was seen on 2,749 screens in 12 countries. According to Sony, the family comedy film was in second place in the United Kingdom, grossing the equivalent of $3.6 million in 891 theaters.

In third place abroad, Universal’s 3-D animation Dr. Seuss’ The Lorax opened in 17 countries, including Mexico, where it was No. 2 with $2.7 million from 542 locations. Over the weekend, The Lorax made $14.5 million at 4,100 locations in 43 countries. So far, it’s made $37.7 million overseas and $227.3 million worldwide.

Meanwhile, Disney’s partly animated John Carter collected $6.2 million over the weekend in 54 overseas countries. So far, it’s made $188.3 million abroad in comparison to $66.2 million in North America.

In China, “John Carter” isn’t a disaster movie

John Carter

John Carter

Disney’s expensive and critically panned 3D epic “John Carter” has found favor in — of all places — China.

There, the partly animated film opened in first place, bringing in 188 million yuan ($29.8 million U.S.) over its first 10 days. According to Film Business Asia, this amounts to 10% of John Carter‘s worldwide revenues and almost half of its total North American grosses.

In Japan, yet another franchise of blue robotic cat Doraemon has made it to the top, holding No. 1 spot for four weeks in a row.

The anime film Doraemon: Nobita and the Island of Miracles – Animal Adventure brought in an estimated $3 million this past week, according to Tokyo Hive. The film has now taken in almost $25 million.

In second place is romance We Were There, a film based on a comic that was also turned into an ani­mated TV series which grossing $2.6 million this past week for a two-week total of $12 million.

Disney’s “John Carter” ready to take $200M bath

John Carter

John Carter

Disney expects its partly animated and frequently panned Red Planet film John Carter to lose $200 million, throwing the whole movie division into a sea of red ink.

“In light of the theatrical performance of John Carter ($184 million global box office), we expect the film to generate an operating loss of approximately $200 million during our second fiscal quarter ending March 31,” Disney said in a statement after markets closed Monday.

“As a result, our current expectation is that the Studio segment will have an operating loss of between $80 and $120 million for the second quarter.”

The movie’s production budget is estimated at $250 million. Another $100 million was spent on marketing.

Disney said that John Carter has collected about $184 million in global ticket sales so far. However, ticket sales are split approximately in half with theater owners.

Made by Oscar-winning director Andrew Stanton in his first live-action effort, the movie drew scathing reviews from many critics upon its release earlier this month.

“While John Carter looks terrific and delivers its share of pulpy thrills, it also suffers from uneven pacing and occasionally incomprehensible plotting and characterization,” said the Rotten Tomatoes site, which also compiles film reviews. Associated Press movie critic Christy Lemire called it “massively confusing” and “deadly dull.”

The loss will more than overshadow means that profits from other movies and home video disc sales.

But Disney maintains that the loss can be reversed, thanks to such future projects as Pixar’s Brave, set for release June 22.

“As we look forward to the second half of the year, we are excited about… The Avengers and Brave, which we believe have tremendous potential to drive value for the Studio and the rest of the company,” the entertainment giant said.

Centering on a Civil War veteran who finds himself on Mars, John Carter is on its way to the “Red Ink Planet,” said Cowen & Co. analyst Doug Creutz. However, he predicts a write-down of about $100 million.

Disney’s projected loss is more than double what he had expected, said Miller Tabak analyst David Joyce, adding that this will reduce his estimate for Disney’s earnings. Because of the large spending on production and marketing, Disney is announcing the loss sooner than might be expected for for a smaller-budget film, he added: “It’s good that Disney’s airing their dirty laundry now.”

“Obviously no studio puts this much into a movie hoping for this kind of result,” said Hollywood.com analyst Paul Dergarabedian.

One estimate was that about $600 million in worldwide box office revenue was needed in order for Disney to break even on John Carter. However, fewer than 65 movies have reached that figure, Dergarabedian said.

Disney shares fell 43 cents Monday to 43.01 in extended trading. The stock closed up 25 cents at $43.44 in regular trading — before Disney’s announcement of the huge expected loss.