Tag Archives: Box Office

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.

21 Jump Street” bumps “The Lorax” to second place

Dr. Seuss' The Lorax

Dr. Seuss’ The Lorax

After two weeks lead­ing the box office, Uni­ver­sal Stu­dios’ “Dr. Seuss’ The Lorax” was moved to sec­ond place by the live-action remake 21 Jump Street.

Dr. Seuss’ The Loraxcol­lected $22.8 mil­lion in its third week­end for a cumu­la­tive total of $158.4 million.

Fea­tur­ing the voices of Danny DeVito, Zac Efron and Tay­lor Swift, the ani­mated film about the dan­gers of indus­tri­al­ized soci­ety opened at $70.2 mil­lion two weeks ago, set­ting a record for the ani­mated film debut by a non-sequel. The movie made an addi­tional $14.1 mil­lion in 16 inter­na­tional coun­tries this past weekend.

So far, The Lorax has made $172.5 mil­lion worldwide.

Lead­ing the box office, 21 Jump Street made $35 mil­lion in its first week­end, Exhibitor Rela­tions said.

Scorned by crit­ics, Disney’s partly ani­mated John Carter sank to third place from sec­ond in its sec­ond week domes­ti­cally. Based on books by Edgar Rice Bur­roughs (Tarzan), the movie made $13.5 mil­lion in North Amer­ica — a fall of 55% from its debut the pre­vi­ous week­end. How­ever, it made another $40.7 mil­lion abroad.

In total, John Carter has sold $53.2 mil­lion domes­ti­cally and $179.3 mil­lion world­wide. How­ever, that’s shap­ing up as a major loss, as the movie cost an esti­mated $250 mil­lion to make, along with tens of mil­lions more to market.

Esti­mated ticket sales for Fri­day through Sun­day at United States and Cana­dian the­aters were released by Hollywood.com. Final domes­tic fig­ures are slated for release Monday.