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BEHIND THE WEEKEND BOXOFFICE – 12/16/12

  OPENINGS:  THE HOBBIT: AN UNEXPECTED JOURNEY (Warners/MGM), with its currently estimated $84.8M opening, has broken the previous December record (2007’s I Am Legend) by about 10%.  However, it’s also on tra...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 4/21/13

  OPENINGS:  OBLIVION (Universal) had a solid $38.2M start (although the studio is estimating the lowest Sunday drop in the Top 10, so that number may come down tomorrow), with a 12% Saturday bump.  The less good news is...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 12/30/12

  OPENINGS:  DJANGO UNCHAINED (Weinstein/Sony) and LES MISERABLES (Universal) are both success stories, but Django has pulled away from Les Miz over the past couple of days, and should outpace the musical by the end of th...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 5/5/13

  OPENINGS:  Here’s the really remarkable thing about this weekend’s haul for IRON MAN 3 (Disney).  It’s not the $175.3M opening in the US, even though that’s the 2d highest start in US history...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 2/10/13

  OPENINGS:  Melissa McCarthy is now a genuine Hollywood player with the enormous debut of IDENTITY THIEF (Universal), beating all pre-release estimates with $36.6M.  (Take that, Rex Reed!)  Apart from Universal, the ha...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 5/12/13

  Mothers Day made for a happy holiday at the multiplex. OPENINGS:  The Marketing department did its job extremely well, and THE GREAT GATSBY (Warners) overperformed to the tune of $51.1M for the weekend.  However, the 9...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 2/17/13

  OPENINGS:   A GOOD DAY TO DIE HARD (20th) pulled ahead of the competition on Saturday, and should have a $38M 5-day opening.  (However, its Sunday projection is on the optimistic side, so it’s possible the number...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 5/19/13

  OPENINGS:  In order for STAR TREK: INTO DARKNESS (Paramount) to hit its $70.6M weekend studio estimate (and $84.1M over 4+ days), it will need to have the best Sunday hold in the top 10 by a substantial margin.  Paramo...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 2/24/13

  The Rock’s second-worst opening is second-best at the boxoffice this slow Oscar weekend. OPENINGS:  Boosted by a 36% Saturday rise, SNITCH (Summit/Lionsgate) is projecting a $13M weekend, although like all round n...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 5/26/13

  OPENINGS:  Saturday showed an 18% drop for FAST & FURIOUS 6 (Universal), but really the number was better than it looked, because “Friday” included $6.5M from Thursday night.  With that factored out, th...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 3/3/13

  OPENINGS:  Two studios stretched as far as they could in coming up with weekend estimates for their bombs, claiming the lowest Sunday drops in the Top 10 to reach numbers that may well fall when actual figures are relea...
by Mitch Salem
 
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BEHIND THE (4-DAY) WEEKEND BOXOFFICE – 5/27/13

  OPENINGS:  FAST & FURIOUS 6 (Universal) dropped 16% on Sunday and estimates a 13% slip on Monday–that latter number may be a little overoptimistic, but even if it turns out that the 4-day total is $119M instea...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 3/10/13

  OPENINGS:  OZ THE GREAT AND POWERFUL (Disney) is having an oddly topsy-turvy weekend.  On the one hand, in the US it got the Saturday bump it needed from family audiences, rising 37% (better than Alice in Wonderland, a...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 6/2/13

  OPENINGS:  NOW YOU SEE ME (Summit/Lionsgate) had a fine $28.1M opening weekend considering its moderate cost ($75M plus marketing, but with 2/3 of that covered by foreign pre-sales), and with little competition coming n...
by Mitch Salem
 
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BEHIND THE WEEKEND BOXOFFICE – 3/17/13

  OPENINGS:  $17.1M for THE CALL (TriStar/Sony) is more than the movie cost to produce (although it won’t pay for the marketing), and sets the Halle Berry vehicle up to be a modest hit.  However, there’s no ...
by Mitch Salem
 
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