“Distributor Lionsgate, which also released the Oscar-nominated Aardman film Shaun the Sheep Movie, is experiencing the polar opposite reaction to Norm of the North, about a twerking polar bear who tries to save the Arctic from a Manhattan real estate developer.
Whereas Shaun had a 99% rating on Rotten Tomatoes, Norm of the North has a 0% rating.
According to Deadline, Lionsgate spent over $13 million placing TV ads on networks such as Nick, ABC, E!, and Cartoon Network. The film’s budget was reportedly $18 million, though it’s unclear whether that figure wraps in Lionsgate’s marketing costs, or is Splash’s production budget alone.
But the sad reality about children’s animation is that the film’s quality (and critic’s opinions) don’t really matter. Shaun the Sheep, which was almost unanimously loved by critics, opened with a tepid $4 million weekend. Norm, which is despised by critics, is currently tracking in the $7-9 million range over the four-day Martin Luther King, Jr. holiday weekend.”
Meadowland Movie Storyline : In the hazy aftermath of an unimaginable loss, Sarah and Phil come unhinged, recklessly ignoring the repercussions. Phil starts to lose sight of his morals as Sarah puts herself in increasingly dangerous situations, falling deeper into her own fever dream.
Wednesday, The Force Awakens will make enough money at the box office to surpass Avatar’s $760.5 million record as the No. 1 film ever released domestically. It did in just 20 days what Avatar took 238 to do. Hold off on your Ewok song though, it looks a bit different adjusted for inflation.
Eat it, Avatar:According to The Hollywood Reporter, the surprise hit independent sci-fi film Star Wars: The Force Awakens has just surpassed James Cameron’s Dances With Na’vi to become the highest-grossing movie of all time at the U.S. box office. That’s not accounting for inflation, of course, by which metric Gone With The Wind is still the biggest box-office earner in the medium’s history. (According to Box Office Mojo, The Force Awakens is No. 21 of all time adjusted for inflation, behind the likes of E.T., Titanic, The Exorcist, and all three films in the original E.Star Wars trilogy.) The Force Awakens claims the No. 1 spot only 20 days after its theatrical release, significantly faster than the previous champion, Avatar, which according to Deadline took 318 days to earn the $760 million The Force Awakens is expected to surpass today. Of course, were it not for the mono-man-iacal efforts ofReturn Of Kings (that one’s free, by the way, fellas), the record could have been broken six exhilarating minutes faster. Maybe even seven.
“DreamWorks’ animated sequel ‘Kung Fu Panda 3’ is vanquishing its competition at the domestic box office this weekend, outstripping other new releases including 'The Finest Hours’ and 'Fifty Shades of Black’ with ease, according to studio estimates.
The Jack Black starrer took in $10 million on Friday, forecasting a three-day total of $40 million from 3,955 locations. Friday estimates had suggested the pic would gross as much as $45 million in its debut.”
“'Kung Fu Panda 3’ has opened with an impressive $57 million launch weekend in China — $16 million more than the U.S. opening and the best opening for an animated title in China.
‘Minions’ had been the top animated opener previously in China with $50 million in its first eight days.
Prospects are bright for the film in China, given its status as a local co-production, which means it’s not part of the 34-title annual quota for U.S. films. As a result, it can play longer than the 30-day limit and screen during the upcoming blackout period.
Additionally, 'Kung Fu Panda 3’ is being released in China in a Mandarin-language version that includes new animation aimed at the Chinese market with a local voice cast including Jackie Chan.”
How does an astronomically expensive yet astonishingly successful science-fiction blockbuster by a world-famous director dominate popular culture for months on end, only to disappear without a trace from the public’s minds? That is the strange, half-enviable, half-unenviable fate of James Cameron’s Avatar. After its record-breaking box office run in late 2009 and early 2010, it did not exactly fall from grace so much as evaporate from grace. Fans don’t dress up as blue-skinned Navi at Avatar conventions, at least not routinely, and Sam Worthington action figures weren’t exactly flying off the shelves at Christmas. Why not?
Really interesting break down of how repeat viewings and broadening demographics are fueling ‘TFA’s box office domination. Opening weekend the audience was 67% male, that dropped to 62% in its second week. Racial diversity increased as well, “initially 63 percent of ticket buyers were Caucasian, followed by Hispanics (12 percent) and African-Americans (10 percent). Over Christmas weekend, those numbers changed to 57 percent, 15 percent and 11 percent, respectively.”
I saw it again in large format IMAX this weekend. So worth it.
The long weekend of Martin Luther King Jr. Day helped “Hamilton” hit the number one spot at the Broadway box office in a week that saw overall sales hold steady following the post-holiday tumble posted last week.
“Hamilton,” of course, has been the hottest ticket on Broadway since it opened over the summer, but that doesn’t guarantee a No. 1 perch on the Top 10. For one thing, “Hamilton” plays in a theater (the Richard Rodgers, at about 1,300 seats) that’s on the low end of mid-size for a musical house, so even at top capacity and sky-high demand, it can be tough to compete against longrunning titles with family-friendly tourist appeal and heftier ticket inventories (such as “Wicked” and “The Lion King”).
But as the buzziest show in town, “Hamilton” ($1,769,360) has retained its heat even in the chill of January, when every single show on the boards, even the most successful, weathers an annual dip in demand. So the founding-father hip-hop musical managed to outpace longer-running successes such as “Lion King” ($1,660,171), “Wicked” ($1,590,318) and “The Book of Mormon” ($1,496,509). (It marks the second time “Hamilton” stood at the head of the class, following a week in November when an extra benefit performance, complete with an appearance by President Obama, helped push the show to the top of the chart.)