In its second weekend in theaters, MGM and director Emma Seligman’s teen comedy Bottoms broke into the top ten films for the weekend (no. 7) on 715 screens, a major North America expansion from a 10-theater opening last week. An estimated $3 million gross for the three days, and $3.6 million for the four-day Labor Day
Specialty Box Office
Emma Seligman’s Bottoms is looking at an estimated weekend gross of $516k on ten screens with a possible leading $51,625 per-theater average for the raunchy, teenage high school girl take on Fight Club. That’s a win for MGM, its Orion Pictures label and Brownstone Productions, producers on the modestly budgeted ($11.3 million) film written by
Neon’s re-release of Park Chan-Wook’s 2003 Oldboy grossed an estimated $495k on 250 screens this weekend for a total cume of $880k over five days. It’s set to cross the $1 million in its first week back – surpassing a cumulative North American gross of $707k with original distributor Metro Tartan Film. The classic revenge thriller came
Jailer, the Tamil-language action thriller with one of India’s most enduring stars, blasted off to circa $2.56 million on 450 screens, hitting the top ten at the box office this weekend, according to Comscore. Bollywood (Hindi), Tollywood (Telugu) and Kollywood (Tamil) pics, which open day-and-date in India, occasionally cross over to general audience, especially following
CatVideoFest, which is just what it sounds like, joined notable indie debuts and festival favorites Shortcomings and Passages, the re-release of Shiva Baby and juggernaut Talk To Me in another weekend of varied specialty fare, both new and holding over. Indies are helping drive a buoyant box office. They’re also waiting for the Barbenheimer tsunami
A24’s supernatural horror Talk To Me by first time filmmakers Danny and Michael Philippou blew past box office projections grossing over $10 million on 2,340 screens opening weekend. The breakout by the first-time filmmaker brothers and popular YouTubers from Australia was no. six at the domestic box office. The film was well reviewed as a
Searchlight Pictures’ comedy Theater Camp held its own on a big weekend of box office coin flowing in from Barbie and Oppenheimer. Molly Gordon and Nick Lieberman’s Sundance-winner (U.S. Dramatic Special Jury Award for Ensemble) expanded to 10 markets/51 theaters, up from six locations in New York and LA opening weekend, taking in an estimated $266,000
Searchlight Pictures’ Sundance-winning original comedy Theater Camp will take in an estimated $281,172 or $46.9k per theater at six locations opening weekend — the best limited opening for the distributor since Jojo Rabbit in the fall of 2019 ($349k in five locations). That’s after the A CinemaScore film on Sunday pulled ahead of Searchlight’s The
Fans of The Name of The Rose author Umberto Eco turned out in NYC, boosting the documentary on medieval scholar turned novelist and social commentator to over $9.1k on one screen – a nice showing by The Cinema Guild for a foreign language documentary on a solid weekend for some indie and arthouse fare. Umberto
Focus Features expanded Asteroid City to the highest grossing weekend for a Wes Anderson Film with a projected three-day estimate of $9 million from 1,675 theaters – no. 6 at the domestic box office — pushing the film’s cume to $10.2 million. It opened last weekend in six locations. Some 64% of moviegoers were 35 or younger. Males topped
Asteroid City delivered a massive jolt to the arthouse and specialty world this weekend as the Wes Anderson film presented by Focus Features blew past records with an estimated $790k three-day gross and $890k estimated for the four-day weekend in just six theaters. That’s a per-theater average of $132,211 for the three days, and $148,901
Utopia’s Squaring the Circle (The Story of Hipgnosis) grossed an estimated $10k from one engagement at NYC’s Film Forum, where it was the top-ranking pic. Celebrated filmmaker and photographer Anton Corbijn’s first feature documentary is the story of Hipgnosis, the iconic album art design studio that was a force in the music industry behind some
Celine Song’s Past Lives from A24 is very much here and now, grossing $232k on four screens for over $58k per location, a nice number for Song’s debut film as the second-biggest limited opening of the year so far. A24 also had the highest in April with Beau Is Afraid at $80k per theater at
Oscilloscope Laboratories’ Cannes Jury Prize Winner and Independent Spirit international film winner Joyland led New York’s Film Forum to one of its biggest opening weekends for a foreign language film in nearly a decade, taking in north of $21k on one screen, the distributor said. Buoyed by strong reviews and strategic marketing, the film by Saim Sadiq sold out nine showtimes,
Roadside Attraction’s Moving On grossed an estimated $798k at about 800 theaters, about status quo this weekend for a specialty sector that’s better but still looking to break out. The audience for the Jane Fonda and Lily Tomlin-toplined comedy was, not surprisingly, 63% female and 82% over 35. Some 64% were 50+. It played
Aniplex and Crunchyroll of America’s Demon Slayer: Kimetsu no Yaiba – To the Swordsmith Village grossed $10.1 million this weekend in 1,780 theaters. That’s a fourth place finish at the domestic box office but still half the opening of Demon Slayer: Kimetsu No Yaiba – The Movie: Mugen Train which opened to a smash $21
The Quiet Girl, an Oscar contender for Best International Feature, opened to a robust $60k on six screens this weekend for a per-theater average of $10k. The film by Colm Bairead presented by SUPER LTD is based on the short story by Claire Keegan of a shy nine-year-old girl in rural Ireland. It led debuts
EO, the Sideshow/Janus films release told from the point of view of a donkey, is set to pass the $1 million mark in week 14. The Cannes-premiering film by Jerzy Skolimowski, Academy Award nominated for Best International Feature, will gross an estimated $27.6k for the four-day President’s weekend on 37 screens for a cume of just
Utopia opened Clay Tatum and Whitmer Thomas’ slacker comedy The Civil Dead, the feature debut from the lifelong friends from Gulf Shores, Alabama who have been making projects together — from skateboarding videos to an HBO special — since grade school. It’s grossed $17k so far on 27 screens including a sneak-preview Q&A tour at Alamo
K-Pop legend BTS may be on hiatus but fans are decidedly not. Concert film BTS: Yet To Come hit no. 5 at the North American Box office this weekend with $5.1 million on 1,100+ screens, for a cume topping $7.8 million from the first showing Feb. 1. The group announced last year it was planning
Even on a specialty level, horror just works post-pandemic with the latest pop from a strong showing by a trio of films, Fear and Infinity Pool, released this weekend, and Skinamarink in week three. Fear hails from Deon and Roxanne Avent Taylor’s Hidden Empire Film Group, the all-Black production company behind cult hit Meet The
A24’s The Whale crossed the $11-million mark in week six as it jumped to 1,500 screens from 835 as the Brendan Fraser-starrer and other contenders continue to tweak theatrical runs through awards season. The film, which received a PGA nomination for Best Motion Picture this week along with SAG noms for Fraser and co-star Hong
Sony’s Tom Hanks-starrer A Man Called Otto banked $4.2 million in a lively second frame as it moved to 637 locations nationwide from four in NY and LA. Strong word of mouth propelled moviegoers into seats with particular strength in the heartland and momentum looks good as the adult drama/comedy heads into next week’s wide
Sony’s A Man Called Otto began the first phase of a three-step rollout this weekend in an exclusive run at four LA and NY theaters, grossing $60k, for a $15k per screen average, over the three-day weekend. The four-day estimated gross is $75K, or an $18.7k PSA. The test for the remake of the Swedish film
New Yorkers braved the cold this weekend for Corsage at two theaters ( IFC Center, Film at Lincoln Center) as Marie Kreutzer’s biopic of Empress Elisabeth of Austria starring Vicky Krieps grossed an estimated $32,000 over the three-day weekend for a robust $16k per screen average. The four-day estimate for the IFC Films biopic of
A24’s release of Darren Aronofsky’s The Whale had a strong holdover its second weekend out, grossing $168.5k on the same six screens in NYC and LA where it opened its first frame to the biggest per theater average of the year – beating the distributor’s March release of Everything Everywhere All At Once. This weekend’s
Darren Aronofsky’s The Whale from A24 swam to the biggest limited opening of the year in NY and LA this weekend, beating the per screen record set by in late spring by the indie distributor’s Everything, Everywhere All At Once. The film starring Brendan Fraser sold out shows at all six theaters this weekend grossing
Focus Features’ Spoiler Alert opened on six screens (in NY, LA, San Francisco) to an estimated $85k, or $14k per theater, in a crowded arthouse market. Strong exit polls and word of mouth – 94% in the top two boxes – could help built out this movie, which will likely be more audience-focused than awards-buzz
Sideshow/Janus Films EO held well in week two, grossing $23,217 for the five-day holiday frame ($11,609 per screen) and $16,900 for the three-day weekend ($8,450 per screen). The new cume is $50.7k in a crowded arthouse market, a strong showing for the film starring a melancholic gray donkey. It expands to LA next week opening at
Luca Guadagnino’s Timothée Chalamet-starring, edgy cannibal road trip romance Bones And All pulled in young demos (79% in the 18-34 rage) and women (54%-46% female) for an opening weekend gross of $120k, or $23.9k per screen average in five theaters. That’s respectable and in line with distributor UAR expectations although below recent debuts including Banshees
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