‘Pitch Perfect 3′ Is Coming Summer 2017, Anna Kendrick Will Return

Last week, Universal Pictures confirmed that Pitch Perfect 3 is moving forward, with Kay Cannon (Pitch Perfect and Pitch Perfect 2) returning to write the script. Today, the studio has handed out a July 21, 2017 release date for the follow-up. Franchise stars Anna Kendrick and Rebel Wilson also confirm that they will return as Beca and Fat Amy.

The sequel will go up against an untitled animated comedy from 20th Century Fox, DreamWorks Animation and Blue Sky in its new date, which also comes one week after Planet of the Apes 3 and one week before Spider-Man. Pitch Perfect 2 director Elizabeth Banks is returning to produce, but it isn’t known if she will come back to direct as well. The filmmaker may not even be available, since she signed on to direct the young adult fantasy adaptation Red Queen last week.

No other cast members have been confirmed for Pitch Perfect 3 yet, but it is believed that Hailee Steinfeld signed a multi-movie deal when she joined the cast of Pitch Perfect 2, which may include Pitch Perfect 3 and two more follow-ups. Pitch Perfect 2 also starred Brittany Snow, Skylar Astin, Adam DeVine, Katey Sagal, Anna Camp, Ben Platt and Alexis Knapp, and it has currently taken in more than $259 million worldwide since its release exactly one month ago today. While we wait for more details on Pitch Perfect 3, take a look at what Anna Kendrick and Rebel Wilson had to say about the sequel on their Twitter accounts earlier today.

Happening #3

— Anna Kendrick (@AnnaKendrick47) June 15, 2015

I know I spilt the beans a little while ago, but at least now it’s OFFICIAL!! PITCH PERFECT 3, July 21, 2017!!! Sing ‘ahhhhh’ on 3 pitches x

— Rebel Wilson (@RebelWilson) June 15, 2015

It’s on. #PitchPerfect3

— Elizabeth Banks (@ElizabethBanks) June 15, 2015

The aca-gods have spoken. #PitchPerfect3 is coming July 21, 2017!

— #PitchPerfect2 (@PitchPerfect) June 15, 2015

Pitch Perfect 3 comes to theaters July 21st, 2017.


‘Beyond the Reach’ Interview with Michael Douglas | EXCLUSIVE

Michael Douglas reveals how he first wanted to turn Robb White’s novel Deathwatch into a movie back in 1972 in one of our two exclusive previews for Beyond the Reach, debuting on Blu-ray and DVD June 12 from Lionsgate Home Entertainment. Jeremy Irvine also talks about his first reaction to the screenplay by Stephen Susco (The Possession), while Michael Douglas adds that he pulled elements from his Gordon Gecko character in Wall Street to play the businessman Marec. Our second exclusive video shows how Michael Douglas approached Mercedes-Benz to use their G63 AMG 6×6 truck to be a part of the film.

A cocky businessman (Michael Douglas) spends his spare time big-game hunting. But when he hires an earnest young guide (Jeremy Irvine) to take him deep into the Mojave Desert in search of prey, things quickly go awry when he shoots and kills an innocent man by mistake. When the guide refuses to be drawn into the dishonest cover-up, a deadly game of cat-and-mouse ensues across a barren and brutal desert pitting hunter against prey. The supporting cast includes Hanna Mangan Lawrence, Ronny Cox, Patricia Bethune, Martin Palmer and David Garver

The Beyond the Reach special features include a behind-the-scenes look at the making of the film, audio commentary with Michael Douglas, director Jean-Baptiste Léonetti and producer Robert Mitas, and the ultimate insider’s guide to Michael Douglas’ sensational chrome and steel co-star, the 2014 Mercedes G63 AMG 6×6. Learn more about Beyond the Reach with our exclusive featurettes. Will you be picking up the Blu-ray and DVD tomorrow?

Beyond the Reach was released April 17th, 2015.


‘Deadly Adoption’ Extended Trailer: Ferrell & Wiig Go Baby Crazy

Following the first trailer that arrived last week, Lifetime has released an extended trailer for their upcoming TV movie A Deadly Adoption. Shot in secret last year, Will Ferrell and Kristen Wiig “canceled” the release of this thriller when word leaked in April. But Lifetime has decided to air it anyway on Saturday, June 20 at 8 PM ET. The movie coincides with Lifetime’s 25th Anniversary festivities, and while it is a parody of the network’s original Lifetime movies, it’s certainly more dramatic than humorous.

Inspired by a true story, A Deadly Adoption is a high-stakes dramatic thriller about a successful couple (Will Ferrell and Kristen Wiig) who house and care for a pregnant woman (Jessica Lowndes) during the final months of her pregnancy with the hopes of adopting her unborn child. They soon find out that this pregnant woman has designs on tearing their family apart, from the inside out. Yahoo! TV describes the story as a cross between The Crush and The Hand That Rocks the Cradle.

Rachel Lee Goldenberg, who has directed original Lifetime movies such as Escape from Polygamy and Love at the Christmas Table, directs from a script by Andrew Steele (Casa de Mi Padre, The Spoils of Babylon). Will Ferrell also serves as an executive producer alongside Adam McKay, Andrew Steele, Sharon Bordas, Fernando Szew and Jessica Elbaum. Check out the extended trailer below before A Deadly Adoption debuts this Saturday night on Lifetime.

A Deadly Adoption will be released June 20th, 2015.


‘Walking Dead: Michonne’ Video Game Is Coming This Fall

Telltale Games announced at the E3 convention in Los Angeles today that they are releasing a three-part video game miniseries based on The Walking Dead’s beloved character Michonne. The Walking Dead: Michonne will debut this fall on PC/Mac, PlayStation 4, Xbox One, PS3, Xbox 360, and compatible iOS and Android-based devices. Fans will need to have at least the first episode of Telltale’s The Walking Dead: Season Two video game series to play The Walking Dead: Michonne. Take a look at the official description of the game, which reveals where in Robert Kirkman‘s Walking Dead comic books this new story is set.

“The Walking Dead: Michonne – A Telltale Games Mini-Series stars the iconic character from the comic book series haunted by her past and coping with unimaginable loss and regret. The story explores her untold journey during the time between issues #126 and #139. Through this Telltale Games mini-series of 3 episodes, players will discover what took Michonne away from Rick, Ezekiel, and the rest of her trusted group… and what brought her back.”

The Walking Dead comic book creator and TV series executive producer Robert Kirkman had this to say in his statement.

“In many ways, Michonne herself is a reflection of the world of The Walking Dead. She is brutal and cold on the outside, but deep beneath what is broken, she remains hopeful, trying to claw her way out of the darkness that surrounds her. In our effort to bring the world of the comic and the world of the Telltale series closer together, there is no greater character than Michonne to help bridge that gap.”

Kevin Bruner, Co-Founder and CEO of Telltale Games, had this to say in his statement.

“Michonne’s complexity and range make her an ideal lead for the compelling interactive drama fans have come to expect from Telltale. With this mini-series, players will experience Michonne’s challenges first-hand, and the choices they make will shape her journey. We’re incredibly honored by Robert for the opportunity to share this untold story in The Walking Dead universe.”

It seems likely that this new Michonne video game will debut before The Walking Dead returns on AMC for Season 6, sometime this October. Are you excited to play this new Michonne-centric game from The Walking Dead? Let us know what you think below, and stay tuned for more updates.

Walking Dead Michonne Video Game


Will Limited Series And Reality Competition Races Shake Up This Year’s Primetime Emmy Ceremony?

When Ryan Murphy’s creepy-sexy series American Horror Story was submitted as a miniseries for its first season in 2012, it caused a stir among pundits that lasted well into the 2013 Emmy race. Cynics said it was a way to avoid competing in the more-competitive drama race, despite how Murphy’s concept of putting new characters into different situations season to season didn’t exactly fit into the traditional drama series structure.

Fast-forward three years, and anthology series, such as Starz’s The Missing and ABC’s American Crime, have demonstrated that the notion of a show returning with a different storyline each season isn’t just a drama masquerading as a miniseries.

In response to the ever-changing genre, the TV Academy clarified the rules for the 2015 ceremony. Miniseries has morphed into limited series, which is defined as a show with two or more episodes totaling at least 150 minutes of run time with a self-contained story. The show can’t have recurring characters and must air under the same title each season with continuity among the production team. True Detective (which petitioned to compete in drama) and last year’s miniseries Emmy winner Fargo will have to wait until next year to contend with the newly-minted Outstanding Limited Series category, but several other shows from the eligibility period of June 1, 2014 to May 31, 2015 are likely to get voters’ attention.

American Horror Story: Freak Show
Ryan Murphy’s American Horror Story caused a stir when it competed as a miniseries. This year, it will have to compete as a limited series against some serious competition in American Crime and The Missing.

Crime, deception and intrigue characterize the shows from this season that fall under the new guidelines, and it’s not solely the domain of cable. ABC delivered with John Ridley’s first-year American Crime, which shows the impact of a murder from multiple perspectives without ever forcing the audience to a conclusion. It has all the hallmarks of a gritty cable series and Ridley says he’s glad to have made it in a network environment.

“We were very fortunate that there (was) space for this kind of programming and now we have an opportunity to start fresh,” Ridley says, adding that ABC tapped him for the project well before his 2014 Oscar win for writing Fox Searchlight’s 12 Years a Slave. “They certainly didn’t perceive me then as people perceive me now. So ABC was committed to this. I was the beneficiary of what they wanted to do and how they wanted to push broadcast television in new directions.”

Starz also has announced plans for a second season of its Golden Globe-nominated anthology The Missing. Tom Shankland, who directed the first season’s eight episodes, points to the appeal of shooting a TV series in the style of a film, particularly when it came to tracking the finer plot points in the show’s two separate time frames.

“The way we scheduled it, we were able to shoot each time exclusively, which meant I could completely inhabit the world of the present in Windsor, which we did first for two or three months,” Shankland explains. “Then we had a week hiatus and I could return and entirely inhabit the world of the past. It was that level of love where you could show every detail, which was massively exciting.”

Among the major anthology hopefuls, American Horror Story: Freak Show has seen its previous three versions earn miniseries noms, and Murphy continues his high-wattage casting for this iteration set in a twisted carnival, complete with a terrifying clown. Though star Jessica Lange has a SAG Award, a Globe and two Emmys for playing different characters on AHS, the series overall is still looking for a win.

Other prominent limited series entries include SundanceTV’s The Honorable Woman, for which Maggie Gyllenhaal won a Golden Globe this year; HBO’s four-parter Olive Kitteridge, which earned Frances McDormand a SAG Award; History’s two-part Houdini, starring Adrien Brody, and the Bill Paxton-starrer Texas Rising; and PBS’ six-part royalty drama Wolf Hall, which stars Mark Rylance and Damien Lewis.

Room for new blood?

Although fresh entries abound in limited series, when it comes to the reality category, it’s been nothing but business as usual for a decade. Aside from a bit of a shakeup in the genre with the Creative Arts categories of structured and unstructured series introduced last year, reality-competition has seen the same winner 10 times since the category appeared in 2003. Sure, CBS’ The Amazing Race team enthusiastically accepts the trophy each year and certainly was disappointed when NBC’s The Voice and Bravo’s Top Chef broke their winning streak in 2013 and 2010, respectively. But it’s surprising how little Emmy attention popular long-running series like Fox’s American Idol, which ends its run next year, and CBS’ granddaddy of them all, Survivor, have received.

Many series are worthy of attention, considering the level of reinvention they must go through to stay relevant. “People can spot a forced fight or a forced reality moment a mile away, and they need honesty,” says Dancing with the Stars showrunner Rob Wade. “I think we’re doing that well. We’re breaking down the barriers between the viewers and backstage areas so they can access the show to a greater extent now.”

Maintaining viewership is one thing, but for new series, breaking into the Emmy category is next to impossible. The last one to do so was The Voice, which debuted in 2011. In fact, the average time on the air of the other five series nominated with The Voice in 2014 is 11 years; the youthful Voice brings the average down to just under 10.

So will Amazing Race and Voice be nominated once again with Dancing with the Stars, Top Chef, Fox’s So You Think You Can Dance and Lifetime’s Project Runway? It seems likely, even though there are a lot of shows waiting in the wings, especially considering how much the genre has evolved in the last 10 years. Among the other shows Emmy voters might want to consider are Logo’s brand-building RuPaul’s Drag Race, NBC’s feel-good weight-loss series The Biggest Loser, CW’s runway competition America’s Next Top Model, ABC’s tweetable hookup series The Bachelor, Fox’s Gordon Ramsey-starrer Master Chef, Food Network’s delicious Chopped and Syfy’s Critics Choice TV Award-winning special-effects makeup competition Face Off.


Dinos Look To Topple ‘Avengers’ For All-Time Record Bow At $208M-$210M

8th UPDATE, Sunday, 8:32 PM: When the dust settles tomorrow morning, Universal’s Jurassic World may post the biggest opening ever at the domestic B.O. with an estimated FSS of $208M-$210M, which would overtake previous champ Disney’s Marvel The Avengers — that film has held the title for the last three years with $207.4M. Industry estimates, as of this evening, peg JW‘s Sunday at $55M-$57M which would rep a 19-21% decline from Saturday’s $70M. JW is Universal’s widest release ever at 4,274. Legendary co-financed 25% of the Steven Spielberg produced movie. Will it make it? Stay tuned.

7th UPDATE: Sunday, 1:03 PM: Looking at a gross estimates today, we have decided to revise our prediction for the weekend on Jurassic World to bring the Dino-mite three-day estimated debut to a range anywhere between $204M to $207M+, meaning it could break the all-time opening record of Disney/Marvel’s The Avengers which took in $207.4M in 2012. Universal Pictures is playing it conservative at the moment and only they are holding to the the low-end of the estimate. Perhaps prudent, given that no one can say for certain if they will become the No. 1 opener all of all time.

6TH UPDATE, Sunday, update 9:42AM after 7:20AM post: While raging on-the-loose dinosaurs are actually bad for the theme park business in Jurassic Worldthey’re just fantastic when it comes the movie business. The opening weekend for Universal’s Jurassic World is being called at $204.59M, making the fourth Jurassic Park film the second biggest bow at the domestic B.O. of all-time, overtaking Disney’s Marvel Avengers: Age of Ultron‘s ($191.27M) and sitting right under the all-time opening champ Avengers which zapped $207.4M back in May 2012.

But get this: Some B.O. pundits say that by the time Sunday is called, JW could actually rip Avengers‘ leotards off and become the reigning all-time U.S. opening champ.  

The fifth NBA final game tonight between Cleveland and Golden State isn’t expected to taser JW‘s momentum: As one Uni insider put it “So many people want to see this movie regardless of what is going on culturally.” Not to mention JW already showed its teeth against the NBA finals on Thursday night: While everyone was watching that game live, JW rang up $18.5M in previews. Thanks to digital cinema, showtimes can be added as demand builds and word is that the major chains have been adding showtimes at a rapid pace.

RelatedUniversal Reaches $1B Domestic, $3B Global Box Office In Industry-Record Time

What does all this translate into for total weekend ticket sales? Rentrak reports that the weekend B.O. is at $271M, up 45% over the same frame a year ago when 22 Jump Street made $57M. 2015 is still clicking ahead of 2014 at 4% with $4.8B.

Jurassic WorldJW sends Universal from its third place spot on the 2015 domestic marketshare all the way up to No. 1 past the $1B mark; the fastest for any major studio to hit that point this year. As more receipts solidified this AM, it turns out Saturday was even bigger than expected with $69.7M-70.8M per insider B.O. tracking reports. The anticipation Sunday is that JW will post a slip of -25%, giving it a Sunday well north of $50M. The first Avengers fell 18% in its Saturday to Sunday. Currently at 4,274 engagements, JW is set to post a screen average of $47,870. No question about it — Jurassic World is the best opening ever stateside for Universal on both an opening day ($82.8M) and weekend basis. JW‘s opening day is currently third in the B.O. logs.

RelatedWill Universal’s ‘Jurassic World’ Chomp Warner Bros, Disney Market Share Lead?

JW earned an A CinemaScore and will likely final at least a 2x multiple in its final cume as has been the case for these record stateside bows. Aud make-up was 52% male vs. 48% female; 39% under age 25, 61% age 25+. Deadline was told that the under 25 %age matches the same aud share Jurassic Park recorded in 1993 — which means that JW drew in a whole new audience. In regards to that demo share, Carpou says “I think it speaks to the fact that Jurassic World isn’t a drop-off movie for the kids, but their parents want to see it too.”

54% of those watching JW were Caucasian, 20% Hispanic, 14% Asian and 8% African American. 3D repped 48% of JW‘s weekend receipts. Rentrak’s PostTrak showed a different measure for the JW audience breakdown: Under and over 25 were split 50/50 with guys dominating at 58%. 65% of the audience gave it a definite recommend.

JW also marks a rebound for film financier Legendary Pictures, which co-financed 25% of the Colin Trevorrow-helmed pic, after such dogs as Michael Mann’s Blackhat ($70M cost, $17.8M global B.O.) and the fantasy Jeff Bridges-Julianne Moore pic The Seventh Son ($95M, $110.6M).

jurassic world 5Other parts of the exhib and distrib biz are feeling the halo effect of JW in the marketplace. RealD recorded its best domestic weekend ever from JW with $71M (35% of the domestic weekend), beating Avengers’ $70M  Ticket seller Fandango reported that Friday was their highest sales day in the 15-year history of the company thanks to Uni’s dinosaurs. Imax reports that it had near non-stop sell-outs for JW with a record opening domestic weekend of $20.6M on 363 IMAX screens (or 10% of the gross). This outstripped Dark Knight Rises’ $19M. Imax per screen was $57K.  The top five stateside venues were Imax engagements as were nine of the top 10, and 17 of the top 20. On Friday alone, Imax posted its best-ever domestic single day thanks to JW with $8.6M. Among North American movie theaters this weekend, seven of the top 10 and 10 of the top 13 were AMC theatres. PLF format is reporting $16.2M for JW or 8% of the gross, beating Ultron‘s $13.1M. Cinemark XD took in $4.3M. In regards to all these records being set by Imax and PLF, Universal president of domestic distribution exclaimed, “It’s no wonder — it’s the way people want to see Jurassic World.”

JW‘s PR march began last Thanksgiving when Uni dropped the trailer during an NBC NFL game, then ran the trailer attached to The Hobbit: The Battle of Five Armies last December as well as Furious 7 and Ultron. There was a 60-second spot during the Super Bowl pre-game.  The Hollywood & Highland complex middle structure was turned into the Jurassic World gates.

bryce dallas howardPratt was an axis for most of the campaign with such late night stunts as running in heels on James Corden, dino trivia battle with Noah the “Apparently” Kid on Ellen, nonsense karaoke on The Tonight Show With Jimmy Fallon and performing accents on Graham Norton. Bryce Dallas Howard generated her own widely shared appearance with her crying stunt (“I’m not Jessica Chastain”) on Conan. Pratt and raptor were square in the middle of Entertainment Weekly‘s 2015 forecast double issue and then Pratt fronted their Summer “Must List” double issue; he was also on the cover of GQ. The original Jurassic Park re-aired on NBC hosted by Pratt and JW exec producer Steven Spielberg. And of course, there were a number of co-branding partners with Samsung, Mercedes-Benz, Dairy Queen and LEGO. There was also a two-part takeover of programming on the two biggest Hispanic broadcast networks, Univision and Telemundo, with custom content and show integrations called “Jueves Jurasico,” or “Jurassic Thursday.”

Spy Tops Weekend box officeFor those movegoers who had no interest in watching dinosaurs, or perhaps already caught JW, there was 20th Century Fox-Chernin Entertainment’s Spy which minted $16M at 3,715 playdates. That’s a solid hold of -45% in the wake of JW raiding moviegoers’ wallets, and Spy‘s domestic B.O. currently sits at $56.9M.

Focus Features/Gramercy’s release of Blumhouse’s Insidious: Chapter 3  scared up $7.3M in its second weekend for a 10-day total of $37.37M. That’s a 68% drop, slightly steeper than what Chapter 2 registered.

Warner Bros./New Line’s San Andreas in its third weekend took in $11M, down 57% for a total cume to date of $119.3M. The studio’s HBO comedy film Entourage which scored an A- CinemaScore last week grossed $4.3M, down 58% and counting $25.87M in its first 12 days of release. The Doug Ellin-directed pic reportedly cost $27.5M to make.

love and mercyRoadside Attraction’s Brian Wilson biopic Love & Mercy starring John Cusack, Paul Dano and Elizabeth Banks surfed into the top 10 this weekend after its expansion from 481 to 573 beaches with $1.77M, a 17% dip, with a 10-day cume of $4.77M.

Fox Searchlight’s Sundance pick-up of the Indian Paintbrush film Me and Earl and the Dying Girl was quite alive in 15 auditoriums in six markets with a per screen of $14K and a FSS of $210K.

Below are the top 10 films per studio-reported figures for the weekend of June 12-14, 2015:

1). Jurassic World (UNI), 4,274 theaters / $82.6M Fri. / $69.7M Sat (-16%) / $52.3M Sun. (-25%) / 3-day cume: $204M to $207M+ / Wk 1

2). Spy (FOX), 3,715 theaters (+4%) / $4.8M Fri./$6.5M Sat (+37%)/ $4.7M Sun. (-28%) / 3-day cume: $16M (-45%) / Total cume: $56.9M / Wk 2

3). San Andreas (WB), 3,535 theaters (-277) / $3.2M Fri. /$4.5M Sat (+42%)/ $3.5M Sun. (-25%) / 3-day cume: $11M (-57%) / Total cume: $119.3M/ Wk 3

4). Insidious Chapter 3 (FOC), 3,014 theaters (+12) / $2.7M Fri. / $2.8M Sat (+5%) / $1.9M Sun. (-33%) / 3-day cume: $7.3M (-68%) / Total cume: $37.4M / Wk 2

5). Pitch Perfect 2 (UNI), 2,677 theaters (-726) / $2M Fri. / $2.4M Sat (+20%) / $1.5M Sun. (-40%) / 3-day cume: $6M (-21%)/ Total cume: $170.7M / Wk 5

6). Entourage (WB), 3,108 theaters (0) / $1.4M Fri. / $1.7M Sat (+20%)/ $1.3M Sun. (-25%) / 3-day cume: $4.3M (-58%) / Total cume: $25.9M/ Wk 2

7). Mad Max: Fury Road (WB), 2,234 theaters (-486) / $1.2M Fri. / $1.7M Sat (+40%)/ $1.3M Sun. (-25%) / 3-day cume: $4.1M (-47%) / Total cume: $138.6M / Wk 5

8). Avengers: Age of Ultron (DIS), 2,156 theaters (-315) / $1.1M Fri. / $1.5M Sat (+44%)/ $1.1M Sun. (-31%) / 3-day cume: $3.6M (-43%) / Total cume: $444.7M / Wk 7

9). Tomorrowland (DIS), 2,540 theaters (-472)/ $1.1M Fri. / $1.4M Sat (+27%)/ $940K Sun. (-32%) / 3-day cume: $3.4M (-53%) / Total cume: $83.6M / Wk 4

10). Love & Mercy (RSA), 573 theaters (+92)/ $477K Fri. / $732K Sat (+53%)/ $476K Sun. (-35%) / 3-day cume: $1.8M (-17%)/ Total cume: $4.8M / Wk 2

Related‘Me And Earl And The Dying Girl,’ ‘The Wolfpack’ Open Strong: Specialty B.O.


Me and Earl and the Dying GirlMe and Earl and the Dying Girl (FSL), 15 theaters/ $69K Fri. / $76K Sat (+10%)/ $64K Sun. (-16%) / Per screen avg: $14K /3-day cume: $210K / Wk 1

Hamari Adhuri Kahaan (NR), 67 theaters/ $43K Fri. /$49K Sat (+14%)/ $34K Sun. (-30%) / 3-day cume: $126K / Wk 1

The Wolfpack (MAG), 2 theaters/ $13K Fri. / $19K Sat (+51%)/ $13K Sun. (-30%) / Per screen avg: $23K /3-day cume: $45K / Wk 1

Live From New York! (NR), 33 theaters/ $10K Fri. /$15K Sat (+47%)/ $9K Sun. (-40%) / 3-day cume: $34K / Wk 1

Madame Bovary (ALCH), 15 theaters/ $6K Fri. /$8K Sat (+31%)/ $6K Sun. (-25%) / 3-day cume: $21K / Wk 1

Anthony D’Alessandro

jurassic world 55th UPDATE, Saturday, 11:45PM: Industry calculations tonight are pointing toward an opening weekend of $200M for Universal’s Jurassic World, which would make it the second biggest domestic opening of all-time behind The Avengers’  $207.4M all-time title. After posting a $83M Friday, JW‘s Saturday is coming in precisely where most expected it to be, down 20% from Friday, putting the second day for the dino redux at $66.8M.  Most think Sunday will decline another 22%. By the time the fifth NBA final game airs tomorrow night at 5PM PST/8PM EST, the thinking is that it won’t taser the dinosaurs’ momentum. The lower end of Jurassic World‘s predictions this morning saw a $181.4M weekend, which would mean that Sunday would fall 51% from today. Many distributor bean counters think JW‘s pace is too strong for a figure like that.

Half of the seating capacity at all AMC Theaters on Saturday were schedule for JW with 60% of the chain’s ticket sales coming from premium exhib formats, read AMC Prime, Dolby Cinema at AMC Price and Imax.

In regards to premium large format theaters, JW is looking to have a share of 9% of the weekend B.O. with $17.5M, which would best Avengers: Age of Ultron‘s record of $13M. Cinemark XD’s crop of PLF will rake in $4.7M, beating American Sniper which made $3.14M. On Friday, PLF venues generated $6.5M or 8% of the day.

Anthony D’Alessandro

4th UPDATE, Saturday, 7:02 AM: Jurassic World is taking a bite of box office history. It’s already Universal’s biggest opening night and biggest opening ever. It’s already the biggest June opener. And now it could become the No. 2 opening of all time, behind only The Avengers. As the dust clears this morning, it appears that Friday’s gross was roughly $83M which means that Indominus Rex’s revised estimates are anywhere between $190M and $200M. If attendance is flat today and if we remove the $18.5M in Thursday previews, the math still shows around a $190M 3-day weekend. This movie garnered an A CinemaScore and is playing incredibly strong. The studio can thank this entertaining romp for giving it the lead in marketshare for the year so far, too.

Spy is holding strong in its second weekend for Fox and Chernin Entertainment and is expected only to slip about 45% to bring in a $15M to $15.8M three-day weekend. The Melissa McCarthy starring comedy will end the frame with a two-week cume of about $56M. There are two other films in their sophomore frames — Insidious 3 and Entourage. The horror film from Focus will drop about 65% to bring in around $7.5M to $8M for the three-day while Warner Bros.’ Entourage slides 69%.

Here’s the Top 10 chart with revised estimates:

1). Jurassic World (UNI), 3,274 theaters / $83M Fri. (includes $18.5M previews) / 3-day cume: $190M to $200M / Wk 1

2). Spy (FOX), 3,715 theaters (+4%)/ $4.77M Fri. (-53%) / 3-day cume: $15M to $15.8M (-45%) / Total cume: $56M / Wk 2

3). San Andreas (WB), 3,535 theaters (-277) / $3.1M Fri. / 3-day cume: $10.5M / Total cume: $118.85M/ Wk 3

4). Insidious Chapter 3 (FOC), 3,014 theaters (+12) / $2.65M to $2.8M Fri. (-74%) / 3-day cume: $7.6M to $8M (-65%) / Total cume: $38.7M / Wk 2

5). Pitch Perfect 2 (UNI), 2,677 theaters (-726) / $1.9M Fri./ 3-day cume: $5.7M / Total cume: $170.4M / Wk 5

6). Entourage (WB), 3,108 theaters (0) / $1.39M Fri. (-62%)/ 3-day cume: $4.17M (-69%) / Total cume: $25.7M/ Wk 2

7). Mad Max: Fury Road (WB), 2,234 theaters (-486) / $1.19M Fri. (-49%) / 3-day cume: $3.9M to $4M (-50%) / Total cume: $138.4M / Wk 5

8). Tomorrowland (DIS), 2,540 theaters (-472) / $1M Fri. / 3-day cume: $3.6M / Total cume: $83.8M / Wk 4

9). Avengers: Age of Ultron (DIS), 2,156 theaters (-315) / $1M Fri. / 3-day cume: $3.6M / Total cume: $444.7M / Wk 7

10). Love & Mercy (RSA), 573 theaters (+92) / $476K Fri. (-25%) / 3-day cume: $1.55M (-25%) / Total cume: $4.55M / Wk 2

Anita Busch

3RD UPDATE, Friday 10:30PM: Jurassic Worlds opening weekend is going to be so big, it’s going to fly Universal to the top of the 2015 domestic marketshare chart by Sunday with more than $1 billion. The fourth film in the dino franchise is expected to pull in $177M-$181M — easily becoming the highest June bow, as well as the third highest opening of all-time behind The Avengers ($207.4M) and Avengers: Age of jurassic world 8Ultron ($191.3M); Iron Man 3‘s bow ($174.1M) would move to fourth. But guess what? Some industry estimates think JW could even go higher with a FSS of $190M+. Those audiences polled by CinemaScore on Friday screamed a loud ‘A’ for the fourth Jurassic Park film. JW‘s Friday is now at $78M-$80M, inclusive of $18.5M Thursday previews. That’s not just the highest June opening of all-time kicking The Twilight Saga: Eclipse to second ($68.5M), but it’s the fourth highest on the all-time charts overtaking 2012’s The Dark Knight Rises ($75.8M). What’s so shocking is that typically mid-day B.O. figures on Friday are at their puffiest. Distrib execs shake their heads at ’em because they know that they aren’t numbers one can bet the ranch on. Typically those noon projections ease once cinemas lock their doors for the night. This is definitely not the case with JW. It’s on some Dino steroid.

What is expected like many fan-fueled franchises is that the daily grosses this weekend for JW will be frontloaded. Industry estimates foresee Saturday falling 20% from Friday with Sunday declining another 25% from Saturday. While those films with A CinemaScores typically churn out a 3.6 average multiple in regards to their opening to final cume; gargantuan bows like this are a different animal. In fact, their multiples are much lower, read Furious 7, which also got an A, bowed to $147.2M and produced a 2.4X with a domestic cume of $350M. Man of Steel, the previous June opening champ,  earned an A- and posted a 2.5X with a $116.6M FSS and a final $291M.

Insiders cite that the under-30 group for JW are out tonight in a similar proportion to the original 1993 Jurassic Park. What does that mean? It means that this installment has found a completely new, young audience. The assumption would be that the original under 30 audience for this classic franchise got older.

In regards to social media, JW doesn’t have all muscles that Furious 7 did between Vin Diesel and Dwayne Johnson, however, there’s some heft in the brand per RelishMix. JW‘s social media universe stands at 218M across YT, FB and Twitter ranking 10th among all social movie franchises just behind X-Men.  YouTube video views for JW are at 180M with Facebook reach of 42M and 5.7M reach on Twitter. Jurassic World Facebook which was merged with Jurassic Park is now up to 6.5M fans adding 53k yesterday and upticking. Reposted videos are being shared at a rate of 45 to 1; the average being 9 to 1. JW lead actress Bryce Dallas Howard doesn’t have a footprint on social media, though she’s been tagged about 5K time on Instagram. Chris Pratt has the biggest SMU following among the cast with approximately 4.6M across FB, Instagram and Twitter.

jurassic world benzWhen the first Jurassic Park hit theaters in 1993, it was one for the movie marketing tie-in rulebooks with prolific sponsors such as Ford Explorer and Jolt Cola. JW  is no exception to commercialism throughout the film. Mercedes Benz is front and center in the pic, a starring role that began back in 1997’s The Lost World: Jurassic Park. Mercedes G class luxury SUVs are the vehicles of choice for park hunters. In addition, Mercedes sponsored the Hollywood premiere with actors arriving in the Mercedes GLE coup.  Barbasol shaving cream and Dairy Queen (the Jurassic Smash blizzard) have been splashed with JW branding, while in the film itself, the young kids bounce along to music on their Dre headphones. Samsung gear from phones to tablets to TVs are seen throughout JW, while Howard’s exec character gives a shoutout to the park’s new event sponsor: “Verizon Wireless Presents The Indominus Rex”. In the Instagram above, Pratt goes vroom in the film’s Triumph motorcycle.

With JW dominating multiplex biz, it hasn’t sucked all the air out of the B.O.. 20th Century Fox/Chernin Entertainment’s Spy should post a decent -44% hold in its second weekend (The Heat feel 37% but that also had Sandra Bullock in it). Insidious: Chapter 3 should buoy itself a bit better in its second weekend than its last installment during the same period in time which dropped 66%. Entourage is bound to take a dive, but don’t blame the dinosaurs; the comedy’s audience has been largely comprised of the show’s east coast fans. Catching a wave into the top 10 this weekend is Roadside Attractions’ Brian Wilson Beach Boys biopic Love & Mercy which expanded from 481 surf shops to 573. FSS should gross $1.5M, off 30% from a week ago with a 10-day cume of $4.5M.  

Also opening is Fox Searchlight’s Sundance pick-up Me and Earl and the Dying Girl. The pic posted an estimated $60K from 15 theaters Friday and is on track for a $202K FSS. Originally the buzz at Sundance was that Me and Earl was bound to land a $12M MG, however, FSL and Indian Paintbrush agreed to mid-seven reportedly with the upside for the pic’s financiers to make north of $12M in the end of Me and Earl‘s ancillary run.

The top 10 per industry weekend estimates as of Friday night at 11:43PM:

1). Jurassic World (UNI), 3,274 theaters / $78.6M Fri. / 3-day cume: $181M / Wk 1

2). Spy (FOX), 3,715 theaters (+4%)/ $5M Fri. (-52%)/ 3-day cume: $16.3M (-44%) / Total cume: $57.4M / Wk 2

3). San Andreas (WB), 3,535 theaters (-277) / $3M Fri. (-61%) / 3-day cume: $10.5M (-59%) / Total cume: $118.7M/ Wk 3

4). Insidious Chapter 3 (FOC), 3,014 theaters (+12)/ $2.8M Fri. (-74%) / 3-day cume: $8.6M (-62%) / Total cume: $38.7M / Wk 2

5). Pitch Perfect 2 (UNI), 2,677 theaters (-726) / $1.5M Fri. (-42%)/ 3-day cume: $4.5M (-41%)/ Total cume: $169.1M / Wk 5

6). Entourage (WB), 3,108 theaters (0) / $1.3M Fri.  (-64%)/ 3-day cume: $4M (-61%) / Total cume: $25.5M/ Wk 2

7). Mad Max: Fury Road (WB), 2,234 theaters (-486) / $1.2M Fri. (-49%) / 3-day cume: $3.94M (-50%) / Total cume: $138.2M / Wk 5

8). Tomorrowland (DIS), 2,540 theaters (-472)/ $1.2M Fri. (-46%) / 3-day cume: $3.91M (-41%) / Total cume: $84M / Wk 4

9). Avengers: Age of Ultron (DIS), 2,156 theaters (-315) / $1.1M Fri. (-42%) / 3-day cume: $3.5M (-45%) / Total cume: $444.6M / Wk 7

10). Love & Mercy (RSA), 573 theaters (+92)/ $454K Fri. (-29%) / 3-day cume: $1.5M (-30%)/ Total cume: $4.5M / Wk 2


Me and Earl and The Dying Girl (FSL), 15 theaters/ $60K Fri. / Per screen avg: 13K /3-day cume: $202K / Wk 1

 Hamari Adhuri Kahaan (NR), 67 theaters/ $37K Fri. /3-day cume: $116K / Wk 1

The Wolfpack (MAG), 2 theaters/ $12K Fri. / Per screen avg: 18K /3-day cume: $36K / Wk 1

Madame Bovary (ALCH), 15 theaters/ $7K Fri. /3-day cume: $22K / Wk 1

Anthony D’Alessandro

2ND UPDATE, 3:48 PM: The screen average today for Jurassic World has gone up about 50% since this morning’s moviegoing. Compared to The Dark Knight Rises, that’s 12% higher than for the latter matinees at this point in the Friday cycle. At this rate, Universal Pictures could be looking at a $70M-plus Friday, which will make it the distributor’s biggest Friday openers ever, eclipsing Furious 7‘s $67.4M first day earlier this year.

The three-day is on track for $155M-$162M, according to industry estimates.

The biggest Friday openings ever to date are Warner Bros’ 2011 Harry Potter And The Deathly Hallows 2 with $91.0M on Friday, followed by this May’s Disney/Marvel’s Avengers: Age Of Ultron with $84.4M. Next comes 2012’s Marvel’s The Avengers with $80.8M and Warners’ 2012’s Dark Knight Rises with $75.5M. Jurassic World is tracking 12% ahead of DKR on fewer screens (4,273 vs. 4,404). Jurassic World, which has a running time of only 117 minutes compared with Dark Knight Rises (165 minutes), will have the benefit of extra plays.

With kids out of school for the summer and a film that is expected to get a high Cinemascore tonight — the last A+ Cinemascore was given to American Sniper earlier this year, and only a couple of movies ever get that from filmgoers — this installment of the $2B worldwide franchise could post a very strong multiple. It has a 70% on RottenTomatoes right now. This is one of those films where everything seems to be falling into place and momentum is continuing to build throughout the day.

If the strength of moviegoing continues through tonight, bets are good for Jurassic World to hit $155M for the three-day frame.

Anita Busch

UPDATE, Friday 12:53 PM: Jurassic World is currently estimating a $65M Friday off midday sales — that’s inclusive of last night’s $18.5M B.O. If that number sticks into tonight, it will be the second-best June opening day behind June 30, 2010’s The Twilight Saga: Eclipse which minted $68.5M. This puts the Universal release on track for a $155M three-day bow, not only bigger than expected, but it will rank as the jurassic world 4highest opening for the month, surpassing Warner Bros’ Man Of Steel ($116.6M). The Colin Trevorrow-helmed pic is in a majority of the 26,500 ReadD-equipped theaters in 72 countries. Some insider see JW at $160M for the weekend.

According to Rentrak’s PostTrak service, auds gave JW a rating of 4.5 out of 5 stars with a 73% definite recommend — the highest Rentrak has measured across all audience demos. Last night’s audience was 53% under 25 and mostly guys at 62%. A third of the crowd turned up because of they’re fans of the Jurassic Park franchise.

Spy, from 20th Century Fox and Chernin Entertainment, is looking to have an estimated -45% second-weekend decline, which is soft, per industry figs with $16M and a 10-day cume of $56.9M. Warner Bros./New Line’s San Andreas is looking to slip 50% in its third frame with $12.9M and a running cume by Sunday of $121.2M. Focus Features/Gramercy’s Insidious: Chapter 3 also per industry estimates is looking at a 70% drop in its second FSS with $6.8M and a 10-day total of $36.9M. Warner Bros.’ adaptation of the HBO comedy Entourage is on track to decline 65% for a $3.6M second weekend — a running stateside total through Sunday of $25.1M.

Anthony D’Alessandro

PREVIOUS, 7:15 AM: Universal Pictures opened the gates to its new genetically modified dinosaur franchise title Jurassic World last night at 7 PM and a slew of people stampeded in. Jurassic World grossed $18.5M at 3,229 theaters, which in terms of Thursday night previews ranks 13th, tying with The Dark Knight pre-shows on July 18, 2008. 2011’s Harry Potter And The Deathly Hallows Part 2 is the champ with $43.5M from midnight shows. Earlier this year, Uni’s Furious 7 revved up $15.8M before posting a $147.2M bow while Disney’s Marvel Avengers: Age Of Ultron grossed $27.6M at its Thursday preview before hammering a FSS of $191.3M.

jurassic world posterWith gargantuan tracking figures of 96% total awareness and 36% unaided awareness, Jurassic World, some insiders predict, is bound for a potential June record. The titleholder is Warner Bros.’ 2013 Superman pic Man Of Steel at $116.6M — which by the way is one of the industry’s comps; both films are reboots of dormant franchises. Weekend projections for JW, which moves to 4,273 venues today — Uni’s widest bow ever — continue to range from $115M-$135M. 3D showtimes and 360 Imax hubs also give JW, which was co-financed by Legendary at 25%, some extra teeth. Last night, 362 Imax venues rang up $2.8M, repping the second highest preview for the label after Ultron grossed $2.9M.

What is certain in the next week is that Jurassic World will shake-up the annual domestic box office share, propelling Uni past current leader Warner Bros. to the $1B mark stateside.

But won’t the sluggish summer — which at $1.3B is currently flat with 2014 —  throw a monkey wrench into JW‘s turnstiles? No way, say distrib execs. The sentiment in the market is that audiences are ready for JW,  just as they were ready to run from their living rooms when Furious 7 opened. Another pain in the Brontosaurus that won’t slow JW down is a massive sporting event comparable to the Mayweather-Pacquiao fight that contributed to Ultron‘s 33% Friday-to-Saturday slide. Yeah, there’s the Stanley Cup Finals on Saturday between the Chicago Blackhawks and Tampa Bay Lightning, and the NBA Finals’ Game 5 on Sunday between Cleveland and Golden State, but many distrib suits say the sporting events aren’t threats in the least. Sunday moviegoing is typically the lowest of the three days and by that time, Americans will have seen JW. 

Rumblings of Jurassic Park 4 were ignited at Comic-Con 2011 when Steven Spielberg dropped word during an Adventures With Tintin panel that he had a writer in the wings for the project. Uni launched the U.S. campaign last Thanksgiving during NBC’s NFL game with a TV spot, followed by a 60-second spot during this year’s Super Bowl.

spy 4But wait a second — there are other films playing this weekend. What about last weekend’s triad? 20th Century Fox & Chernin Entertainment’s Spy is looking to drop a respectable 50%, maybe less, putting it at $14.5M. Current cume by Sunday would rise to about $55M. Insidious: Chapter 3 from Focus Features’ Gramercy is looking to emulate a similar second-weekend drop to its previous installment, about -66%, putting it at $7.7M for its second frame and a 10-day running cume of $37.9M. Entourage could see a 55%-60% decline with a gross from $4.1M-4.6M and a 12-day haul of $26.1M. Anthony D’Alessandro


‘Game Of Thrones’ Finale: Director On Season Five’s Shocking End & Season Six Impact

SPOILER ALERT: This story contains details of tonight’s Game Of Thrones Season 5 finale.

The blockbuster HBO series has never shy about depicting death, sex, betrayal and blood but this season may have reached new highs in all those categories. Despite the leaking of the first four episodes online before the April 12 season debut, Game Of Thrones also hit a new series high this year with 7.99 million viewers watching the premiere. That first “The Wars To Come” episode saw the death of the Ciarán Hinds portrayed Mance Rayder at the hands of Jon Snow, played by Kit Harington and set the tone for Season 5 perfectly and mercilessly.

Drawing on portions of George R. R. Martin’s A Feast For Crows and A Dance With Dragons books from his A Song Of Ice And Fire series plus parts of the A Storm Of Swords novel, showrunners David Benioff and D.B. Weiss introduced the rise of religious fanatics unleashed by a vindictive Cersei Lannister who turn on the incestuous former Queen imprison her. A controversial rape scene in the May 17 episode put a different kind of spotlight on the Emmy winning show.

Related‘Outlander’ Finale: EP Ronald D. Moore Teases Season Two, Talks “Brutal” Ender & ‘Game Of Thrones’ Rape Controversy

david nutter game of thronesDavid Nutter directed this week’s “Mother’s Mercy” and last week’s “The Dance of Dragons,” which saw the killing of a royal child by her own father’s order. The Flash EP has helmed six episodes of GoT now, including the infamous bloodbath of Season 3’s penultimate Red Wedding. Looking at tonight’s S5 ender, Nutter offered some behind the scenes insight into what may be the HBO series’ most significant set of deaths and revelations so far as well as Cersei’s naked atonement and walk of shame in front of her screaming subjects.

DEADLINE: Fans of the George R. R. Martin’s books knew that there was a sharp fate coming for Jon Snow and fans of the series have had a sense that his belief that the Wildlings can be trusted was causing some ill winds to blow his way. Positively Shakespearean, was the Lord Commander’s death in the finale at the hands and knives of his fellow Night’s Watch with the cries of “for the Watch” a profound betrayal in your eyes?

NUTTER: Yes, it’s really the true Julius Caesar moment for Jon Snow.

DEADLINE: So Jon Snow is truly dead now, correct?


Game of Thrones Season 5 finale 3 StannisDEADLINE: That death is just one of many in tonight’s finale as we saw Stannis fail at his attempt to take the throne and meet his end from Brienne’s sword, his wife Selyse hang, the poisoning of Myrcella and the long fall demise of Myranda among others. We also saw the return of The Mountain, Gregor Clegane to protect Cersei after her nude walk of shame that the High Sparrow ordered, Daenerys alone and surrounded by a legion of Dothraki, Tyrion Lannister now the de facto co-ruler of Meereen, Sansa Stark’s leap for freedom and the blinding of Arya Stark by her mentors at the House of Black and White for an authorized killing . Two of those plotlines could easily fill the cup of most season finales, did this one feel jam-packed to you?

NUTTER: Well, it definitely is that, and it’s one surprise after the next. It comes right at you in this final episode, and it’s like no other season finale that I know I’ve been a part of or watched. Dan and Dave are so brilliant with respect to arcing out these stories, and how they take place, and how the arc of each of the stories and showing how they play out. They’re so brilliant at that that I treat episodes 9 and 10 like a 2-hour movie and as its own piece of work.

DEADLINE: It certainly seems to have been a balancing act so what were the elements that made it so successful for you?

game of thrones s5 fnale walk of shameNUTTER: Lena’s performance in the walk of shame sequence obviously, but also the way it was visually handled, the profound production value, and the intimate, powerful, dramatic storytelling of how Cersei’s journey was told.

Cersei’s story is quite a rich one, and you have here a chance to see another side of her that you may have never expected you’d see before that. It is one that’s quite sympathetic, which is quite powerful. I think that’s going to be a tremendous surprise to people, and also too it’ll be a powerful reminder of who Cersei really is and her attitude of who she is and what she’s all about at the end of that sequence.

Even though the terrible person she is, to put anyone through what she was put through, that there’d be some sense of empathy that would creep into this. I was really proud of the sequence because that I think that there is that empathy. Does. But once she returns to the Red Keep and gets carried by the Mountain, you really get a chance to see her fire and that she’s never let that go.

Related‘Game Of Thrones’ Season 5 Review: Bloodier & More Ruthless Than Ever

DEADLINE: Seems to me that Cersai is poised to come back with a vengeance now against both family and foes in Season 6 – is that the way you set her up in this finale?

NUTTER: Well, I have no idea what happens at all in Season 6, that’s a Dan and Dave question. But definitely any storyteller worth his salt would be involved in something like that. So I’m sure that they have an exciting plan for what’s to come next in Cersei’s life.

RelatedComic-Con: ‘Game Of Thrones’ Reveals New Cast Members For Season 5

dance with dragons coverDEADLINE: This season took elements from the fourth and fifth books in Martin’s series as well as parts of book 3 A Storm of Swords but it also added a lot. A director, how much do the books mean to you?

NUTTER: I did not read the books, and for me, I let the scripts basically be my Bible. I think so much of the time, regardless if one has read the books or not, we forget what the first impression really is and why that’s going to matter most to the audience.

DEADLINE: But you know that deviations from the A Song Of Ice And Fire novels have long been a sore point for some fans, right?

NUTTER: Yes, my son, for instance, will say that didn’t happen, or that didn’t happen, and so forth, but I’ve found that David and Dan, in the adjustments and changes that they’ve made have been the right ones and they have been profound. In some respect, they make adjustments because it gives a better story structure for this medium of telling it in a filmic way. Also, I think they needed to make changes from the books other times just because of the realities of what one can accomplish in the production of the series.

DEADLINE: Sounds like you think it’s the deal you cut with adaptations?

NUTTER: To some degree but you’ll find that the audiences on Game of Thrones are such that rarely do they get satisfied with the events that happen and are often frustrated by the goings on. On the other hand, they also can’t wait to see more. To me, surprise is the most important part of telling a story and that can be the most successful part of it as well. I think that Dave and Dan are masters at being able to surprise an audience, satisfy an audience, and also being able to frustrate them to the point that they’re so affected by it that it really moves them.

DEADLINE: Having helmed the last two episodes in what was a riotous season in many ways, do you have a favorite moment from Season 5?

NUTTER: Season 5 was such that I was just really moved by it all, and in that respect, it’s something that you can never give a short shrift to any of the moments. They’re so vitally important. As a director, I only know how to do it one way, is to pour my heart and soul into everything, as well as that’s the only way David and Dan know how to work as well.

DEADLINE: I think the last time a single episode of Game Of Thrones has had as much of an impact on the series before tonight’s finale was The Rains of Castamere or the Red Wedding episode that was Season 3’s penultimate. Do you see similarities between the Red Wedding episode, which you also directed, and the Season 5 finale?

NUTTER: After the Red Wedding in Season 3, Season 4 was almost like a dénouement as everyone realizes that Robb Stark and Catelyn Stark have been killed. So, as all of other major characters within the series found out about the death of Robb and Catelyn Stark, we learned how that event will affect their own desires, and plans, and goals, and schemes. Yes, this episode is like that too, I think. The hits just kept on coming and the effects are going to be wide going forward.


‘The Yes Men Are Revolting’ Earns An Estimated $45K In VOD

Demonstrating the potential future for specialty film earnings through video on demand, The Orchard has disclosed that The Yes Men Are Revolting, which opened day and date last Thursday, has grossed an estimated $45K on-demand. This take puts it in the top 15 on iTunes’ documentary charts.

The third installment of The Yes Men documentary series grossed $15,544 in 10 theaters over the weekend, meaning that on-demand revenues are roughly three times its theatrical bow. This isn’t the Orchard’s only film to see VOD earnings top theatrical. The company’s Sundance ’14 U.S. Documentary Jury Prize winner Rich Hill grossed $144K in the box office, but, as the company told me this week, over the course of its on-demand run it brought in $200K. Like The Yes Men Are Revolting, Rich Hill was a day-and-date release.

Whether or not these films’ theatrical gross might have been higher had their runs not coincided with on-demand availability is up for debate, but it is true that most exhibitors are reluctant to show films theatrically outside the traditional 90-day exclusion because of such fears. Even so,
as The Orchard told me last month, the company wants to be transparent with its on-demand numbers. To that end, I was also told that Club Life, which The Orchard opened in late May, grossed an estimated $100K in its first-week run.

Though video on demand is an increasingly important part of the film distribution landscape, only a small group of primarily specialty distributors are disclosing on-demand numbers. In fact, the only other company to regularly give VOD numbers is RADiUS. The company reported back in 2013 that it had grossed $1.5M on VOD for Keanu Reeves’ Man Of Tai Chi. More recently, its late April release Adult Beginners has had an estimated $554K VOD gross as of mid-May, compared to a box office cume of $104K.

Is it time to take VOD seriously and for distributors to release figures regularly as with box office returns? Perhaps, but so far progress on that front has been slow. It’s been over two years since since producer John Sloss, whose Producers Distribution Agency grossed more than $120K via on-demand for Escape From Tomorrow, called on fellow distributors to disclose these figures. “It’s time for that statistics to be known,’ Sloss said in 2013, “because it is the functional equivalent to theatrical box office.”