The Weekend Report

Liberty, mostly in terms of historic fact, could not withstand the charge of 300: Rise of an Empire as it debuted at the top of the charts with an estimated $44.9 million. The frame’s other incoming national freshman Mr. Peabody & Sherman received the bark of approval in second spot with $32.3 million.

The session also saw a handful of new titles from India but only Queen displayed modest strength with a $147,000 tally at 38 venues. And among exclusive newcomers one of the few upbeat surprises was the science-fact Particle Fever that grossed $36,400 from three engagements.

But the big noise among new entries belonged to The Grand Budapest Hotel that bowed with $828,000 on just four screens following last weekend’s potent international debuts in France and Switzerland.

Weekend revenues post-Oscar rose to roughly $145 million for a stolid 16% boost from the prior session and a modest improvement from 2013. A year (not so far) back the debut of Oz: the Great and Powerful led the field with a $79.1 million opening.

Purists howled over the inaccuracies of the first 300 but the film shot back with a $450 million plus global theatrical gross. The sequel 300: Rise of an Empire continued to fail the classroom test but exceeded industry expectations that capped at $40 million. Similar to the prior foray the opening audience skewed 62% male and was 65% aged 25-years and older. It also rang up an impressive Imax and 3D crowd with 63% of revenues attributed to stereoscopic engagements.

Internationally the film grossed an estimated $88 million from simultaneous openings in 58 territories. The prior film out-performed the domestic box office by 17% and initial signs are that the spread between the two solitudes will be even greater. The top foreign territory was Russia with roughly $9.2 million with no indication the studios will be imposing future cinematic sanctions. Ukrainian box office date should be available Monday.

Mr. Peabody and Sherman had already bowed internationally last month and has amassed more than $40 million in about 20 foreign climes. The beloved animated character also exceeded industry tracking in its domestic debut and proved an appropriate counter-programmer to the sword and shenanigans. Its audience tilted 56% female and was 52% aged 25-years and older. Figures for the percentage comprised of families were unavailable but had to be considerable.

The myth of the impact of an Oscar theatrical bump post-broadcast need not be overly scrutinized. Theatrical and ancillary windows have changed radically in the past two decades and there can be no question winners and nominees see enhanced revenues by rubbing up to the golden statue. Domestically 12 Years a Slave more than doubled its screen count and experienced a comparable box office boost and the same can be said proportionally for Gravity and Dallas Buyers Club.

Be Sociable, Share!

• 
•