By Leonard Klady Klady@moviecitynews.com
The Weekend Report
Fifty Shades Freed topped weekend moviegoing with an estimated $38.8 million, followed by two other national newcomers, the free adaptation of Peter Rabbit, with $24.8 million, while clipped-from-the-headlines The 15:17 to Paris went hand-to-hand for $12.4 million.
The annual Oscar-nominated shorts program had its strongest start of $512,000. Among exclusives the downbeat Brooklyn families drama Golden Exits had the most encouraging start of $12,600 from a single walk-up, its own 35mm engagement, and just prior to video-on-demand.
Crosscultural La Boda da Valentina opened simultaneously in Mexico with domestic earnings of $1.1 million. Indian imports opened during national holidays but only Hindi Pad Man ($730,000) and Telugu TholiPrema ($611,000) broke through.
Revenues for the session generated more than $140 million and expanded an impressive 45%. It lagged behind 2017 by 27% when debuts of The Lego Batman Movie, Fifty Shades Darker and John Wick: Chapter Two led with openings of $53 million, $46.6 million and $30.4 million.
Critics have largely dismissed the sexual candor and kink of the billion-dollar-grossing Fifty Shades franchise, but audiences have embraced its sanitized sauciness. Tracking was in line with its first number. The concluding episode attracted a 75% female audience with 55% aged 25 and younger. The tale of the happy couple opened in 57 international markets as well, to an estimated $98 million. Top territories included Germany with $10.6 million, the UK $8.8 million and Franc $8.6 million.
Beatrix Potter’s beloved bunny exceeded tracking that suggested an $18-$20 million debut. The live-action animated mélange (a la Stuart Little) transported him to contemporary realms. Studio exit demos identified the audience as 58% female with 63% of the crowd 25 and younger. Family stats were unavailable but 34% classified as parents.
The run-up to The 15:17 to Paris was worrisome, including the casting of the real-life trio (non-actors) who foiled a terrorist plot cast as themselves. Real or imagined borders blurred and the result provided modest response, a $12-$14 million opening. While perceived as a “boys’ movie,” exit demos revealed a 51% female audience with 86% of ticket buyers aged 25 and younger. Internationally, the film opened day-and-date in 23 markets to a modest $5.3 million. The top-grossing territories were Italy with $1.5 million and France, where much of the country was shut down by crippling blizzards, with $1.4 million.
Weekend (estimates) February 9 – 11, 2018 | |||||
Title | Distributor | Gross (avg) | % chng | Thtr | Cume |
Fifty Shades Freed | Uni | 38.8 (10,290) | NEW | 3768 | 38.8 |
Peter Rabbit | Sony | 24.8 (6,650) | NEW | 3725 | 24.8 |
The 15:17 to Paris | WB | 12.4 (4,070) | NEW | 3042 | 12.4 |
Jumanji: Welcome to the Jungle | Sony | 9.7 (3,100) | -12% | 3126 | 365.5 |
The Greatest Showman | Fox | 6.3 (2,670) | -18% | 2373 | 146.5 |
Maze Runner: The Death Cure | WB | 5.8 (1,990) | -44% | 2923 | 48.8 |
Winchester | CBS/VVS | 4.9 (1.980) | -47% | 2480 | 17 |
The Post | Fox | 3.4 (1,820) | -35% | 1865 | 72.7 |
The Shape of Water | Fox Searchlight | 3.0 (1,670) | -33% | 1780 | 49.7 |
Den of Thieves | STX/VVS | 2.9 (1,950) | -37% | 1468 | 40.9 |
12 Strong | WB | 2.6 (1,390) | -44% | 1901 | 41.9 |
Hostiles | Ent Stud/Elev | 2.5 (1,150) | -50% | 2214 | 25.7 |
Three Billboards Outside Ebbing, Missouri | Fox Searchlight | 2.1 (1,680) | -29% | 1273 | 45.3 |
I, Tonya | Neon | 1.4 (1,270) | -44% | 1088 | 25.1 |
Darkest Hour | Focus | 1.3 (1,250) | -45% | 1045 | 51.5 |
Star Wars: The Last Jedi | BV | 1.3 (1,530) | -46% | 830 | 616.7 |
Forever My Girl | Roadside/Elev | 1.2 (1,080) | -49% | 1088 | 14.5 |
La Boda de Valentina | Lionsgate | 1.1 (3,440) | NEW | 331 | 1.1 |
Paddington 2 | WB | 1.1 (790) | -66% | 1429 | 38.4 |
Phantom Thread | Focus | 1.0 (1,750) | -54% | 558 | 16.2 |
Padmaavat | Viva | 1.0 (3,678) | -58% | 279 | 10.6 |
Lady Bird | A24/Elevation | .87 (1,370) | -34% | 634 | 45.2 |
Coco | BV | .81 (970) | -53% | 833 | 206.1 |
Pad Man | Sony | .73 (4,810) | NEW | 152 | 0.73 |
Insidious: The Last Key | Uni/Sony | .66 (1,210) | -55% | 545 | 66.8 |
Call Me By Your Name | Sony Classics | .65 (1,360) | -27% | 475 | 13.9 |
TholiPrema | Creative | .61 (4,460) | NEW | 137 | 0.77 |
The Commuter | Lionsgate/VVS | .57 (970) | -66% | 590 | 35.5 |
2018 Oscar Shorts | Magnolia | .51 (3,390) | 151 | 0.51 | |
Weekend Total ($500,000+ Films) | $134.00 | ||||
% Change (Last Year) | -27% | ||||
% Change (Last Week) | 45% | ||||
Also debuting/expanding | |||||
A Fantastic Woman | Sony Classics | .12 (5,900) | 84% | 20 | 0.23 |
The Insult | Cohen Media | .10 (2,070) | -6% | 50 | 0.45 |
Ang Dalawang Mrs. Reyes | ABS | .10 (2,930) | -52% | 34 | 0.85 |
Aadhi | Maxlab | 56,900 (1,390) | 41 | 0.06 | |
Inttelligent | 1.2: 4 | 51,300 (620) | 83 | 0.05 | |
Kalakalappu 2 | Cinemax | 35,400 (1,360) | 26 | 0.04 | |
Gayatri | 24 Frames | 21,600 (440) | 49 | 0.02 | |
First We Take Brooklyn | 2B Films | 13,200 (4,400) | 3 | 0.01 | |
Golden Exits | Vertical | 12,600 (12,600) | 1 | 0.01 | |
Permission | Good Deed | 10,900 (840) | 13 | 0.01 | |
La Confession | MK2 | 10,100 (2,020) | 5 | 0.01 | |
Basmati Blues | Shout! Factory | 7,200 (720) | 10 | 0.01 | |
The Female Brain | IFC | 6,800 (3,400) | 2 | 0.01 | |
Domestic Market Share (January 2 – February 8, 2018 | |||||
Distributor (releases) | Box Office (millions) | Market Share | |||
20th Century Fox (5) | 222.5 | 20.90% | |||
Sony (6) | 206.9 | 19.50% | |||
Buena Vista (3) | 119.4 | 11.20% | |||
Universal (5) | 103.7 | 9.80% | |||
Warner Bros. (8) | 82.6 | 7.80% | |||
STX (3) | 54.4 | 5.10% | |||
Fox Searchlight (2) | 48.7 | 4.60% | |||
Focus (2) | 44.8 | 4.20% | |||
Lionsgate (3) | 41.1 | 3.90% | |||
Entertainment (1) | 22.2 | 2.10% | |||
Neon (1) | 19.6 | 1.80% | |||
A24 (3) | 14.5 | 1.40% | |||
Roadside Attractions (1) | 12.5 | 1.20% | |||
CBS (1) | 11.2 | 1.00% | |||
Paramount (2) | 7.6 | 0.70% | |||
Other (51) | 50.7 | 4.80% | |||
1062.4 | 100% |