Deciquited (critical) of Solstice Studios collapsed with $4 million in its first U.S. weekend, earning $2,194 consistent with theater as the first major premiere in U.S. theaters. Since the industry closed in mid-March. As such, by default, it had the biggest opening weekend of the summer and the largest opening since The Hunt ($5.3 million), I Still Believe ($9 million) and Bloodshot ($9 million) opened just before the close of domestic cinemas. Russell Crowe’s mystery of fury behind the wheel starred in about 70% of the country and opened on July 1 as planned in mid-August. The film has been broadcast abroad, starting in Germany, since last month.
As reported yesterday, a film like Unhinged, a completely original, franchised road rage mystery starring Russell Crowe as a very bad guy who terrorizes a divorced mother exhausted by a minor traffic altercation, is precisely the kind of movie that would have struggled. theatrically in general times. Crowe has not been a “single” opener for a decade (Ridley Scott’s Robin Hood opened with $37 million in the summer of 2010, the same summer Chris Nolan opened with $62 million). The studio programmer’s theatrical perspective has plummeted over the more than five years as the general public turned to streaming and VOD for their non-event movie needs.
If $4 million turns out to be low by general standards, well, that’s true, but it’s also between the $3.7 million deyet of a good year in 2006 and the $6.5 million deyet from The next three days in 2010, when other people went to the videos just to move on to the videos. Given the cases of this launch, well, it may have been a lot worse. Unhinged’s appeal is simply that it’s a new film, which is complicated when the mere concept of a new movie in theaters hasn’t been a charm in itself for a long time.
Solstice expects $8 million indoors until Thursday. The film charges around $33 million, hoping for a $30 million national final. The film grossed $7.7 million overseas, adding Canada last Sunday, so we can assume about $15 million internationally until tonight. In general circumstances, a national multiplier of 7.1x would be a chimera. The creation, in what amounted to a situation at best ten summers ago, grossed 6.7 times its debut at $62 million for a domestic pool of $292 million. That said, it’s not like the multiplexes are full of new features until November, so I’ll wait until next weekend before doing concrete calculations.
For the records, The Next Three Days, which presented Crowe as a husband/father looking to get his convict unjustly out of prison, earned $21.148 million nationally, a fairly decent 3.2x multiplier. That would be around $13.5 million for Unhinged, but it may just be a comparison between apple and orange. After all, Ridley Scott’s A Good Year didn’t even double its first weekend with a gross national top of $7.4 million. One wrinkle is that the film premiered in 1823 theaters and will expand to 2300 theaters next Friday, where it will face the new mutants. The total scenario “after the start” will be confusing due to the addition of rooms in the next week or three.
This is especially true if New York and California will soon open their theaters. The film was screened for 56% of men, 65% of Caucasians, 20% of blacks, 12% of Hispanics and 80% of those over the age of 25. Paramount DI in Los Angeles is the number one place in the United States and has only 2 screens, surpassing the other 10 classic rooms that have between 15 and 24 screens. Movie parks were the five most sensitive sites this weekend (and six of the ten most sensitive), and The Paramount’s rating in Los Angeles was the top thriving. The genuine question.
I studied the film industry, both academically and informally, and with an analysis in the workplace, for almost 30 years. I’ve written a lot about everything
I studied the film industry, both academically and informally, and with an analysis in the workplace, for almost 30 years. I have written extensively on all these topics over the more than 11 years. My media for film reviews, workplace reviews and film bias scholarships have included The Huffington Post, Salon and Film Threat. Follow me on @ScottMendelson and like The Ticket Booth on Facebook.