Those films doubled their openings, so if Commuter does likewise, then it'll be a $33m domestic finish. Lionsgate isn’t on the hook for much on this one (if it does $20m domestic, they'll be okay), and even a final figure comparable to Run All Night ($26m) and the super-grim A Walk Among the Tombstones ($26m after a $12m debut in late 2014) would be relatively fine. That’s about on par with the last Collett-Serra/Neeson thriller, the gritty New York crime/mob drama Run All Night, which earned $11 million over its Fri-Sun debut weekend in March of 2015. That's not terrific, but it's frankly a little better than I hoped and hopefully a good start for a good movie.
As such, the film earned a decent $13.7m Fri-Sun debut and $16.375m over the holiday. Reviews were mixed (I liked it, but I love this director’s particular set of skills), and there just wasn’t much buzz for the train-set thriller. The Studio Canal picture is yet another Jaume Collet-Serra-directed potboiler, again casting Liam Neeson as the Jimmy Stewart to his Alfred Hitchcock. Lionsgate opened The Commuter over the long holiday to relatively promising results. So, on that note, well done American moviegoers! With every Spielberg drama that makes money, we make sure the next one doesn't go straight to Netflix. There is a tragic irony, in that Spielberg was among those who created the modern popcorn blockbuster and now is among the few that can both make and profit from adult-skewing character-driven, star vehicle dramas in 2018. Either way, th is one is a rock-solid studio programmer, so I expect long legs as our parents and/or grandparents check it out at their convenience. It’s a coin toss as to whether The Post will be the first straight Steven Spielberg drama since Amistad in 1997 not to get a Best Picture nomination.
Paddington 2 box office movie#
But this should be the kind of movie that plays huge to your parents and grandparents who will seek it out at their convenience, so a total closer to Captain Phillips ($125m) if not quite Lincoln or Hidden Figures ($170m) wouldn't shock me in the least. If it's merely as leggy as Bridge of Spies (platform release notwithstanding), we're looking at a $90-$95 million domestic total. Of course, had Disney continued its deal with DreamWorks SKG, this would have been a Disney release, which would have made lines about powerful folk penalizing newspapers for negative coverage ring painfully ironic. Of note, this is the third successful early January Oscar expansion for Fox in three straight years, after The Revenant in 2016 and Hidden Figures last year.įox is good at this kind of thing, and frankly, I think that’s a big part of why Walt Disney wants to buy them. Considering this one opened amid a lot more adult-friendly pictures and with a little less buzz than Lincoln had at the start, I’m reasonably impressed.
Inflation notwithstanding, it’s pennies away from the $20m wide opening Friday of Lincoln in November of 2012 and above The BFG's $18m Fri-Sun/$22m Fri-Mon start in July of 2016. That’s better than the $15.3 million debut for Bridge of Spies in October of 2015, a leggy Cold War thriller that ended up with $72m domestic and $165m worldwide on a $40m budget.
0 kommentar(er)
