Sunday, January 23, 2022

Sony Pictures Classics, UAR Upbeat On ‘Parallel Mothers’ Open, ‘Licorice Pizza’ Expansion Amid Omicron – Specialty Box Office

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Pedro Almodóvar’s Parallel Mothers opened to an estimated $41,076 this weekend on three screens for a PSA of $13,692 over three days. Distributor Sony Pictures Classics co-president Michael Barker calls that cume conservative, anticipating $42-$43K for the Penelope Cruz-starrer that he mentioned has been attracting a various new viewers to Almodóvar, together with youthful moviegoers.

“We’re thrilled with the opening. This last week has been really nerve-racking. We didn’t know what to expect. They were closing down live theater, restaurants in my neighborhood were closing on certain days,” Barker mentioned. He attributed the strong displaying amid Omicron headwinds to a mix of nice evaluations, robust phrase of mouth and kudos for Cruz in what some are calling her finest function.

The movie will develop by means of Jan. from its perch (at Lincoln Center and the Angelika in NY and the Landmark in LA) including areas every weekend to peak at a number of hundred screens in all prime 50 media markets and a few smaller cities. The first bounce subsequent weekend will embody San Francisco, Chicago and Washington, D.C.

Parallel Mothers closed the New York Film Festival this fall, cheered by a younger crowd that’s joined the core older, homosexual and feminine fan base for the Spanish director.

He’s an necessary one for Sony Pictures Classics, which has rights to his complete library and, Barker mentioned, more and more finds new properties for it at festivals on platforms and streamers. HBO Max, as an example, showcased Almodóvar movies final spring as a part of the TCM Classic Movie Festival (together with Women on the Verge of a Nervous BreakdownVolver (Best Actress Oscar nod for Cruz), The Skin I Live In and brief movie The Human Voice with Tilda Swinton.

“These sites are looking for diverse programming and it’s a breath of fresh air. A new revenue stream, that is great. And it’s great to have the entire library when you are opening the latest film,” Barker mentioned. This one, which additionally stars Milena Smit and Rossy de Palma, follows two ladies, Janis (Cruz) and Ana (Smit), who meet in a hospital room earlier than giving beginning and develop a detailed bond that complicates and adjustments their lives in dramatic methods. See Deadline Review right here.

More broadly, Barker thinks the specialty movie market (which appeared on the verge of a nascent restoration a month in the past) “has taken a few steps back because of Omicron. But I think it will come back really strong.”

The different high-profile specialty opening, Joel Coen’s The Tragedy of Macbeth from A24 and Apple, appears to be like set to earn about $110K over two days (Sat./Sun.) from circa 20 areas – that’s solely in response to estimates from a distribution supply since Apple doesn’t report grosses. It would imply a PSA of $5.5K for the black-and-white Shakespeare adaptation of the murderous, sophisticated energy couple starring Denzel Washington and Frances McDormand.

As per Deadline’s Specialty Preview Friday, Macbeth was set to open in 30 theaters in North America with a restricted enlargement in January to 125-200 screens. It hits Apple TV+ on Jan. 14.

A notable enlargement: Licorice Pizza from United Artists Releasing went from 4 screens in two markets (NY/LA the place it launched Nov. 28 to what UAR known as a file per display common of $83.8K) to 786 runs in 133 markets on Saturday. It has an estimated weekend gross of $2.3M, for a PSA of $2,962 and a cume of $3.7M.

UAR mentioned 66% of the viewers for the MGM Paul Thomas Anderson’s Seventies teen comedy was within the 18 to 34 year-old demo and that it expects the movie to proceed to construct momentum.

It performed finest on the coasts (led by NY/LA), did nicely in Chicago, San Francisco, Washington, D.C., Minneapolis and a few smaller locales — like Bend, Oregon. “I’m really pleased with the results, and the fact that we can do as much or more than some of the big films in a third of the theaters,” mentioned UAR distribution chief Erik Lomis. (Sony’s A Journal for Jordan, as an example, earned $2.2M on 2,500 screens.)

Lomis mentioned he was fortunately stunned by the younger demos turning out. “I would have said, ‘No way, the audience has to be older, at least 50% over 35’. The fact that we are appealing to a younger group speaks to the playability and long term viability of the movie.”

The 18-35 crowd has sparked this 12 months’s field workplace restoration, particularly by piling into Spider Man: No Way Home. But the over-35 demo essential to arthouses and specialty movie has been a lot slower to return since Covid, and the Omicron hiccup hasn’t helped. Specialty distributors hope headlines – like quickly falling circumstances in South Africa, the place the variant was first found — are an indication that issues might reset sooner relatively than later.

As for Licorice Pizza, “Once word of mouth gets out there over the holidays, people like an original story, and it’s a joyous story. And [with] everyone consumed with Spider-Man there has to be an alternative,” mentioned Lomis. “It’s fun, original and people really, really enjoy it. This is a marathon, not a sprint.”

Meanwhile, UAR’s holdover House of Gucci, one of many few adult-skewing motion pictures to make a dent on the field workplace this 12 months, hit a cume of $47.2M in week 5 after a three-day $922K weekend.

In a brand new launch, Reliance Film reported a weekend gross of $1.76M for its movie by Kabir Khan known as 83 at 481 areas – a PSA of $3,662. The Bollywood cricket-themed pic is the true story of the underdog Indian males’s cricket group led by Kapil Dev (Ranveer Singh) that defeated reigning champions the West Indies on the 1983 World Cup finals.

Other holdovers embody A24’s Red Rocket in week three ($150.7K on 477 screens, cume $372.5K) and its C’mon C’mon in week six ($18.7K on 49 screens, cume $1.82M).

Sideshow/Janus Films’ launch of Ryusuke Hamaguchi’s critically acclaimed Drive My Car, in week 5, grossed an estimated $19,172 on 16 screens for a per-screen common of $1,198 and a brand new cume of $271,848.





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