‘Miss Peregrine’ Rules With $28.8M; ‘Deepwater Horizon’ Pulls $20.2M; ‘Masterminds’ Is $6.5M Bomb – Monday Final
FINAL UPDATE, Monday, 2:29 PM: Tim Burton’s latest fantasy entry Miss Peregrine’s Home for Peculiar Children ruled the roost this weekend after a better than expected Sunday. The film catapulted over two other newcomers — Deepwater Horizon from Lionsgate/Summit and Participant Media and Relativity’s misfire Masterminds. Fox and Chernin Entertainment’s Miss Peregrine‘s Home ushered in a final $28.8M with hopes that the film will continue to play right into Halloween.
Deepwater Horizon, whose ads put Mark Wahlberg front and center rather than concentrating on the story of the heroes whose lives were taken, ended up on the low side of $20M and will face competition next weekend for its sophomore frame from the psychological thriller The Girl on the Train, which will pull away the female audience (about half of DH‘s audience was female). GOTT could pull in $20M. In addition, another newcomer The Birth of a Nation could also grab some of the older audience away from Peter Berg’s film about the BP Oil disaster.
Meanwhile, Relativity’s Masterminds just did not open, despite having the advantage of a marketer’s dream cast for a comedy — Zach Galifianakis, Kristen Wiig, Kate McKinnon, Leslie Jones, Jason Sudeikis and Owen Wilson. The pipe dream of a $125M gross (which is what the company told bankruptcy court earlier this year that it was anticipating) was shattered when the film only garnered a B- CinemaScore and was ravaged by critics. The average multiple for a B- is only 2.7, which means it could end its run around $17.5M.
Here’s the Top 20 Box Office chart:
1). Miss Peregrine’s Home For Peculiar Children (FOX), 3,522 theaters / 3-day cume: $28.8M / Per screen average: $8,197 / Wk 1
2). Deepwater Horizon (LG), 3,259 theaters / 3-day cume: $20.2M / Per screen: $6,205 / Wk 2
3). Magnificent Seven (SONY), 3,674 theaters / 3-day cume: $15.6M (-55%) / Per screen: $4,253 / Total cume: $61.5M / Wk 2
4). Storks (WB), 3,922 theaters / 3-day cume: $13.4M (-37%) / Per screen: $3,436 / Total: $38.4M / Wk 2
5). Sully (WB), 3,717 theaters (-238) / 3-day cume: $8.27M / Per screen: $2,226 / Total: $105.2M / Wk 4
6). Masterminds (REL), 3,042 theaters / 3-day cume: $6.5M / Per screen: $2,150 / Wk 1
7). Queen of Katwe (DIS), 1,242 theaters (+1,190) / 3-day cume: $2.29M (+718%) / Per screen: $2,009 / Total cume: $2.89M / Wk 2
8). Don’t Breathe (SONY), 1,653 theaters (-785) / 3-day cume: $2.38M / Per screen: $1,441 / Total cume: $84.7M / Wk 6
9). Bridget Jones’s Baby (UNI), 2,055 theaters (-875) / 3-day cume: $2.3M / Per screen: $1,136 / Total cume: $20.98M / Wk 3
10). Snowden (OPRD), 1,821 theaters (-622) / 3-day cume: $1.96M / Per screen: $1,080 / Total cume: $18.6M / Wk 3
11). Suicide Squad (WB), 1,638 theaters (-534) / 3-day cume: $1.9M / Per screen: $1,171 / Total cume: $320.8M / Wk 9
12). Blair Witch (LGF), 1,828 theaters (-1,293) / 3-day cume: $1.58M / Per screen: $864 / Total cume: $19.1M / Wk 3
13). When the Bough Breaks (SONY), 901 theaters (-543) / 3-day cume: $1.2M / Per screen: $1,332 / Total cume: $28.5M / Wk 4
14). M.S. Dhoni: The Untold Story (FIP), 256 theaters / 3-day cume: $1.1M / Per screen: $4,331 / Wk 1
15). Hell or High Water (LGF), 520 theaters (-608) / 3-day cume: $501K / Per screen: $965 / Total cume: $25.7M / Wk 8
16). Bad Moms (STX), 559 theaters (-427) / 3-day cume: $474K / Per screen: $849 / Total cume: $112.5M / Wk 10
17). Kubo and the Two Strings (FOC), 526 theaters (-683) / 3-day cume: $469K / Per screen: $892 / Total cume: $46.7M / Wk 7
18). The Secret Life of Pets (UNI), 462 theaters (-285) / 3-day cume: $443K / Per screen: $960 / Total cume: $364.9M / Wk 13
19). No Manches Frida (LGF), 256 theaters (-160) / 3-day cume: $379K / Per screen: $1,480 / Total cume: $10.89M / Wk 5
20). The Dressmaker (BGP), 159 theaters (+123) / 3-day cume: $365K (+98%) / Per screen: $2,301 / Total cume: $630K / Wk 2
Anita Busch compiled Monday’s final box office report.
Updated Sunday: 7:47 AM: Saturday proved a good day for this weekend’s box office leader, Fox/Chernin Entertainment’s Miss Peregrine’s Home for Peculiar Children, which enjoyed a 33% boost from Friday to bring its opening weekend to about $28.2M to $28.5M. The high-end of the gross estimate figures in a drop today of 35%. The film has been skewing more female (59% of audience make-up) and its B+ CinemaScore usually carries with it (on average) about 3.2 multiple which would bring it around $91M at the end of its run. Canada made up roughly 8% of the North American take and the film played pretty well across the U.S. — from top markets of L.A. and New York to smaller markets of San Antonio and Hawaii.
The Tim Burton brand carries some weight abroad so we’ll be watching the overseas rollout of this $110M-budgeted film (and that’s not counting p&a). It’s in about 50 markets, including the biggies of the U.K. and Russia. For a look at its international box office performance, see Nancy Tartaglione’s Deadline report. Other than that, the studio’s marketing department promo team put together some retail promotions with Saks 5th Ave, Marc Jacobs, Target, to name a few, to bring up the awareness of this quirky film.
Deepwater Horizon — which is the new adult-skewing title to enter the marketplace after the now $100M+ grossing Sully is coming into the gate in its 4th weekend of release — is opening to about $20M+ for Lionsgate/Summit/Participant Media. The Mark Wahlberg/Peter Berg disaster drama about the BP oil spill and the men whose lives were taken in the explosion could have strong legs as both its core audience and critics have lauded it, but its second weekend is key and it will find itself going up against Girl on a Train and Birth of a Nation next weekend (not to mention football Sunday today). Not surprisingly, DH over-indexed in the Gulf Coast region — Houston, for instance. Imax accounted for roughly 2.7M of the film’s overall box office take. It is rolling out in about 40 markets overseas.
Deepwater Horizon is yet another pairing of Wahlberg and Berg on a hero’s story — after Lone Survivor and before the upcoming Patriots Day. While Survivor opened slowly and built positive word-of-mouth and critical acclaim that led it to end its domestic run at $125M domestically, Deepwater Horizon used a different strategy, opening wide but industry observers have noted that it did so without a strong marketing push behind it. The spots focused on Wahlberg/Kate Hudson and the disaster, but not the heroics of those who died.
RELATED: Wahlberg and Berg Take Two Shots At Everyman’s Biggest Fear
The film played well in Wahlberg’s stomping ground of Boston and was up 59% from Friday to Saturday there. It also enjoyed night-to-night increases in New York (+49%), Miami (+49%) and Toronto (+45%).
One of the interesting things being done is that $1 from each ticket sold on Atom will be going to the Louisiana Flood Relief Fund, but it is important to note that none of the money from that fund will be going directly to the victims of one of the worst floods in U.S. history. Not a penny. For more analysis of the financials of this picture, read below.
Speaking of pennies, Relativity’s Masterminds gathered just that (comparatively) and basically bombed with a mere $6.6M opening estimate — a far cry from what the company’s spinmeisters proclaimed it could to the bankruptcy court (wait — Relativity honchos wildly exaggerated again? Shocking!). The company stated that it expected to gather up well over $100M but this picture’s release date was pushed many times, there had already been a marketing spend on it prior to its first release date and then the film disappeared from sight, only to resurface. Besides, the critics hated it and the audience gave it a B- (which translates to an average multiple of 2.7 — or only $17.8M). The company’s first film after bankruptcy — The Disappointments Room — also bombed. The next one on their slate is the Halle Berry-starring Kidnap on Dec. 2. Enuf said.
Meanwhile, MGM/Sony’s The Magnificent Seven will drop about 54% in its second weekend in the corral for a total cume so far of about $61.7M. The animated Warner Bros.’ family film Storks had a solid hold in its sophomore frame with a mere 33% to 35% drop (depending on how strong family moviegoing Sunday is) and a two-weekend total of $38.6M. Saturday delivered a big 109% increase over Friday as this is truly a family favorite.
Disney is rolling out its little gem Queen of Katwe slowly and expanded to 1,242 runs this weekend while Warner Bros.’/Village Roadshow’s Sully surpassed $100M with $105.3M all in (after only 24 days).
NOTEWORTHY: With a cume of $112.5M, STX’s female-driven comedy Bad Moms has the highest multiple to date (4.72) this year for a wide release. The film garnered an A CinemaScore when it opened 10 weeks ago (the average multiple for the A score is 3.6).
That is an overview — here is the Top Ten chart:
1). Miss Peregrine’s Home For Peculiar Children (FOX), 3,522 theaters / $8.9M Fri. (includes Thursday previews of $1.2M) / $11.89M Sat. (+33%) / $7.7M Sun. (-35%) / 3-day cume: $28.5M / Wk 1
2). Deepwater Horizon (LG), 3,259 theaters / $7M Fri. (includes $860K Thursday previews) / $8.29M Sat. (+17%) / $5.3M Sun. (-35%) / 3-day cume: $20M+ / Wk 2
3). Magnificent Seven (SONY), 3,674 theaters / $4.6M Fri. (-64%) / $7M Sat. (+52%) / $4.2M Sun. (-40%) / 3-day cume: $15.8M (-54%) / Total cume: $61.7M / Wk 2
4). Storks (WB), 3,922 theaters / $3M Fri. (-45%) / $6.4M Sat. (+109%) / $4.1M Sun. (-35%) / 3-day cume: $14M (-33% to 35%) / Total: $38.7M / Wk 2
5). Sully (WB), 3,717 theaters (-238) / $2.4M Fri. (-40%) / $3.7M Sat. (+54%) / $2M Sun. (-45%) / 3-day cume: $8.3M (-38%) / Total: $105.3M / Wk 4
6). Masterminds (REL), 3,042 theaters / $2.3M Fri. (includes $265K previews) / $2.68M Sat. (+16%) / $1.6M Sun. (-40%) / 3-day cume: $6.6M / Wk 1
7). Queen of Katwe (DIS), 1,242 theaters (+1190) / $706K Fri. (+7802%) / $1.1M Sat. (+60%) / $733K Sun. (-35%) / 3-day cume: $2.5M (+741%) / Total cume: $2.9M / Wk 2
8/9). Bridget Jones’s Baby (UNI), 2,055 theaters (-875) / $710K Fri. (-52%) / $1M Sat. (+45%) / $615K Sun. (-40%) / 3-day cume: $2.3M (-50%) / Total cume: $21M / Wk 3
Don’t Breathe (SONY), 1,653 theaters (-785) / $666K Fri. (-39%) / $1M Sat. (+64%) / $545K Sun. (-40%) / 3-day cume: $2.3M (-38%) / Total cume: $84.7M / Wk 6
10). Snowden (OPRD), 1,821 theaters (-622) / $537K Fri. (-43%) / $873K Sat. (+62%) / $520K Sun. (-40%) / 3-day cume: $1.9M / Total cume: $18.6M / Wk 9
Anita Busch wrote the Sunday box office story.
4TH Write-thru Saturday, 1:06pm: Wait until today’s matinees. That’s what many are saying about the opening weekend for 20th Century Fox/Chernin Entertainment’s Miss Peregrine’s Home for Peculiar Children which as of this morning is seeing $9M for Friday and a revised projection of $26M over three days.
Lionsgate/Summit/Participant Media’s Deepwater Horizon has everything working for it: an 81% fresh Rotten Tomatoes rating and an A- CinemaScore. We hear it will continue to surpass its tracking figures–as is typical with Mark Wahlberg movies–as we head into tonight with a weekend opening that’s north of $20M.
But many were expecting more from Deepwater Horizon, especially in a fall marketplace where critically acclaimed and mass-appealing movies are performing to the top of their game, i.e. Sony/MGM’s Magnificent Seven ($15.6M, -55%, cume $61.5M) and Warner Bros./Village Roadshow’s Sully ($8.2M weekend, $105.2M domestic cume). With Deepwater Horizon coming away with an A- CinemaScore, sources believe that Lionsgate dropped the ball on marketing the Peter Berg-directed movie to a higher opening. Those leaving the theater exclaim that Deepwater Horizon literally has the intensity of Jaws. Whereas Sony was everywhere with Magnificent Seven in its promos, rivals believe that Lionsgate was not. The big criticism about Lionsgate’s handling of Deepwater Horizon is that they missed the boat on selling this movie about the April 2010 oil rig disaster as a heroic story. With Wahlberg, Lionsgate has a social media star who will go out of his way to do anything to open a movie, and he continues to relentlessly tubthump the film on his social channels. For a mini-major that wants to be a major studio, many lately are questioning Liongate’s ability to market and open movies; their latest string of misfires include Blair Witch, Now You See Me 2 and especially The Divergent Series: Allegiant and Gods of Egypt. Deepwater Horizon received a launch at the Toronto International Film Festival, however, the word of mouth was stalled because it was buried on the festival’s programming schedule after its first weekend. And if you want to make a splash at TIFF, a distrib makes sure that a title plays the first weekend.
Some insiders close to the production vouch that Lionsgate was conscious about the hero element in their Deepwater Horizon promos, as well as honoring the memories of the 11 victims lost on the rig as well as the 100-plus survivors — without exploiting them. The survivors as well as the victims’ families were invited to set. Further down in the piece, we expound on Lionsgate/Participant Media’s social initiatives.
Nonetheless that A- CinemaScore could eventually push this Berg/Wahlberg combo to a greater multiple. Pic’s audience was split evenly between males and females with 37% of the audience coming for Wahlberg (Dylan O’Brien is in the movie too). Deepwater Horizon has a steep gross production cost before P&A of $156M, and a net of $118M after $37.7M Louisiana tax credits. Participant and Lionsgate are equal partners on the film. As is typical on Lionsgate titles, there’s a decent percentage of the cost covered by foreign sales.
Social media monitor RelishMix observes from the social conversation that Deepwater Horizon could have been slowed by some mixed chatter relating to some of the politics surrounding the film: “Just like Jason Bourne and some other films this year, a political discussion is part of the conversation for Deepwater. Some are encouraging moviegoers to boycott the film for various reasons ranging from BP’s lack of responsibility to the continued use of offshore drilling. Others are touched by the portrayal of the disaster, and like materials from the preview in addition to a recent HBO behind-the-scenes special.”
Then there’s Relativity Media’s all-star comedy heist Masterminds which is nosediving with an estimated $6.4M in sixth place at 3,042 runs. CinemaScore polls gave it a B- while critics hate it at 40% rotten.
Since Miss Peregrine was a New York Times bestseller that appealed to young girls, depending on how many of them come out this afternoon will determine how high this Tim Burton title goes. As we mentioned previously, with an estimated $110M budget, it will definitely need to lean on overseas.
Why isn’t Miss Peregrine‘s opening in The Maze Runner range?
That YA film was nearly split 50/50 between men and women. Miss Peregrine is pulling in 62% females to 38% males. Under 18 bunch repped 31% while over 25 (likely Moms) turned out at 57%. Nonetheless, many remark that Burton is the quintessential director for this source material by Ransom Riggs. Ever since Fox acquired the book four years ago, they sought out Burton to direct. By early 2015, the project was fast-tracked when casting came together. 51% came out because they’re fans of the book, while 22% of the crowd cited Burton as their reason for attending.
Miss Peregrine isn’t that far from Burton’s Gothic soap opera comedy Dark Shadows both in its first weekend ($29.5M opening, $79.7M domestic, $245.5M global) and the fact that it drew older females. True, Dark Shadows had Johnny Depp working in its favor, but at the time it was considered a disappointing debut for a Burton/Depp combo. Dark Shadows earned a B- CinemaScore and grossed close to a 3x multiple at the domestic B.O. Audiences graded Miss Peregrine a B+ CinemaScore which is better, but it’s still not Alice in Wonderland (A- CinemaScore).
According to RelishMix, Miss Peregrine ran a strong social media campaign with the overall conversation being “very positive because of the beloved book.” RelishMix also noticed that Burton fans were planning to make trips to the theaters too. Total social media universe across Twitter, Instagram, Facebook and YouTube counts 87M with pic’s social media tubthumpers being Burton and star Samuel L. Jackson, who collectively total more than 16M social followers. The movie’s daily video views range in the 15-20K range, which is respectable for a fall release. Notable in the social marketing is the hashtag #StayPeculiar which has looped in a fair amount of posts on Burton’s characters in the movie. There are character introductions, BTS looks with Burton and the usual re-posting of positive reviews.
Participant Media largely invests in socially conscious projects, i.e. Lincoln, The Help. At the end of August, Deadline’s Michael Cieply detailed the irony on how Deepwater Horizon was reaping a huge Louisiana tax credit under a phased out, higher cap at a time when the state was desperately in need of funds following a flood of Biblical size. On Friday, Deadline received news that those buying Deepwater Horizon tickets on Atom Tickets will see $1 from their purchase contributed toward the Louisiana Flood Relief Fund. Wahlberg and Deepwater co-star Kate Hudson spread the news on social. Press release reads, “The convenient and socially driven movie ticketing platform will run the fundraising campaign for the duration of the film’s theatrical release or until they raise $20,000.” (Deadline reported that if the movie’s producers chose to do so, there is an option to sell their tax credits back to Louisiana at 85% of their face value, a total cash payment of $32M).
Deepwater Horizon is now playing! Get tickets from Atom & they’ll donate $1 to Louisiana flood victims. Use code DWH https://t.co/jxsgEqx4a6
— Mark Wahlberg (@mark_wahlberg) September 30, 2016
Lionsgate and Participant Media also report they’re making a large donation to the Foundation for Louisiana for immediate flood victims and are encouraging audiences to donate. Lionsgate held an event screening for the movie in New Orleans where the victims’ families and survivors of the rig disaster were in attendance along with pics talent and filmmakers.
Unlike The Disappointments Room, which Relativity dumped four weeks ago, the studio put its best foot forward in regards to marketing and distributing Masterminds. While Kate Beckinsale allegedly sought to distance herself from Disappointments Room, some of the Masterminds cast were on hand to promote the comedy, that is if their busy schedules permitted it. Talent reps were prepared to free up these clients when they heard the pic was a getting a release last summer. But when Masterminds was rescheduled and swallowed into Relativity’s bankruptcy, reps had to plan out their clients’ 2016 calendar. Kristen Wiig and Owen Wilson were in production on different movies, while Zach Galifianakis was busy with his FX show. Nonetheless, all three attended last Monday’s Hollywood premiere. SNL started up for Kate McKinnon and Leslie Jones. Jones didn’t participate in promoting due to her Twitter hack, while McKinnon made time for satellite interviews and some press. Jason Sudeikis was consumed with the TIFF press tour for Colossal plus the fact that he’s prepping for the Off-Broadway run of Dead Poets Society.
On social, Relish Mix has pointed out much mayhem with Masterminds. In all fairness, Relativity chief Ryan Kavanaugh and president Dana Brunetti have promoted Masterminds on their social accounts. But RelishMix calls the comedy’s 26.6M social media universe light, not to mention the movie has a socially inactive (or rather not-activated) cast.
Says Relish Mix, “Let’s take Masterminds as the latest example of how smart the moviegoing audience is. We say this because in many of the comments, fans are asking each other, ‘Didn’t this trailer first appear about 18 months ago?’ In other words, film fanatics read posts and trades often too, and they’re aware of the fact that when a movie delays its release, it usually spells trouble. Back in July, hip-hop artist Flo Rida – with 18M Facebook fans – posted that his single ‘Zillionaire’ was in the Masterminds trailer. But, there aren’t any posts on the film’s Facebook page involving this musical artist with his millions of fans.”
Top 10 films per industry-reported estimates as of Saturday AM for the weekend of Sept. 30-Oct. 2:
1). Miss Peregrine’s Home For Peculiar Children (FOX), 3,522 theaters / $9M Fri. (includes Thursday previews of $1.2M)/ 3-day cume: $26M / Wk 1
2). Deepwater Horizon (LG), 3,259 theaters / $7M Fri. (includes $860K Thursday previews) / 3-day cume: $20M / Wk 2
3). Magnificent Seven (SONY), 3,674 theaters / $4.6M Fri. (-64%) / 3-day cume: $15.6M (-55%)/Total cume: $61.5M/ Wk 2
4). Storks (WB), 3,922 theaters / $3.2M Fri. (-45%) /3-day cume: $14M (-34%) /Total: $39M/ Wk 2
5). Sully (WB), 3,717 theaters (-238)/ $2.5M Fri. (-40%)/ 3-day cume: $8.2M (-39%)/Total: $105.2M / Wk 4
6). Masterminds (REL), 3,042 theaters / $2.3M Fri. (includes $265K previews)/ 3-day cume: $6.4M / Wk 1
7). Don’t Breathe (SONY), 1,653 theaters (-785) / $670K Fri. (-39%) / 3-day cume: $2.3M (-39%)/ Total cume: $84.7M / Wk 6
8). Bridget Jones’s Baby (UNI), 2,055 theaters (-875) / $712K Fri. (-52%)/ 3-day cume: $2.2M (-49%)/Total Cume:$20.9M/ Wk 3
9). Queen of Katwe (DIS), 1,242 theaters (+1190) / $706K Fri. (+7802%)/ 3-day cume: $2.1M (+6072%) / Total cume: $2.58M / Wk 2
10). Suicide Squad (WB), 1,638 theaters (-534) / $459K Fri. (-43%) / 3-day cume: $1.8M (-42%) / Total cume: $320.8M / Wk 9
NOTABLES:
Denial (BST), 5 theaters / $38k Fri. /PTA: $24k/ 3-day cume: $120k / Wk 1
American Honey (A24), 4 theaters / $25k Fri. / PTA: $18,5k/3-day cume: $74k / Wk 1
UPDATE, FRIDAY 12 PM: Two fall wide releases with production costs over $100 million, and both set to open in the $20M range. We’re talking about 20th Century Fox’s Miss Peregrine’s Home For Peculiar Children and Lionsgate/Summit/Participant Media’s Peter Berg action drama Deepwater Horizon. Projected off of industry matinees today, Fox/Chernin Entertainment’s Tim Burton-directed movie is looking at a $9M-$9.5M Friday (including $1.2M Thursday) and a three-day debut that’s between $27M-$28M at 3,522 screens in first place. That’s just under what Burton’s 2012 gothic comedy Dark Shadows did ($29.5M opening, $79.7M domestic, $245.5M global), and that was more expensive than Miss Peregrine, $150M to $110M.
Mark Wahlberg headliner Deepwater Horizon is at $7M-$7.5M for today (including $860K previews from last night) and on track for a $21M-$22M opening weekend.
“Neither can be deemed a hit, but neither is a disaster. Let’s see how they play during the weekend,” said one major studio box office guru today. Working in Deepwater Horizon‘s favor right now is that it’s certified fresh by Rotten Tomatoes with 80%, and if it earns an A- CinemaScore or higher, the pic could leg out domestically like Sully did.
In regards to Peregrine‘s profit down the line, Burton’s name means something abroad — particularly in the UK. And knowing 20th Century Fox’s international department, they can always squeeze box office blood from a rock, rallying middling stateside films to bigger grosses abroad, i.e., Gulliver’s Travels ($42.7M domestic, $194.6M overseas) and The Chronicles Of Narnia: Voyage Of The Dawn Treader ($104.4M stateside, $311.3M foreign).
Sony/MGM/Village Roadshow’s Magnificent Seven will ease 55% for $15.5M this weekend and a 10-day tally of north of $61M. Warner Bros Animation’s Storks will fly down 40% for a $12M-$13M second weekend and a 10-day run of $38M.
Relativity Media’s Masterminds is falling down after a $275K Thursday night with an estimated $2.5M Friday and $7M opening weekend.
Disney’s second weekend wide expansion of Queen Of Katwe from 52 to 1,242 is looking at $1M today and $3M over FSS. More updates later tonight.
PREVIOUS, FRIDAY, 6:37 AM: 20th Century Fox/Chernin Entertainment’s Miss Peregrine’s Home for Peculiar Children grossed $1.2M on Thursday at approximately 3,000 locations with showtimes starting at 7PM. This is on par to Maze Runner’s Thursday night which minted $1.1M, on its way to a $11.26M Friday and $32.5M weekend. The industry expects the $110M Tim Burton-directed movie based on the bestelling kids’ novel to hit No. 1 with a mid-$20M range three-day at 3,522 theaters.
Meanwhile, Lionsgate/Summit/Participant Media’s Deepwater Horizon mined $860K at 2,400 theaters. The Mark Wahlberg action thriller about the explosion and sinking of the oil rig in April 2010 that saw 11 people missing and 4.9M barrels of oil discharged is expected to bring in between $16M-$20M, and might slot second. The film before Louisiana tax credits carries a production cost of $156M. There were $37.7M in Louisiana Tax credits, with sources close to the pic claiming a net budget between $110M-$120M. Wahlberg movies have a tendency to beat their tracking numbers, so that’s what Lionsgate is hoping for at this point in time.
If Deepwater Horizon loses second place, it will be to Sony/MGM/Village Roadshow/L Star’s The Magnificent Seven which is expected to make between $17M-$18M in its second weekend. Yesterday, Mag 7 was the top movie at the B.O. with $2.1M and a week’s cume of $45.9M. By Sunday, Mag 7 will reach under $64M, while another Village Roadshow co-financed production, Warner Bros.’ Sully is bound to clear $100M in its fourth weekend of release.
Relativity Media has the all-star comedy heist movie Masterminds debuting in an estimated 2,800 sites. Industry projections say if this Kristen Wiig-Zach Galifianakis-Owen Wilson-Jason Sudeikis film is lucky, it will hit $10M. One thing that this Relativity bankruptcy survivor has that The Disappointments Room did not is more marketing.
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