March 30-April 1 Weekend Actuals
1. The Hunger Games (Lionsgate) Week 2 [4,137 Theaters] PG13
Friday $18.7M, Saturday $24.7M, Sunday $15.2M, Weekend $58.6M (-62%), Cume $248.5M2. Wrath Of The Titans 3D (Legendary/Warner) NEW [3,545 Theaters] PG13
Friday $12.3M, Saturday $12.7M, Sunday $8.4M, Weekend $33.5M3. Mirror Mirror (Relativity) NEW [3,603 Theaters] PG
Friday $5.8M, Saturday $7.6M, Sunday $4.7M, Weekend $18.1M4. 21 Jump Street (MGM/Sony) Week 3 [3,148 Theaters] R
Friday $4.6M, Saturday $6.3M, Sunday $4.0M, Weekend $14.8M (-28%), Cume $92.9M5. Dr Seuss’ The Lorax 3D (Universal) Week 5 [3,264 Theaters] PG
Friday $2.1M, Saturday $3.5M, Sunday $2.2M, Weekend $7.8M (-41%), Cume $189.3M6. John Carter 3D (Disney) Week 4 [2,397 Theaters] PG13
Friday $544K, Saturday $892K, Sunday $593K, Weekend $2.0M (-60%), Cume $66.2M7. Salmon Fishing in Yemen (CBS) Week 4 [483 Theaters] PG13
Friday $345K, Saturday $592K, Sunday $336K, Weekend $1.3M (+81%), Cume $3.2M8. Act Of Valor (Relativity) Week 6 [1,239 Theaters] R
Friday $291K, Saturday $445K, Sunday $266K Weekend $1.0M (-51%), Cume $67.7M9. A Thousand Words (Dworks/Par) Week 4 [1,007 Theaters] PG13
Friday $241K, Saturday $428K, Sunday $233K, Weekend $903K, Cume $16.5M10. Journey 2 (Warner Bros) Week 8 [908 Theaters] PG
Friday $215K, Saturday $361K, Sunday $234K, Weekend $810K, Cume $98.4M
SUNDAY AM, 8TH UPDATE: It’s another huge
weekend for the North American box office with $150M, or +25% from last year. Lionsgate’s humongous holdover The Hunger Games won the weekend domestically and nearly internationally again despite two new major releases opening against it. Warner Bros/Legendary Pictures’ 3D action fantasy sequel Wrath Of The Titans failed to come close to the original’s grosses, while Relativity Media’s Snow White comedy Mirror Mirror failed to lure families. Both received ‘B+’ CinemaScores from audiences even if critics were at best lukewarm. Meanwhile, we now know how low Disney’s $200M writeoff John Carter will go: it will be lucky to reach $70M domestic. Starting its 4th weekend in release, this disaster is already discounted at Valley Plaza 6 in Van Nuys for $2 before 6 PM and $3 after.
This weekend’s Top 5 films (rest of Top 10 below)
1. The Hunger Games (Lionsgate) Week 2 [4,137 Theaters] PG13-Rated
Friday $18.8M, Saturday $26.2M, Weekend $61.1M (-60%), Cume $251.0M
2. Wrath Of The Titans 3D (Legendary/Warner) NEW [3,545 Theaters] PG13-Rated
Friday $12.4M, Saturday $13M, Weekend $34.6M
3. Mirror Mirror (Relativity) NEW [3,603 Theaters] PG-Rated
Friday $5.8M, Saturday $7.9M, Weekend $19.3M
4. 21 Jump Street (MGM/Sony) Week 3 [3,148 Theaters] R-rated
Friday $4.6M, Saturday $6.2M, Weekend $14.8M, Cume $92.8M
5. Dr Seuss’ The Lorax 3D (Universal) Week 5 [3,264 Theaters] PG-rated
Friday $2.0M, Saturday $3.7M, Weekend $8.3M, Cume $189.8M
The Hunger Games passed $200M Friday and $250M by weekend’s end. Even more impressive is that the actioner is currently the #1 movie and #1 book and #1 album in America. (The studio just cut an online-only spot with those trifecta bragging rights.) Pic played in the same 4,137 locations this weekend but with a lower screen count because of the end to its limited one-week engagement on all IMAX screens. The film held extremely well during the week, with a record breaking Monday of $10.8M. Second wave promotion exploited this second weekend’s adult curiosity about the movie. Heck, even GOP frontrunner Mitt Romney went to see Hunger Games with his family. “From Presidential candidates to talk show hosts, it seemed everyone was talking about the film publicly,” studio boasts to me.
Though Wrath Of The Titans certainly looked better than 2010′s Clash Of The Titans whose retrofitted 3D was deemed sub-par, its critical reviews fared far worse — only 25% positive on Rotten Tomatoes. Its projected weekend gross (including $1M from 1,490 domestic midnight screenings) was in line with studio expectations. But that’s still far short of the original’s $61.2M opening weekend. Then again the original made 2/3s of its money overseas ($332M of the total $495M cume) and this sequel should, too, to justify its $150M bloated cost. The PG-13 pic released day and date as a worldwide event in 60 territories and on approximately 13,900 screens (9,766 3D and 175 IMAX) in all major markets with the exception of Japan. “We’re off to a great start, with $18M on Friday for a progressive cume to date of $25M internationally,” Warner Bros tells me. In Mexico and Brazil, for instance, Wrath Of The Titans was ranked a strong #1 ahead of The Hunger Games.
In the U.S. and Canada, actioner debuts in 3,545 locations with 2,900 3D locations, 4,400 3D screens, and 290 IMAX locations. As expected, there’s very strong male support both young and older but the sequel’s marketing around “Feel The Wrath” didn’t have the campy coolness quotient of the original’s “Release The Kraken” campaign featuring Liam Neeson. And Avatar‘s Sam Worthington has proven he isn’t a box office draw. (Remember, he failed to open Man On A Ledge.)
Warner Bros positioned Wrath Of The Titans to target younger and older males including ethnic audiences with “an aggressive approach that sold the intensity of the action and the spectacular creature battles, all with great visuals and compelling music,” an exec tells me. Clearly March as a whole, and this pre-Easter weekend in particular, is now as competitive as summer or holiday periods for sizable event films despite distractions like the NCAA Final Four. The studio’s marketing strategy relied on an aggressive TV schedule and online content combined with more compelling 3D. After Jonathan Liebesman replaced Louis Leterrier as director on the 2nd installment, the sequel was supposed to be shot in 3D. But then Liebesman announced that Wrath of the Titans would be converted rather than shot in 3D even though that had been a big bone of contention with fans of the original. To reduce skepticism, Liebesman reminded that the first film Clash Of The Titans had been shot and edited as a 2D film and then converted to 3D just a few weeks before release. Whereas Wrath was conceived in 3D from the start right through editing. Even the most contrary reviews say the film is much better-looking than the original thanks to Prime Focus World, which did the original 3D as well as the sequel’s. Reception to story was decidedly mixed. Screenplay credit went to Dan Mazeau and David Johnson who also received story credit with Greg Berlanti.
As for Mirror Mirror, its $85M cost was piggybacked by a very expensive full-frills TV ad campaign that didn’t justify its disappointing $19M domestic debut. That number was below even the studio’s lowball expectations. As usual, Relativity claims its actual exposure on the film was far less — “just under $30M” — after foreign pre-sales, Montreal tax incentives, and its Netflix deal. On the other hand, Relativity’s Ryan Kavanaugh is newly beholden to investors like savvy Ron Burkle who may not be as patient with razor-thin profit margins as Elliott Associates once was. One thing is certain: Mirror Mirror is the opposite of the “Hail Mary” blockbuster which Kavanaugh hoped it would be to dig Relativity out of its financial mess. I’m not sure how director Tarsem Singh justifies a career trajectory that starts out with visually arresting The Cell and The Fall, continues through Immortals, and ends up here. Or why star Julia Roberts banked her cold career comeback on this hot mess. What the movie does is audaciously play the Brothers Grimm story for lame laughs. It’s 180 degrees different from Universal’s much anticipated Snow White & The Huntsman adult swordfest releasing June 1st though the two projects were developed at the same time. But Mirror Mirror‘s target audience is kids ages 6-12 and their parents. Now the studio hopes that, with schools out next week and the week after for Easter vacation, its pic won’t be played out this weekend. Overseas, the film has already opened in a dozen territories and this weekend debuted day and date in a dozen more.
Marketing-wise, Relativity partnered with Bloomspot, a leader in the local offer space, to launch on March 24th a first-ever promotional screening program for the member base in 11 U.S. markets: Atlanta, Boston, Chicago, Denver, Houston, Los Angeles, New York, San Diego, San Francisco, Seattle and Washington DC. Relativity also initiated promotions in the top 50 markets. Key digital initiatives included Annoying Orange (You Tuber), Social Queen video, parent blogging, a Snow Spell featurette on ParentsConnect.com, integrated gaming expériences on top sites targeting children like Poptropica.com, Nick.com, GirlsGoGames.com, Webkinz.com, as well as mobile apps targeted to young girls. Relativity Music Group released the original motion picture soundtrack for Mirror Mirror on March 27th and included an original score by 8-time Oscar-winning composer Alan Menken, along with two new versions of the reworked Nina Hart song “I Believe in Love” performed by the film’s Lily Collins (The Blind Side) that plays over the end credits. Credits on the screen story go to Melisa Wallack and the screenplay to Marc Klein and Jason Keller.
In other box office news, the CBS Films pickup, Salmon Fishing In The Yemen, cracked the Top Ten for the first time while playing in just 483 locations. Studio stresses that the film performed much better than other current and recent platform expansions at this level. “The most interesting data point is that holdover theaters (124 existing locations) were down only 18% from last week. In fact, just like last weekend, several of the top twenty runs were actually up from the previous Friday.” CBS Films will keep rolling out the pic in the weeks ahead to see how long the Salmon can run…
Here is the rest of the Top Ten with numbers refining later Sunday morning:
6. John Carter 3D (Disney) Week 4 [2,397 Theaters] PG13-rated
Est Friday $530K, Est Weekend $2.0M, Est Cume $66.2M
7. Salmon Fishing In Yemen (CBS) Week 4 [483 Theaters] PG13-Rated
Est Friday $340K, Est Weekend $1.7M, Est Cume $3.6M
8. Act Of Valor 3D (Relativity) Week 6 [1,239 Theaters] R-Rated
Est Friday $290K, Est Weekend $1.3M, Est Cume $68M
9. A Thousand Words (Dworks/Par) Week 4 [1,007 Theaters] PG13-rated
Est Friday $275K, Est Weekend $1.0M, Est Cume $16.5M
10. Project X (Warner Bros) Week 5 [903 Theaters] R-rated
Est Friday $255K, Est Weekend $950K, Est Cume $53.5M
Editor-in-Chief Nikki Finke - tip her here.





“The Hunger Games” will still be number 1 this weekend too much hype still surrounding it.
Yep just like the above article clearly stated.
Wow, you called it!
While for any defined period of time (a day, a weekend) all movies collectively in theaters are, yes, somewhat competing together to draw attention & ticket sales from all people who are heading out to the movies. But not completely.
Not all movies appeal to the same people. Therefore, this constant pitting of one movie against another is based on a false premise. It corrupts the creativity of the movie-making process from script forward.
When people say Hollywood movies suck these days, or are all formulaic and derivative, it’s because of a mindset that simplistically says movies are out there battling against each other to be #1. Likely, those with more extensive marketing budgets will likely pull in more money. But there’s no reason to dismiss the other movies as “disappointing” or draw similar negative conclusions.
I don’t know about that, but I do know Andrew Stanton should have been less concerned about beating Brad Bird.
Not to many losers in America after all. Movie looks like crap.
Surprised to see MIRROR MIRROR doing well. It will probably do solid weekdays for the next few weeks.
It’s a good thing Ryan Kavanaugh’s magic movie formula can make money off movies even when they appear to lose millions, or Relativity might be in trouble on Mirror Mirror.
Dude, just look at the spreadsheet. It’s all good!
More like Smoke and Mirror Mirrors.
WTF happened to julia roberts…
Used to be so classy. No these roles smell gassy.
If only audiences found Julia Roberts’ performance as amusing to watch as she apparently found it amusing to do . . .
I’m a college student and was actually surprised by Mirror Mirror. It does the job for the children’s demographic it’s catering to.. jokes, visuals, and story were on point. Hope to see this do well over the weekend, even with Hunger Games pulling in the audiences it will.
I am not a hater…I am a fanboy…and I can’t help but feel disgust and boiling anger at how awful Wrath of the Titans looks. As we all know, Clash was a debacle…both for the 3D and the film itself.
Wrath looks even worse. I am the target audience for this movie, and I’m going to go out of my way to avoid it. Truly don’t understand where 40M worth of opening weekend is coming from. Crap of the Titans better describes it.
I saw Wrath today… atrocious does not even get close to describing the dullness I experienced. Sam Worthington and the script (which has its paw prints all over) are simply awful and some decent production design and vfx work is wasted by fast moving and confused directing that never establishes any empathy with the characters or the geography scenes are happening in. The worst film Ive seen so far this year
I “feel your wrath”
…I’m hilarious.
I wanted to like Clash, but it was horrible. It looks like all concerned with Wrath set out to reproduce the worst of Clash and then… make it even worse. As a colleague said to me afterwards, “We should have gone to McDonalds instead. We’d have got more out of it.”
The sad irony is that WRATH “looks” a lot better than CLASH…the 3D is much improved and the visual FX/creatures are pretty spectacular. But the story and characters are weak to the point of nonexistent, and the whole thing comes off like a VFX showreel with people talking every so often. What a shame…I love the Ray Harryhausen mythology movies and wish someone could do a decent homage to them.
“Clash was a debacle…both for the 3D and the film itself.”
a half a billion dollar debacle.. riiiiight
Neil Gaiman wrote a very cool revisionist take on the Snow White legend called GLASS, APPLE, SNOW. That one was also from the Queen’s point of view, but she was neither goofy (Mirror Mirror) or bwahahaha evil (Snow White and the Huntsman). Wish someone had made his version…
Or they could have filmed Gregory Maquire’s excellent novel, Mirror Mirror, whose title they stole.
Stole? It’s the phrase most associated with the story in the English speaking world, this gets a pass on ‘stealing’ from Maguire.
Ha, I always thought that would have been a great idea to do Gaiman’s story. Mirror, Mirror is flat out hideous, although the visuals are lovely. Snow White and the Huntsman will most likely be decent to good (I know someone involved in the project and they swear the good buzz is apparently deserved). The trailer makes me a little suspicious though, as Theron doing that bwahahaha is bordering on camp and not the good type in my opinion. Then again, it is a trailer and Theron is usually fantastic.
Theron is quickly becoming Faye Dunaway.
Seems related to the source material for, “Maleficent”, the Angelina Jolie project starting this June.
The Neil Gaiman short story is called Snow, Glass, Apples. And you’re right, it’s remarkable. Check out the audio play version on YouTube.
I just saw ‘Bully’ and I have to admit I was disappointed. Its a great subject for a documentary and the filmmakers found some very brave and amazing children. But the execution and narrative are all over the place, and unlike other recent documentaries (e.g., Waiting for Superman, Inside Job) there were very few (if any) facts provided to support its messages.
And I have no idea why the MPAA wanted to rate it ‘R’ except to provide the Weinsteins a soap box to stand on and free advertising. There’s more violence on an episode of ‘Dance Moms’ than in this film.
My advice is to save your $15 and see it On Demand.
You haven’t been paying attention, have you? It was (bogusly) rated R because of language, not violence.
It was rated R for the use of “4 or more F-Bombs”. That’s it. Not the suicide of an 11 year old or countless scenes of violence against minors…4 F Bombs. (there are actually 6). I guess my kids are Rated R. High school is rated R. Middle School is rated R, the bus stop is rated R, the mall is rated R. You get the point.
Poor ‘Mirror,Mirror’ it appears to be a cute colorful kids movie and might have had a chance of being entertaining if not for the woefully miscast Julia Roberts. Evil? Maybe, she’s an actress do she can try and pull that off but ‘Fairest of them all’? Ah, no. Even the comedy aspect of the role doesn’t suit her limited abilities…but folks do like her so she’ll likely get a pass but they. Ouldve at least given her better styling. What color is her hair exactly?
Poor Mirror Mirror? Eh.. It cost $84 mil. By the end of its run, domestic+foreign should be pretty decent–and that’s before the home market kicks in in 4-5 months.
…faded construction pylon???
I think it was a mistake to release Mirror Mirror only a week after The Hunger Games, they should have waited another week. Most of the young kids (who are the audience for Mirror Mirror) went to see The Hunger Games. Mirror Mirror may benefit when the kids are off school for Easter this week though.
You…haven’t seen the movie. Which makes your whinnying kind of embarrassing. Hush.
Go see Goon. It’s the best out there.
isn’t WRATH falling at least $21 million short of the original’s opening?
Yeah, and it actually cost $25 million more to produce, but the studios are desperate to justify their ridiculous budgets, so they have to skirt all those inconvenient facts so they can, you know, pretend the industry isn’t in trouble.
“Wrath” really shouldn’t have been produced. It’s a sequel nobody asked for. I’m surprised it’s actually grossing as much as it is, considering the Neanderthals who usually lap up the thinnest of Hollywood slime slammed “Clash.” I mean, the first film only had a 2.5 multiplier during Spring 2010, when its biggest competitor was Kick-Ass. “300″ it ain’t.
But that’s okay. Warner Bros. is falling victim to Disney’s lunatic budgeting template, and although they won’t humiliate themselves with Batman, they’ll have plenty of humble pie with Man of Steel next summer.
Problems?
nobody asks for most sequels. so what.
How is THE RAID doing in its slowly expanding platform release?
The weekend total for Mirror Mirror looks low. I thought it would make much more. Definitely disappointing.
Most outlets predicted it opening between 20-25, so it’s right on target. Even if it does HALF the worldwide BO of movies like Enchanted, it’s OK.
NO WAY ON EARTH THIS DOESN’T LOSE MONEY. Ryan is the only person who ever makes money on most of his movies since he pays himself a massive producer fee even though he is the principal of the studio. Good old fashioned double dipping, on a massive scale.
disappointing to whom? no one cares
@ EM: LOL! What? Most people had it pegged for sub-$20 million opening less than a week ago. The internet community has been pretty down on this movie for whatever reason. $25 million is actually pretty good considering it doesn’t have 3D or IMAX to inflate prices and it’s going up against two huge movies.
What I’m baffled by are Wrath’s numbers compared to Clash. Would have thought it would have more support no matter it’s mediocrity. It’s got 3D, IMAX and is allegedly slightly better than it’s crap predeccesor. I know it doesn’t have the holiday bump to take advantage of but still 21 Jump St and HG can’t be poaching that much of it’s fanboy audience?
The Hunger Games prediction for this weekend has decreased, right? Box Office Mojo was betting something around $70M yesterday, and now it may not even get to $60M… Anyway, it would be a drop of 60% over the last weekend, but still really strong.
Impressive take for Mirror Mirror, thought for sure it’d bomb.
“Wrath” is opening below “John Carter”, yet nary a hint of the term “failure” and “turkey” do I see attached to it. True, the budgets were not the same (I think this was ~$150 vs. $250 million) but this is a sequel to a (financially) successful film. Where’s the schadenfreude? That’s all I saw from a lot of the comments and stories here…
There are many distinctions between the two. For one thing, JOHN CARTER was ostensibly the LAUNCH of a massive franchise, not a sequel. Making up the difference between 150M and 250M when you extrapolate the money that actually ends up in a studio’s pocket (especially from foreign revenues) is pretty huge.
WRATH is a big movie, but Warner Bros is not betting their entire studio on the film in the way that Disney basically did with JOHN CARTER. Warner Bros. still makes other movies — including mid-budget movies and God forbid, original scripts, so the resentment towards Warner Bros. is nowhere near what it is for Disney in the wake of their new “tentpole only” strategy, which leaves a lot of people in the creative community with a lot less work.
Then there were Disney’s decisions to cast a basically unknown actor in the lead and put an animation director at the helm, and their basic lack of respect for the audience in that they seemed sure the audiences will show up if you yell at them loud enough, and their botched and increasingly desperate ad campaign as the release date got nearer. And on and on and on….there really is no sense in comparing these two films.
I disagree. I saw John Carter. While it was not *great* it sounds as if it was much better than Wrath (the reviews seem to bear that out as well). There were plot issues, but there was no talking down to the audience as you seem to imply (did you see it?) And Sam Worthington, while definitely better known as a lead, is hardly Mr. Charisma. If you see Disney’s stock lately, it actually went up 5% since John Carter came out; I don’t think they’re too worried. Also, Disney was putting out a lot of schlock even worse than John Carter before this new strategy. ALSO what’s the dig at “animation director”? Most “LIVE ACTION” directors can’t hold a candle to Brad Bird or Andrew Stanton. I’m sure both of them will continue to make films with “LIVE ACTION” despite what “HOLLYWOOD EXPERTS” think.
That’s over-egging Bird and Stanton just a teensy bit…………..but clearly Bird handled that first transition from animation to live action a LOT better than Stanton did.
Anonymous always makes the most idiotic comments. he clearly knows nothing about film economics and even more clearly has a man crush on Stanton.
Wait a minute. Is there really widespread “resentment” in Hollywood’s “creative community” over Disney’s tentpole-only strategy which has supposedly led to “a lot less work”?
To your satisfaction, how many theatrical motion picture projects should the Mouse green light? Because that company produces a ton of television and live entertainment that employs thousands of people.
But you’re probably above-the-line “talent”, right, HW?
Mmm, yeah, there’s a fair amount of resentment in the creative community. I don’t know how “widespread” it is, but it’s there. How many theatrical motion pictures should the Mouse greenlight? I don’t have a magic number, but 8-10 sounds about right, which is what they’ve been doing in recent years, as compared to 3, which is what they’re doing now. It was a pretty drastic rollback of the feature film arm of one of the major buyers. I’m not commenting on nor care much about their television and live entertainment components.
100 million between them. 100 million is a big number. Truth is, Wrath will probably do exceptionally well overseas, and in more than just a handful of countries.
How many people are going to be laid off from Relativity now that their 2nd huge risk failed? They’ll be lucky if this makes $60M domestic, probably a loss of $50M-$60M considering they won’t get any foreign money. With literally no operating cash they’re going to have to fire a handful of people, or maybe a bunch of execs will leave and do Ryan (and themselves) a favor. Don’t worry though, private planes, multiple assistants for RK and his cronies, and pricey, unnecessary gifts to all the celebs that refuse to work with the studio will still continue.
julia roberts = good foreign box office
Used to be’s don’t count anymore
I surprised that Mirror Mirror went beyond 20 millions. It looks so awful in trailers that 22 millions is great success for it.
Re – Anonymous.
‘Wrath’ is definitely a turkey. But that was to be expected. ‘John Carter’ on the other hand had a whole bunch of issues broader than that pre-release including about a year of bad buzz and the fact the nerd crowd were boasting about how awesome it was going to be to see the story that ‘everyone’ else cribbed from be made on a ludicrous budget.
Which is why it’s so hilarious that it was actually crap and people (apart from the nerds) realised that.
‘Wrath’ was going to be a turkey anyway.
Yeah it wasn’t great, but I would hardly call it crap. Better than most of the sci-fi fantasy that Hollywood puts out, which is a low bar indeed. I would sum it up as wasted potential. I have to ask: did you see it? I’m guessing not by the way you liberally denigrate “nerds”.
Re -Anonymous. Yes, I saw it. Which is why I’m totally comfortable with my choice of word. It doesn’t surpass it’s genre competitors in cinema form (because I’ve seen all of THEM as well) and whatever Stanton does next as a director, he blew this one big time.
“the fact the nerd crowd were boasting about how awesome it was going to be to see the story that ‘everyone’ else cribbed from be made on a ludicrous budget.”
i like how you proclaim this as a “fact”
i dont think the multipliers are right.. both mirror mirror and hunger games shoukd have higher multipliers, wrath a lower one. i mean if Mirror Mirror is the kiddie/family film it is marketed as who would be able to watch it on a Friday? its numbers shoukd increase significantly even if matinees are usually cheaper than evening showings..
I’m really tired of the whole 3D thing. Just because the actual BO numbers are deceptive. If the 3D additional cost was taken into account I actually think Mirror Mirror would have fared better. And not to mention the LARGE theater count.
It’s just obvious that 3D is only being added to films for the extra money. Not to enhance the movie itself
In many cases 3D is being added for the extra money. But if the public were not willing to pay the extra money it would quickly disappear.
I agree with this. 3D is deceptive in knowing BO numbers. I wonder if they should start tallying 3D and non-3D BO numbers seperately or perhaps look at attendance rather than just the $$$. Then again I suppose all the studio cares about is the $$$. Mo’ money is the primary reason why most films are made in 3D no matter what the publicity materials say.
Whether 3D is deceptive or not doesn’t matter. Studios couldn’t care less if fewer tickets were sold than for previous entries, or the like. If the 3D makes them more money, it makes them more money. It’s pretty black and white.
“…all the studio cares about is the $$$.” There is one other thing they covet more: Distribution Control. The studios see that ‘digital copy’ that comes bundled with your DVD/BR as a separate product. The consumer just sees it as another choice/option to see the movie, but the studios see such distribution outlets as another way to get the consumers to pay again and again to receive the same movie.
They probably see 3D in the same way. They can put widescreen/letterbox in one package, even dvd and bluray discs together. But what are the odds that you will see a movie out on bluray with both 2D and 3D versions on it? Not a chance in hell. Viva la Distribution!
I saw Underworld: Awakening in 3D on IMAX (fakemax, really). You can’t spend ticket sales, only cash.
“If the 3D additional cost was taken into account I actually think Mirror Mirror would have fared better. And not to mention the LARGE theater count.”
this makes no sense.
and to your overall point of movies being 3d just for higher revenue: no shit, sherlock.
Julia roberts always comes off as highly self satisfied and annoying. She learned the hard way with Larry Crowne that no one likes her anymore but her face is so plastered on the ads for mirror mirror, hopefully this film will fail and she’ll realise that she should go away.
Agreed, Jones. The day Pretty Woman is remade with a 20 year old actress I’ll bet Roberts will decide to pose in Playboy to prove she’s “still got it.” You’d have thought being handed that Oscar would have shut her up already.
Why isn’t “Wrath” getting any of the ridicule you’re hurling at other pictures? Possible $37 million 3D and IMAX opening on a $150 million budget to a hugely successful prequel with established stars and the amount of promo this has had is pretty poor. Yeah, it isn’t John Carter-level numbers but it still ain’t good.