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.





You are so right about the 3D thing. As a Hunger Games fan, I’m SO glad that they decided not to go that route and don’t in the subsequent films. You just know there was somebody thinking about doing it as a blatant cash grab. Then again, my only complaint with Hunger Games is sometime shoddy special effects which would’ve looked even worse in 3D
Director Gary Ross said he would not use 3D in any of the Hunger Games trilogy because if he did “we would become the capital of Panem”. He was saying that the forced televised combat in the movie should not be enhanced in 3D for the movie viewer’s entertainment. Many years ago Alfred Hitchcock said he could not make Psycho in color because the shower scene would be too gruesome. I wonder if the same thing is happening now in 3D. A big budget non-3D movie requires an ethical or aesthetic explanation from the director.
Julia Roberts is a has-been and no one wants to watch her anymore. Why do they still treat her like A-list? She’s clearly past her prime.
Relativity and Tarsem talked this movie up so much and yet it failed to deliver. All they seemed to care about was being first and thought that would bring them huge box office results. 21 million is pretty lousy for a family friendly movie with a ton of ads and promotion.
I also think Julia Robert is now in the Reese Witherspoon camp. Their best days and films are behind them.
Tarsem came off incredibly pompous when talking about the film, although he did change his tune later and say that two Snow White films could co-exist…The thing that got me was the screenwriter criticized the other film’s script (Hossein Amini did a re-write and the Mirror, Mirror guy only had Machine Gun Preacher under his belt).
I am not a huge fan of Julia Roberts nor Reese Witherspoon ( she showed so much potential & promise with her great performances in ” Election ” and the forgotten ” Freeway ” ) . All these two actresses need are some well-written & box-office appealing romantic comedies to get back on top again. If the mediocre talents of Sandra Bullock & Cameron Diaz can have a comeback, anybody can .
I saw Singh at the Immortals Comic Con Panel last year. He said he didn’t care about story and only cared about visuals.
I’m laughing at how a movie showing at the Valley Plaza 6 is now a sign of box office doom. Those theaters sat empty for about two years, its intended demolition to build a mega-mall endlessly delayed by the banking industry. Now like a phoenix it reopens, so we get the cheapest theater in SoCal!
The interesting thing about John Carter is that it’s actually garnered quite a bit of support in the wake of its disastrous box office performance. You generally don’t see that type of reaction for flops of this magnitude.
It could likely end up being regarded more favorably than many of today’s successful blockbusters (ie. Clash of the Titans; Transformers 2; etc.), especially if it finds an audience on home video and cable.
Mirror,Mirror- who’s the most miscast of all? That would be you Julia. Comedy, wickedness, guile, beauty…these are not the makings of a Julia Roberts role.
Took my girls to see Mirror, Mirror and was very disappointed. Julia was actually fun, but her role was thin gruel. There is a certain sort of director who excels in visuals but is inept in storytelling and this dude isone of them. Neither funny, nor entertaining, nor scary. A pretty movie, is not the same as a satisfying one.
I hope they don’t place too much blame on Taylor Kitsch for John Carter.
If anyone should bear th brunt of the blame, it should be Andrew Stanton. He recklessly allowed the budget to balloon, and he’s clearly too much of a Pixar/CGI guy to be trusted with any further live-action films. The concept was almost doomed from the start, and there was minimal feel of “escapism” for a pic set on Mars. I felt like the mere desert scenes on Tatooine 35 years ago were more believable as other-worldly than the bloated CGI desert scenes in Carter. Stanton should have taken more tips from Brad Bird on how to efficiently and successfully transition from CGI to CGI/live-action. Pretty much career suicide.
Why shouldn’t Taylor Kitsch be blamed? He was the “star” of the movie?
Julia Roberts got blamed for Micheal Collins (supporting role), Confessions of a Dangerous Mind (small role- Drew Barryomre was the female lead).
On the bright side,if Battleship bombs, Rihanna will get the blame,
not Kitsch, the True Blood Dude, or that Brooklyn girl.
Kitsch deserves all the blame he is getting. He is a black hole where all energy goes to die and owns about 3 stiff expressions in his arsenal.
Julia Roberts’ entire career has always mystified me. Sure, she was fine in “Pretty Woman” (any reasonably appealing unknown would have been) but her Oscar-winner “Erin Brockovich” was a “Norma Rae” ripoff. And she should have stayed away from the talk-shows (which, like it or not, do reveal an actor’s true personality) where her smug, delusional “adorableness” turned off millions. Today, she’s box office poison and should be put out to pasture with those other one-trick-ponies Nic Cage, Harry Ford, Janny Aniston, etc. etc.
Julia still brings in good foregn sales, huge video sales and great television sales.
As a long time Julia fan, her recent turns in Larry Crowne and Mirror, Mirror mystify me. However, her next two films look good….so far.
Dan you’re full of shit. It cost more than $84million and with a weekend gross under 20 won’t come anywhere near $60mm for the total domestic gross which Relativity doesn’t keep all of and they won’t see a dime from overseas grosses because, like they love to proclaim, they presold the rights and the film won’t make more than their MGs in any territory it plays in. Not to mention to P&A which HAD to be at least $20MM with the two month outdoor run (for what I don’t know, characters against white???) and targeted kid/mom tv ads. So at best Relativity will be $60MM in the hole when this thing hits dvd and then they’ll be putting up more money for that marketing campaign.
Man, if people are already getting sick of 3D and Worthington after one Titans movie, I wonder how well that will bode for Titanic 3D.
“Why isn’t “Wrath” getting any of the ridicule you’re hurling at other pictures?”
Wrath is being spared due to an overly elaborate, ambitious plan to create a movie that would bomb so bad that it became the fat guy in the room. I mean, just look at how close ‘Wrath’ is standing to John Carter!
My theory anyways. I certainly knew of ‘Wrath’, but all I knew was that it was a sequel, and the adverts showed a whole heck of a lot of CGI. I remember thinking to myself, “Hmmm, I wonder how they are going to work some story and plot in between all those action sequences. And FYI, ‘Mirror, Mirror’ is stepping closer to Mr. Carter as we speak.
why do they allow female stars of movies to look so bad?
julia roberts may or may not still be pretty, but she has never looked good with all her hair pulled back, even when young.
like how they used to do j.lo with her hair in a bun – hey she looked like a maid BUT she shouldn’t have, or that ridiculous wig from enough.
Julia roberts is not a has been actress. I went to see mirror mirror because of julia and armie hammer and i was just disappointed because it was too much geared towards children and even that the set design was not that great. 35 million for wrath is great, given that many people didn’t even like the first one and since when is 20 million opening not a good opening anymore?
Funny, that Roberts did, as far as I know, very little promotion on air at least. Even with what was a guranteed hit on their hands, the Hunger Games crew was everywhere. You could not turn on the TV or pick up a magazine and not see Lawrence. She must be exhasuted.
Who in the world thought Mirror, Mirror would actually do well? This is a movie almost no one was asking for. Same deal with Snow White & The Huntsman, destined to be another flop.
Snow White and the Huntsman destined to be “another flop”? Make no mistake, you’ll eat those words. This may very well do 100M on OW.
If Nolan or Phillips isn’t the director, and if it doesn’t have “-MAN” in the title, then Tull, Jashni, and their nitwit exec team over at Legendary don’t have a clue. Keep pumping out those turds, fellas.
It’ll take a long while to burn through all those Batman, 300, and Hangover profits, but it’ll happen eventually. Their lack of taste ensures it. They are making another sequel no one wants in HANGOVER III, so they are already on the path.
If I had the money I’d need to do it, I’d sue Disney for negligence and not acting in shareholder interest for what they did to “John Carter.” Not only have they basically turned their back on it EVEN THOUGH there’s money still left to be made ($2 theaters?!), they failed to take into account international box office when doing the ridiculous, unwarranted write-off. That movie should NOT have been written down to the tune of $200 million — not when it’s heading to $275 million or $300 million worldwide. Assuming they put $175 million into marketing/P&A (which seems doubtful, given how poorly marketed it was in the U.S.), that’s $425 million as a bottom-line number. So, the write-down would be $125 million BEFORE ancillary consumer and trade sales. Given how well it has performed internationally, there’s a good $50-$75 million to be made off of home-entertainment, TV sales, etc., outside of the U.S. alone. Someone is doing some VERY fishy accounting here in order to stick it to Dick Cook and save Rich Ross’ and Bob Iger’s asses. What is that about? There is NO WAY, even with the ridiculous cut-bait approach DIsney took to this in the U.S., that it will lose $200 million, not if Disney put in a GOOD FAITH effort to ensure its success internationally, where it has performed well.
I agree that $70 million U.S. is woeful. But given how fast Disney turned tail on this one, despite some great word of mouth and the ability to “save” it, there’s something awfully suspicious that makes me feel Disney did NOT act in the best interest of shareholders here.
Except all your numbers are wrong, moron.
It is approaching $70M in the US. Probably will hit that in a couple weeks, maybe sooner since Easter vacations are now underway. It’s been doing very well internationally with $188M overseas. It opens in Japan April 13th and it’s expected to do well there, too. Boxofficemojo has it at $254.5M worldwide so far. It’s still playing at full ticket price in my area. And the Blu-ray pre-orders hit number 1 on Amazon early Saturday shortly after being posted. It has been garnering very good word of mouth and blog posts since all the negative press hit. And you really can’t call it a flop anymore as it is still bringing in money and will be for quite some time. Real flops don’t do that. Disney is just taking the write off now for their financials. It doesn’t mean it’s over and a couple financial folks have been quoted in various press as saying that. Whatever happens, Disney isn’t going to be hurting.
So, everybody else in the world is wrong, including Disney itself with its claim of a massive writedown. Industry folk, journalists, Wall Street analysts: all liars! Only you, Peoria fanboy, only you understand the truth!
April Fools!
doesn’t matter about mirror mirror, snow white and the huntsman will the be the biggest movie of the summer behind the dark knight rises. it will probably be the third biggest movie behind the dark knight and the hobbit.
Was “Mirror, Mirro” really a big-budget film, or one where the director somehow siphoned off half the money?
The film looked like a sketch from the Carol Burnett Show. Really cheesy and horrible. People would be running through the woods, for example, and you’d never even see a bad wide shot of the woods. People would be in a castle, and you’d never see a matte painting to show you what the castle looked like.
To me, it seemed as if this is a rare case of a U.S. film ruined by shoddy production values.
The script was a little dull but not that bad. The acting was a little wooden but not that bad. But the directing, editing, sound design, set design, etc. were terrible. The production and post-production people really let the actors down.
Interesting that Van Nuys $2 theater is singled out. Would you also care to mention that Ghost Protocol is also being shown there? But the real digression is that Disney will make it’s money back like Waterworld did.