ReportWire

Tag: Taylor Swift: The Eras Tour

  • Box Office: Taylor Swift’s ‘Showgirl’ Rocks at No. 1 as Dwayne Johnson’s ‘Smashing Machine’ Bombs

    Taylor Swift‘s Life of a Showgirl special theatrical event is rocking at the domestic box office, where it’s headed for a first-place finish with a weekend haul of $28 million to $32 million from 3,702 theaters, according to estimates from Swift’s team and partner AMC Theatres. Some distributors believe it could even approach $35 million.

    Whatever the outcome, those numbers are in sharp contrast to ticket sales for the Dwayne Johnson-led biopic The Smashing Machine, which is getting knocked around in its domestic debut, marking what appears to be a career-low opening for the actor despite delivering a performance worthy of Oscar consideration. Playing in 3,345 theaters, the A24 release took ind $2.7 million Friday for a projected weekend gross of $6 million, versus the $12 million to $14 million it was expected to earn. The R-rated pic was slapped with a B- CinemaScore by moviegoers, but has fared well with critics.

    Conversely, Taylor Swift: The Official Release Party of a Showgirl earned a coveted A+ CinemaScore, just as her history-making concert film Eras Tour did. Nearly 90 percent of Friday’s moviegoers were female.

    Swift went to great lengths to keep the Showgirl project top secret until the 11th hour (they almost succeeded, but not quite), much to the chagrin of other distributors who don’t like last-minute surprises. She announced the Oct. 3-5 special event on Sept. 19 in a well-orchestrated social media post informing fans that advance tickets would go on sale that day at 12:12 local time for $12, in keeping with Swift’s longtime relationship with numbers (Showgirl is her 12th studio album). Consumers can expect to pay notably more than $12 for premium large-format screenings.

    Showgirl, playing in theaters for only three days, can best be described as a mix of music videos, behind-the-scenes footage and a series of lyric videos for tracks on her new album. And it’s anchored by the world premiere of the music video for Showgirl single “The Fate of Ophelia,” which she directed.

    In 2023, Taylor Swift: The Eras Tour catapulted Swift to box office fame when it opened to a record-smashing $93.2 million domestically on its way to becoming the top-grossing concert film of all time with $261.6 million in global ticket sales. The superstar and her team financed the $15 million project, bypassing the Hollywood studio system in partnering with AMC Theatres to distribute the film. The cinema circuit is likewise releasing Showgirl in partnership with Variance Films in the U.S. and Canada, and with Piece of Magic Entertainment in other international markets.

    According to THR‘s review of Showgirl, “The 89-minute cinematic experience — neither visual album nor concert film, and not quite a documentary — is strictly for the diehards. But while there’s something to be said for the communal experience of absorbing an album surrounded by dozens of like-minded fans, what’s actually being served up on screen is more filler than killer.”

    Paul Thomas Anderson’s awards contender One Battle After Another, starring Leonardo DiCaprio, is falling to second place in its sophomore outing. The Warner Bros. film is expected to fall 51 percent to $10.8 million for a 10-day domestic total of $80 million.

    From filmmaker Benny Safdie, Smashing Machine reunites Johnson with his Jungle Cruise co-star and good friend Emily Blunt, who played a key role in bringing Johnson and Safdie together. The film is based on the real-life story of Mark Kerr, a former college wrestler who battled trauma and an addiction to painkillers during the early years of the UFC.

    The male-fueled movie — which marks the first time Johnson has pursued a place in the Oscar race — is looking at a third-place finish behind Showgirl and holdover One Battle After Another.

    Swift’s Showgirl isn’t hurting Smashing Machine in terms of stealing away moviegoers, but it did swoop in and book a number of premium large-format screens that Smashing Machine had wanted.

    Insiders close to the film say the tracking was overly aggressive due to Johnson’s star status, and that a $6 million start isn’t uncommon during awards season. More important than a big opening weekend is sustaining momentum. While that’s certainly true, many moviegoers don’t seem to be connecting with Smashing Machine thus far, based on the worrisome B- CinemaScore (for an adult drama, that’s like receiving a C).

    A24 has worked magic before. Darren Aronofsky’s The Whale was neither a critical or box office hit in the U.S., yet that didn’t hurt its Oscar chances, with Brendan Fraser winning the Oscar for best actor. In 2019, the Safdie brothers’ Uncut Gems, starring Adam Sandler, became both an awards darling and a box office success despite receiving a C+ CinemaScore.

    One difference between Smashing Machine and those two films: A24 opened The Whale and Uncut Gems in only a handful of theaters in early December before expanding the two titles nationwide over Christmas (The Whale never played in more than 1,700 or so cinemas). Opening Smashing Machine in 3,345 locations is a far more aggressive move, although sources say A24 remains confident that the film will find its stride as word of mouth grows and becomes more positive. The indie distributor also believes Johnson will remain in the awards mix.

    Another offering this weekend is James Cameron’s Avatar: The Way of Water, which is being rereleased exclusively in 3D. Like Swift’s team, Cameron and partner 20th Century/Disney are using the box office for promotional purposes: this Christmas, Avatar: Fire and Ash opens.

    Way of Water is playing in 90 percent of all Imax auditoriums domestically, but will have to share Dolby Cinema screens and other premium large-format auditoriums. Way of Water is projected to earn $2 million to $3 million domestically from 2,100 theaters.

    Estimates will be updated Sunday morning.

    Pamela McClintock

    Source link

  • Box Office Preview: Taylor Swift’s ‘Showgirl’ to Tower Over Dwayne Johnson’s ‘Smashing Machine’

    Taylor Swift appears to be enjoying the role of box office queen.

    She’s returning to theaters this weekend with a special event pic promoting her new album, The Life of a Showgirl, which comes out Friday. The big screen album release party, which will also feature the world premiere of the music video for Showgirl single “The Fate of Ophelia,” music videos and behind-the-scenes footage, is expected to tower over the competition and win the relatively quiet Oct. 3-Oct. 5 box office race with anywhere from $25 million to $35 million, if not more. Tracking suggests $35 million, while distributor AMC Theatres — which also partnered with the superstar musical artist on her record-breaking concert pic Taylor Swift: The Eras Tour — is being more conservative in suggesting $25 million to $30 million.

    Either way, that’s well ahead of opening weekend projections for its closest competitor, the Dwayne Johnson-led wrestling drama The Smashing Machine. That’s not exactly a surprise, considering Johnson’s latest outing is a specialty pic from A24, versus the sort of wide-appeal action movie The Rock is best known for. Smashing Machine, which made its world premiere at the Venice Film Festival as this year’s awards season kicked off, is tracking to open in the $12 million to $14 million range.

    Directed by Benny Safdie, Smashing Machine reunitues Johnson with his Jungle Cruise co-star and good friend Emily Blunt, who played a key role in bringing Johnson and Safdie together. The film is based on the real-life story of Mark Kerr, a former college wrestler who battled trauma and an addiction to painkillers during the early years of the UFC.

    Another player to watch this weekend is James Cameron’s Avatar: The Way of Water, which is being rereleased exclusively in 3D. Like Swift’s team, Cameron and partner 20th Century/Disney are using the box office for promotional purposes: this Christmas, Avatar: Ash and Fire opens.

    Cameron’s Avatar movies have generally done well when rereleased, and this time out, the focus on Imax is an added bonus. The movie will be playing in 90 percent of all Imax auditoriums domestically but will have to share Dolby Cinema screens and other premium large-format auditoriums with the Showgirl release party. Way of Water is projected to earn $3 million to $4 million domestically from 2,100 theaters; rivals think it could approach $5 million.

    Taylor Swift: The Official Release Party of a Showgirl is only playing in cinemas for three days, and Swift’s team went to great lengths to keep the project top secret until the 11th hour (they almost succeeded, but not quite), much to the chagrin of other distributors, such as A24 or even Disney, who don’t like last-minute surprises even if the idea of a live audience watching a viewing party on the big screen is a far cry from the sort of frenzy surrounding her Eras Tour. She announced the Oct. 3-Oct. 5 special event on Sept. 19 in a well-orchestrated social media post informing fans that advance tickets would go sale that day at 12:12 local time for $12, in keeping with Swift’s longtime relationship with numbers (Showgirl is her 12th album). Consumers can expect to pay more for Imax and other premium large format screenings.

    “I hereby invite you to a *dazzling* soirée, The Official Release Party of a Showgirl: Oct 3 – Oct 5 only in cinemas,” Swift wrote across social media on Sept. 19. “You’ll get to see the exclusive world premiere of the music video for my new single ‘The Fate of Ophelia,’ along with never before seen behind-the-scenes footage of how we made it, cut by cut explanations of what inspired this music and the brand new lyric videos from my new album The Life of a Showgirl. Looks like it’s time to brush off that Eras Tour outfit or orange cardigan… Tickets are on sale now. Dancing is optional but very much encouraged.”

    Like her tour itself, The Eras Tour film was a phenomenon when opening in 2023 to a huge $93.2 million domestically on its way becoming the top grossing concert film of all time with $261.6 million in global ticket sales. Swift and her team financed the $15 million project herself, bypassing the Hollywood studio system and partnering with AMC Theatres, the country and world’s largest cinema circuit, AMC Theatres Distribution is releasing Showgirl in partnership with Variance Films in the U.S. and Canada, and with Piece of Magic Entertainment in other international markets.

    This weekend, the one-hour-and-30-minute film also opens in its first 18 international markets. It will continue its international rollout throughout October.

    Showtimes begin Oct. 3 — the day of the album’s release — at 3 p.m. local time.

    Both Avatar and Smashing Machine will host Thursday previews.

    Pamela McClintock

    Source link

  • Trap’s Greatest Horror Is Being Confined to a Stadium of Teen and Tween Girls Worshiping the Same Taylor Swift-esque Pop Star

    Trap’s Greatest Horror Is Being Confined to a Stadium of Teen and Tween Girls Worshiping the Same Taylor Swift-esque Pop Star

    Perhaps the thing that comes to mind as the most blatantly unbelievable—and, to be sure, there are many to choose from—in Trap is the idea that a Taylor Swift-esque pop star would ever use her powers for true (rather than ultimately performative) good. M. Night Shyamalan’s latest movie (the sixteenth one he’s directed, to be precise), however, would like to posit just that. The woman playing such a pop star is none other than Shyamalan’s daughter, Saleka (not to be confused with his other daughter, Ishana, whose movie, The Watchers, he recently produced). Indeed, the Trap Soundtrack serves as her second full-length album, albeit under the moniker of “Lady Raven,” with generically-titled songs like “Don’t Wanna Be Yours” and “Dreamer Girl” performed during the concert that serves as the primary backdrop for most of the film’s narrative. And yes, said concert is very clearly meant to mirror (or troll, as it were) The Eras Tour, not to mention the ilk that it attracts.

    In point of fact, Shyamalan supposedly pitched the idea as: “What if The Silence of The Lambs happened at a Taylor Swift concert?” Well, for a start, it’s a major insult to The Silence of the Lambs to compare Trap to it in any way, shape or form (where film releases of 2024 are concerned, that luxury is reserved solely for Longlegs). And, secondly, the musical style of Lady Raven is far too R&B-infused (circa the 00s) to be comparable to Swift’s typically vanilla stylings. Though one thing that is comparable between the two women is their costume choices, often awash in flowy, ethereal dresses. But, as is the case with Swift, it doesn’t really seem to matter what Lady Raven wears. To her adoring, devout fans, she can do and don no wrong. With that in mind, at one point in the movie, our “anti-hero” (read: murdering psychopath) Cooper Adams (Josh Hartnett), an “all-American dad” who works as a firefighter, remarks to a “spotter” at the concert (played by Shyamalan, who likes to pull Hitchcock-inspired cameos in his own movies) that Lady Raven has a cult-like power over the mostly tween and teenage girls who worship her—that they would listen to anything she said.

    Such a specific way of phrasing something is, of course, foreshadowing for the way in which Lady Raven will turn out to be the primary key in apprehending Cooper a.k.a. The Butcher (a serial killer nickname almost as unoriginal as Trap itself). Even though she’s already done enough on that front—certainly above and beyond what any ordinary “mega star” would do—by allowing the FBI to wield her concert date in Philadelphia as a trap for The Butcher. Who, for whatever reason, left behind a remnant of a receipt in one of his safe houses indicating that he would be at the Lady Raven show.

    The profiler heading up the investigation, Dr. Josephine Grant (Hayley Mills, who was cast literally only because she was in The Parent Trap—get it?), is, in truth, more out of her depth than she realizes once Cooper catches wind of the concert being a full-on sting operation (taking inspiration from the 1985 sting known as Operation Flagship). For, unsurprisingly, a psychopath of this level is fully capable of playing the part-time role of “family man” when he’s not out…butchering people. Hence, being the “dutiful dad” for the night by taking his twelve-year-old daughter, Riley (Ariel Donoghue), to see Lady Raven. Almost as socially awkward and gawky as the Riley of Inside Out, her obsession with Lady Raven is basically the only thing that’s getting her through her ongoing painful ostracism by a group of girls who she once considered her friends.

    Although Cooper tries his best to be “sympathetic” to Riley’s sensitivity to this often teen girl-specific plight, not only does he overtly find the concert and its audience annoying, but his attention is more than somewhat divided by the fact that he keeps noticing police officers escorting away random men at the show. Per Dr. Grant’s statistics, only three thousand men are in attendance among the twenty-thousand-plus crowd of women. On that note, the idea that such concerts, particularly The Eras Tour, are so often viewed as one of the few “safe spaces” where women can “just dance” and unapologetically exist precisely because of how repelled by such music/representations of femininity men are, has become a thing of the past. It first became one at its grandest scale in 2017, with Ariana Grande’s Dangerous Woman Tour in Manchester.

    Then, it almost happened again at The Eras Tour itself, with the botched attempt at another terrorist attack in Vienna designed to kill as many female acolytes of Swift’s as possible. As one concertgoer put it in the aftermath of Swift’s subsequently cancelled Vienna dates, “There’s a feeling of inclusivity at her concerts. There are, after all, not many spaces in the world where women can go and have a drink and a dance and feel safe. It’s mainly women, children and gay men at her concerts. And now, you can no longer guarantee.”

    Lady Raven’s concert, “little did they know,” also presents just such a case of an infiltrated “last bastion” where younger girls and women alike can “feel safe,” unburdened by the fear of a psychologically wounded man’s wrath (and yes, the two-dimensional Cooper character is slapped with cliché mother issues out of the Hitchcock playbook). A concept that is, in reality, the ultimate impossibility, particularly in the United States. What’s more, despite the “hope” presented by a female candidate currently running for president (with infinitely better chances of winning than Hillary Clinton in 2016), the backlash that will inevitably result if she does win is bound to be rooted in radically enacted male chauvinism.

    And so, women in power or not, in an evermore (no Taylor pun intended) misogynistic society, to present, as a horror premise, being trapped in a stadium full of tween and teenage girls screaming and mindlessly mimicking the dance moves and lyrics of their favorite generic pop star, well, it doesn’t exactly do much to bolster the overall female reputation (that Taylor pun intended).

    Genna Rivieccio

    Source link

  • Taylor Swift’s Vienna Concerts Canceled In Response To Terrorist Plot

    Taylor Swift’s Vienna Concerts Canceled In Response To Terrorist Plot

    Organizers have canceled three Taylor Swift concerts in Austria after authorities foiled a terror attack planned for the Vienna leg of her blockbuster Eras tour, the extraordinary decision coming at significant cost to Vienna’s businesses, devastating fans, and renewing focus on the vulnerability of huge concerts as targets for terror networks. What do you think?

    “Hopefully, she’ll reschedule when terrorism ends.”

    Mark Spradley, Systems Analyst

    Taylor Swift Under Fire For Leaving Idling Plane Double-Parked Outside Store

    “Good thing Swifties are famously easygoing.”

    Lucy Kubik, Gluten Remover

    “That’s it. I hate terrorism.”

    Will Dye, Assistant Key Grip

    Source link

  • The Darkness Surrounding Taylor Swift of Late

    The Darkness Surrounding Taylor Swift of Late

    As the news of Taylor Swift’s three canceled dates in Vienna over an elaborate terrorist plot make the rounds, it seems a general “dark pall” has been cast over the singer of late. It started earlier in the year, with the “conspiracy theory” (a.k.a. totally plausible hypothesis) that every time another female pop star has a chance of making it to number one on the charts, Swift chooses that week to release a new iteration of The Tortured Poets Department. Which is why there are now thirty-plus variants of the album. Yet another reason many people felt that Billie Eilish was shading Swift specifically when she told Billboard, “We live in this day and age where, for some reason, it’s very important to some artists to make all sorts of different vinyl and packaging… which ups the sales and ups the numbers and gets them more money.” The shade was felt whether Eilish intended it or not because everyone knows that Swift is the “queen” of doing this.

    Eilish also remarked, “I can’t even express to you how wasteful it is. It is right in front of our faces and people are just getting away with it left and right…” While Eilish was sure to say “some artists,” it was difficult for many readers, Swifties included, not to automatically think of Taylor’s album release methods. Or tactics, if you prefer. And yes, she weaponized them just in time for Eilish’s release of Hit Me Hard and Soft, her third record. Alas, it was blocked out of the top spot thanks to the three variants of TTPD that Swift unleashed the same day, May 17th. This precise “phenomenon” (and hardly what Chappell Roan would call a “femininomenon”) also happened when Charli XCX released Brat (after which the world was never the same).

    A week after the album might have slid into the top slot on the UK charts, Swift conveniently decided to release six—that’s right, six—TTPD album variants that were exclusive to the UK. The geotargeting on this front felt especially calculated (to use that word Swift hates being called), and totally merited XCX writing a song called “Sympathy is a knife,” suspected to be about Swift specifically because of the lyric, “Don’t wanna see her backstage at my boyfriend’s show/Fingers crossed behind my back, I hope they break up quick.” This being a reference to the brief period when Swift was “canoodling” with The 1975’s Matty Healy, for which XCX’s fiancé, George Daniel, is the drummer. There were other “nods” to being made to feel insecure by Swift throughout the song, including the part of the chorus that goes, “‘Cause I couldn’t even be her if I tried/I’m opposite, I’m on the other side.”

    Charli fans were “moved” enough by the track and its supposed muse to start chanting, “Taylor is dead” at a show of hers in São Paulo on June 22nd. When XCX was informed of the “mantra,” she spoke out on social media, saying, “Can the people who do this please stop. Online or at my shows. It is the opposite of what I want and it disturbs me that anyone would think there is room for this in this community.” So yes, that’s just the first piece of the kind of darkness that’s been following Swift lately, this “varietal” ostensibly of her own making. To be sure, this aspect of said darkness is rooted in her competitive nature and insatiable drive to “succeed”—or, as Lana Del Rey put it earlier this year, “She’s told me so many times that she wants it more than anyone.”

    That much was made clear early on in her career, not just in her willingness to take a bum deal with Big Machine Records, but even in the mention, during an 00s-era interview, of why she decided to play a twelve-string guitar instead of a six-string one. The reason, as she told the interviewer, in the country twang she was then putting on, “I had this one real jerk of a teacher… he goes, ‘There’s no way that you’ll be able to play a twelve-string guitar at your age and your fingers aren’t developed enough and there’s no way you’d be able to play it.’ …So I got that twelve-string guitar and I would play it every day until my fingers bled, and, you know, at first it seemed really hard, and then I just realized that if I put my mind to something, then it was really mind over matter.” This seeming to be her ongoing philosophy for “winning” at the charts. Yet even her continued “domination” in numbers hasn’t fooled “the culture,” with The Guardian publishing an article titled, “Taylor Swift may have captured the charts, but Charli XCX captured the zeitgeist” the same week Swift blocked XCX from the number one spot.

    However, even if the cracks in Swift’s “reign” have started to show this (Brat) summer as the “Gen Z girls”—namely, Sabrina Carpenter and Chappell Roan—take over, there was still The Eras Tour to prove her “crown” undisputed. What with the hordes willing to schlep across the world and pay any price to see her (this also resulting in the “Taylor Swift economy” effect, as the business the tour brought to each stop bolstered the revenue of restaurants, hotels and the like). Including an American stalker of Swift’s, who made threats to both her and her current boyfriend, Travis Kelce. The stalker in question flew all the way to the Gelsenkirchen, Germany show, where he was arrested the day of the July 18th performance. Thus, the dark pall surrounding Swift got a shade darker. Ratcheting up on July 29th during a Taylor Swift-themed yoga class where twenty-five children turned up to participate. Tragically, three of those children, all girls, would not make it out alive after a stabbing rampage by a seventeen-year-old named Axel Rudakubana.

    In the aftermath of the attack, misinformation regarding the “background” (read: ethnicity and origins) of the stabber began to spread rampantly online, prompting ongoing political unrest throughout the UK that was propelled by proponents of the far-right. With Swift in the eye of the storm as the “link” to it all, any theories that the use of her name and music might have been a factor in the targeting of this class seemed to be corroborated by yet another, more ambitious terrorist (two, in fact) attempting to infiltrate her August 8th show in Vienna. The plot was foiled (ergo averting another 2017 Dangerous Woman Tour-level tragedy), with Swift spooked enough to cancel all three dates of her slated Vienna performances.

    This means she’ll be “on break” until August 15th, when her next rash of dates for The Eras Tour have her circling back to London’s Wembley Stadium, meaning that she’ll be in the heart of one of the sources of her recent darkness (apart from Joe Alwyn). And it wouldn’t be surprising if she mentioned the Southport stabbings while onstage (then again, Swift tends to disappoint when it comes to being open about anything “too political”).

    To round out the recent tincture of darkness enveloping the pop star, and almost as though to mock everything Swift and her fanbase represent, M. Night Shyamalan’s Trap was released at the beginning of August. It’s a movie that takes place at a “Taylor Swift-esque concert” where, you guessed it, a trap has been set up to lure and arrest a notorious serial killer (played by Josh Hartnett, in his villain era). Indeed, Shyamalan pitched the premise as: “What if The Silence of The Lambs happened at a Taylor Swift concert?” It doesn’t exactly help the current non-rosy image Swift seems to be embodying/attracting at the moment.

    But perhaps this darkness all goes back to what was initially referenced above: Swift’s obsession with being “ahead.” And while Swift herself loves to talk about karma, perhaps she didn’t consider the way in which she might have tipped the karmic scales by being so consumed with the number one (not, in this case, thirteen) spot. For it doesn’t feel like a cosmic coincidence that all of these horrible things should be happening after her summer of chart-blocking, preventing other women in the game from getting their flowers. All thanks to this thorny rose by the name of Swift.

    Genna Rivieccio

    Source link

  • All the Surprise Songs Taylor Swift Has Played On The Eras Tour So Far

    All the Surprise Songs Taylor Swift Has Played On The Eras Tour So Far

    Over a year into Taylor Swift’s Eras tour, she has found ways to keep the show fresh and new for those who have been waiting since she opened in Phoenix, Arizona in March 2023 to see her. Since the tour began in the United States last year, Swift has released two rerecorded albums — Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) in addition to a brand-new double album, The Tortured Poets Department. 

    Right as she picked the tour back up in 2024, she flew from Tokyo, Japan to Allegiant Stadium in Paradise, Nevada (where she had previously performed) to watch her beau Travis Kelce and his NFL team the Kansas City Chiefs win the Super Bowl.

    Every show on the Eras Tour involves an acoustic set where Swift performs at least two songs custom to that night’s show. At first, she wouldn’t allow herself repeats unless she messed up the lyrics to a song, but now, she has done away with that rule and gotten more creative by combining songs in mashups and playing up to four in a segment. The first song or three take place on guitar, and then she shifts to piano for the second half before diving beneath the stage to resume the setlist – which has since contracted and expanded to include a Tortured Poets Department era and set.

    Below you’ll find Taylor Swift’s surprise songs that she has played most recently in Europe as well as a record of all those she has played on the entire tour so far.

    International Leg 2024

    • Tokyo
      • February 6 — “Holy Ground” and “Dear Reader”
      • February 7 — “Eyes Open” and “Electric Touch”
      • February 8 — “Superman” and “The Outside”
      • February 9 — “Come In With the Rain” and “You’re On Your Own Kid”
    • Melbourne
      • February 16 in — “Red” and “You’re Losing Me”
      • February 17 — Mashup of “Getaway Car”/”August”/”The Other Side of the Door” and “This Is Me Trying”
    • Sydney
      • February 18 — Mashup of “Come Back… Be Here”/”Daylight” and “Teardrops on My Guitar”February 23 in Sydney, Australia – “How You Get the Girl” and Mashup of “White Horse/Coney Island” with Sabrina Carpenter
      • February 24 — “Should’ve Said No (Naur)” and Mashup of “New Year’s Day/Peace”
      • February 25 — Mashup of “Is It Over Now/I Wish You Would” and Mashup of “Haunted/Exile”
      • February 26 — Mashup of “Would’ve Could’ve Should’ve/Ivy” and Mashup of “Forever & Always/Maroon”
    • Singapore
      • March 2  — Mashup of “long story short/The Story of Us” and Mashup of “Clean/evermore”
      • March 3 — Mashup of “Mine/Starlight” and Mashup of “I Don’t Wanna Live Forever/Dress”
      • March 4 — Mashup of “Foolish One/Tell Me Why” and Mashup of “This Love/Call It What You Want”
      • March 7 — Mashup of “Death by a Thousand Cuts/Babe” and Mashup of “Fifteen/You’re On Your Own Kid”
      • March 8 — Mashup of “Sparks Fly/gold rush” and “False God/Slut!”
      • March 9 — Mashup of “Tim McGraw/Cowboy Like Me” and “Mirrorball/Epiphany”

    RELATED: ‘Taylor Swift Vs Scooter Braun: Bad Blood’ Doc Set At Discovery+ UK

    April 19 – The Tortured Poets Department release day

    *Resuming her European tour in 2024 involved an additional set for the record-breaking The Tortured Poets Department complete with 7 staple songs. Most — “Fortnight (feat. Post Malone),” “Down Bad,” “But Daddy I Love Him,” “Who’s Afraid of Little Old Me?” “I Can Do It With A Broken Heart,” “The Smallest Man Who Ever Lived” from the first half and “So High School” from the second half. 

    • Paris
      • May 9 — “Paris” and “loml”May 10 — Mashup of “Is It Over Now/Out of the Woods” and “My Boy Only Breaks His Favorite Toys
      • May 11 — “Hey Stephen” and “Maroon”
      • May 12 — Mashup of “The Alchemy/Treacherous” and “Begin Again/Paris”
    • Stockholm
      • May 17 — Mashup of “I Think He Knows/Gorgeous” and “Peter”May 18 — “Guilty as Sin” and Mashup of “Say Don’t Go/Welcome to New York/Clean”
      • May 19 — Mashup of “Message in a Bottle/How You Get the Girl/New Romantics” and “How Did It End?”
    • Lisbon
      • May 24 — Mashup of “Come Back…Be Here/The Way I Loved You/The Other Side of the Door” and Mashup of “Fresh Out the Slammer/High Infidelity”
      • May 25 — Mashup of “Now That We Don’t Talk/The Tortured Poets Department” and Mashup of “You’re On Your Own Kid/Long Live”
    • Madrid
      • May 29 — Mashup of “Sparks Fly/I Can Fix Him (No Really I Can)” and Mashup of “I Look in People’s Windows/Snow on the Beach”
      • May 30 – Mashup of “Our Song/Jump Then Fall” and “King of My Heart”
    • Lyon, France
      • June 2 – Mashup of “The Prophecy/Long Story Short” and Mashup of “Fifteen/You’re On Your Own Kid”
      • June 3 – Mashup of “Glitch/Everything Has Changed” and “Chloe or Sam or Sophia or Marcus”
    • Edinburgh, Scotland
      • June 7 – Mashup of “Would’ve Could’ve Should’ve/I Know Places” and Mashup of “‘Tis the Damn Season/Daylight”
      • June 8 – Mashup of “The Bolter/Getaway Car” and Mashup of “All of the Girls You’ve Loved Before/Crazier”
      • June 9 – Mashup of “It’s Nice to Have a Friend/Dorothea” and Mashup of “Haunted/Exile”
    • Liverpool, England
      • June 13 – Mashup of “I Can See You/Mine” and Mashup of “Cornelia Street/Maroon”
      • June 14 – “This Is What You Came For” and Mashup of “The Great War/You’re Losing Me”
      • June 15 – “Carolina/No Body No Crime” and “The Manuscript/Red”
    • Cardiff, Wales
      • June 18 – “I Forgot That You Existed/This Is Why We Can’t Have Nice Things” and “I Hate It Here/The Lakes”
    • London, England
      • June 21 – Mashup of “Hits Different/Death By a Thousand Cuts” and “The Black Dog/Come Back…Be Here/Maroon”
      • June 22 – Mashup of “ThanK you aIMee/Mean” and “Castles Crumbling (feat. Haley Williams)”
      • June 23 – “Us” by Gracie Abrams (feat. Taylor Swift) and Mashup of “Out of the Woods/Is It Over Now/Clean”
    • Dublin, Ireland
      • June 28 – Mashup of “State of Grace/You’re On Your Own Kid” and Mashup of “Sweet Nothing/Hoax”
      • June 29 – Mashup of “The Albatross/Dancing With Our Hands Tied” and Mashup of “This Love/Ours”
      • June 30 – Mashup of “Clara Bow/The Lucky One” and “You’re On Your Own Kid”
    • Amsterdam, Netherlands
      • July 4 – Mashup of “Guilty as Sin/Untouchable” and Mashup of “The Archer/Question…?”
      • July 5 – Mashup of “imgonnagetyouback/Dress” and “You Are In Love/Cowboy Like Me”
      • July 6 – Mashup of “Sweeter Than Fiction/Holy Ground” and Mashup of “Mary’s Song/So High School/Everything Has Changed”
    • Zürich, Switzerland
      • July 9 – Mashup of “All You Had to Do Was Stay/Right Where You Left Me” and “Last Kiss/Sad Beautiful Tragic”
      • July 10 – Mashup of “Closure/A Perfectly Good Heart” and “Robin/Never Grow Up”
    • Milan, Italy
      • July 13 – Mashup of “the 1/Wonderland” and Mashup of “I Almost Do/The Moment I Knew”
      • July 14 – Mashup of “Mr. Perfectly Fine/Red” and Mashup of “Getaway Car/Out of the Woods”
    • Gelsenkirchen, Germany
      • July 17 – Mashup of “Superstar/Invisible String” and Mashup of “Slut!/False God”
      • July 18 – Mashup of “Speak Now/Hey Stephen” and Mashup of “this is me trying/Labyrinth”

    RELATED: Travis Kelce Joins Taylor Swift On The Eras Tour Stage In Surprise Appearance On Night 3 Of London Shows

    United States Leg 2023

    • Glendale, Ariz.
      • March 17 — Mirrorball” and “Tim McGraw”
      • March 18— “State of Grace” and “This Is Me Trying”
    • Las Vegas, Nev.
      • March 24 — “Our Song” and “Snow on the Beach” 
      • March 25 — “Cowboy Like Me” with Marcus Mumford and “White Horse”
    • Arlington, Texas
      • March 31 — “Sad Beautiful Tragic” and “Ours”
      • April 1 — “Death by a Thousand Cuts” and “Clean”
      • April 2 — “Jump Then Fall” and “The Lucky One”
    • Tampa, Fla.
      • April 13 — “Speak Now” and “Treacherous”
      • April 14 — “The Great War” with Aaron Dessner and “You’re on Your Own, Kid”
      • April 15— “Mad Woman” with Aaron Dessner and “Mean”
    • Houston, Texas
      • April 21 — “Wonderland” and “You’re Not Sorry”
      • April 22— “A Place in This World” and “Today Was a Fairytale” 
      • April 23 — “Begin Again” and “Cold as You”
    • Atlanta, Ga.
      • April 28 — “The Other Side of the Door” and “Coney Island”
      • April 29 — “High Infidelity” and “Gorgeous”
      • April 30— “I Bet You Think About Me” and “How You Get the Girl”
    • Nashville
      • May 5 in — “Sparks Fly” + Speak Now (Taylor’s Version)Album Announcement and “Teardrops on My Guitar”
      • May 6 — “Out of the Woods” and “Fifteen”
      • May 7— “Would’ve, Could’ve, Should’ve” with Aaron Dessner and “Mine”
    • Philadelphia, Pa.
      • May 12 — “Gold Rush” and “Come Back…Be Here”
      • May 13 — “Forever & Always” and “This Love”
      • May 14 — “Hey Stephen” and “The Best Day”
    • Foxborough, Mass.
      • May 19  — “Should’ve Said No” and “Better Man” 
      • May 20 — “Question…?” and “Invisible” 
      • May 21 — “I Think He Knows” and “Red”
    • East Rutherford, N.J.
      • May 26 — “Getaway Car” with Jack Antonoff and “Maroon” 
      • May 27 — “Holy Ground” and “False God”
      • May 28 — “Welcome to New York” and “Clean”
    • Chicago, Ill.
      • June 2 in “I Wish You Would” and “The Lakes”
      • June 3 in — “You All Over Me” with Maren Morris and “I Don’t Wanna Live Forever”
      • June 4 Chicago, Ill. — “Hits Different” and “The Moment I Knew”
    • Detroit, Mich.
      • June 9 — “Haunted” and “I Almost Do”
      • June 10 — “All You Had to Do Was Stay” and “Breathe”
    • Pittsburgh, Pa.
      • June 16 — “Mr. Perfectly Fine” and “The Last Time”
      • June 17 — “Seven” with Aaron Dessner and “The Story of Us”
    • Minneapolis, Minn.
      • June 23 — “Paper Rings” and “If This Was a Movie”
      • June 24 — “Dear John” and “Daylight”
    • Cincinnati, Ohio
      • June 30 — “I’m Only Me When I’m With You” and “Evermore”
      • July 1— “Ivy” with Aaron Dessner, “I Miss You, I’m Sorry” with Gracie Abrams and “Call It What You Want”
    • Kansas City, Mo.
      • July 7 — “Never Grow Up” and “When Emma Falls in Love”
      • July 8  — “Last Kiss” and “Dorothea”
    • Denver, Colo.
      • July 14 — “Picture to Burn” and “Timeless”
      • July 15 — “Starlight” and “Back to December”
    • Seattle, Wash.
      • July 22 in — “This Is Why We Can’t Have Nice Things” and “Everything Has Changed”
      • July 23 — “Message in a Bottle” and “Tied Together With a Smile”
    • Santa Clara, Calif.
      • July 28 — “Right Where You Left Me” and “Castles Crumbling”
      • July 29 — “Stay Stay Stay” and “All of the Girls You Loved Before”
    • Los Angeles, Calif.
      • August 3 – “I Can See You” and “Maroon”
      • August 4 — “Our Song” and “You Are in Love”
      • August 5 — “Death By a Thousand Cuts” and “You’re On Your Own Kid”
      • August 7 —“Exile” and “Dress”
      • August 8 —“I Know Places” and “King of My Heart”
      • August 9 — “New Romantics” + “1989 (Taylor’s Version)”Album Announcement and “New Year’s Day”

    RELATED: Taylor Swift Breaks Yet Another Record In The UK, After A Historical Week On Spotify

    International Leg 2023

    • Mexico City
      • August 24 — “I Forgot That You Existed” and “Sweet Nothing”
      • August 25 — “Tell Me Why” and “Snow on the Beach”
      • August 26 — “Cornelia Street” and “You’re on Your Own, Kid”
      • August 27 —“Afterglow” and “Maroon”
    • Buenos Aires
      • November 9 —“The Very First Night” and “Labyrinth”
      • November 10 — Cancelled Due to Rain
      • November 11 — “End Game” and Mash-Up of “Out of the Woods” & “Is It Over Now?”
      • November 12 — “Better Than Revenge” and “Slut!”
    • Rio de Janeiro
      • November 17 — “Stay Beautiful” and “Suburban Legends”
      • November 19 — “Dancing. With Our Hands Tied” and “Bigger Than the Whole Sky”
      • November 20 — “Me!” and “So It Goes”
    • São Paulo, Brazil
      • Nov. 24 — “Now That We Don’t Talk” and “Innocent”
      • Nov. 25— “Safe and Sound” and “Untouchable” 
      • Nov. 25 — “Say Don’t Go” and “It’s Time to Go”

    RELATED: Matty Healy Reacts To Taylor Swift’s “Diss Track” From ‘The Tortured Poets Department’

    Songs That Haven’t Been Played Yet:

    From Taylor Swift (her debut album) – All songs have been played at least once.

    Fearless (Taylor’s Version)

    • “Change”
    • “We Were Happy”
    • “That’s When (feat. Keith Urban)”
    • “Don’t You”
    • “Bye Bye Baby”

    Speak Now (Taylor’s Version) – All songs have been played at least once.

    Red (Taylor’s Version)

    • “Girl at Home”
    • “Forever Winter”
    • “Run (feat. Ed Sheeran)”

    1989 (Taylor’s Version) – All songs have been played at least once including “Sweeter Than Fiction (Taylor’s Version)”.

    Reputation – One of two rerecorded albums awaiting release.

    • “I Did Something Bad”

    Lover

    • “London Boy”
    • “Soon You’ll Get Better (feat. The Chicks)”

    Folklore – All songs have been played at least once.

    Evermore

    Midnights All songs have been played at least once.

    RELATED: ‘Taylor Swift: The Eras Tour’ Movie Profits

    The Tortured Poets Department

    • “So Long London”
    • “Florida!!!”
    • “I Can Fix Him (No Really I Can)”
    • “Cassandra”

    Grab-bag (songs not attached to specific albums):

    • “I Heart ?”
    • “Ronan”
    • “Only the Young”
    • “Renegade”
    • “The Alcott”
    • “Gasoline”
    • “Beautiful Eyes”
    • “Beautiful Ghosts”
    • “Christmas Tree Farm”

    Dessi Gomez

    Source link

  • 5 things to know about ‘Taylor Swift: The Eras Tour’ concert film heading to Disney+

    5 things to know about ‘Taylor Swift: The Eras Tour’ concert film heading to Disney+

    Are you ready for it? It’s almost time to watch “Taylor Swift | The Eras Tour (Taylor’s Version),” streaming exclusively on Disney+ tonight!

    So what can you expect? Here are 5 things you need to know or watch out for!

    When can I watch it?

    You can stream “Taylor Swift | The Eras Tour (Taylor’s Version)” exclusively on Disney+ tonight starting at 9 p.m. ET / 6 p.m. PT.

    What’s new?

    The Disney+ version will show the concert in its entirety for the first time, as well as include the song “cardigan” from her eighth studio album, “Folklore.” Take a look at a preview of the performance here, released as an exclusive clip on Apple’s App Store.

    Additionally, the concert film will feature four additional acoustic songs not featured in either the previous theatrical or VOD versions.

    Which acoustic songs will be featured?

    Taylor Swift is unveiling exclusive first looks of new acoustic music every day leading up to the “Taylor Swift | The Eras Tour (Taylor’s Version)” stream debut exclusively on Disney+. Listen to “Death by a Thousand Cuts” here.

    “Good Morning America” is exclusively revealing each of the four songs this week.

    So far, we know “Maroon” and “Death by a Thousand Cuts” are on “Taylor’s Version.”

    Watch all the exclusive “GMA” sneak peeks here.

    Is there really a stage dive?

    Yes! This has been one of the biggest talkers of the tour, when the fearless star dives head first into the stage before the start of her final “Midnights” section of the show.

    Watch for the viral moment right after her acoustic surprise songs, when she slowly walks to small opening and gracefully swan dives into the stage.

    Who gets the “22” hat in the film?

    T-Swift’s sold-out concerts have a ton of fun fan traditions, including a hat giveaway during the song, “22,” from her fourth studio album, “Red.”

    Every now and then, a random fan will find themselves as the lucky one. But other times, it’s given to someone with a connection to the star.

    In this case, 6-year-old Bianka Bryant, daughter of the late Lakers legend Kobe Bryant and Vanessa Bryant, was given the hat. It was one of the most joyful moments of the show, and don’t be surprised if it brings a tear to your eye.

    “Taylor Swift: The Eras Tour” hit the big screen at AMC movie theaters across the country in October, becoming an instant smash. It grossed more than $260 million at the global box office, making it the top-selling concert film of all time.

    After announcing it’s coming to Disney+, Disney CEO Bob Iger said, “‘The Eras Tour’ has been a true phenomenon that has and continues to thrill fans around the world, and we are very excited to bring this electrifying concert to audiences wherever they are, exclusively on Disney+.”

    Disney is the parent company of Disney+ and this station.

    Copyright © 2024 OnTheRedCarpet.com. All Rights Reserved.

    OTRC

    Source link

  • Box Office: Beyoncé’s ‘Renaissance’ Eyes $21M-Plus Opening as ‘Napoleon,’ ‘Wish’ Fall Off a Cliff

    Box Office: Beyoncé’s ‘Renaissance’ Eyes $21M-Plus Opening as ‘Napoleon,’ ‘Wish’ Fall Off a Cliff

    Beyoncé’s new concert film is delivering the goods at the box office, where it’s headed for the biggest early December opening in two decades.

    Renaissance: A Film by Beyoncé — which Beyoncé wrote, directed and produced — could now earn $21 million to $24 million in its debut after it was graced with glowing reviews and a coveted A+ CinemaScore. The film earned $11.5 million on Friday, including $5 million in Thursday previews

    Distributor AMC Theatres — also home of blockbuster Taylor Swift: The Eras Tour — is remaining more conservative in suggesting a $20 million opening.

    More than 70 percent of Friday’s audience was female, while 50 percent of the audience were Black moviegoers, in a win for diverse programming.

    The weekend after Thanksgiving is notoriously sluggish, and Renaissance is a welcome gift for exhibitors. To date, the biggest opening for the first weekend of December belongs to Tom Cruise’s The Last Samurai ($24.3 million), not adjusted for inflation.

    Similar to Taylor Swift, Beyoncé and her team decided to bypass Hollywood studios and struck a pact with AMC Theatres to distribute Renaissance, which chronicles her recent world stage tour, while including behind-the-scenes footage detailing the planning and execution of the concert.

    Swift and AMC made history in October when Taylor Swift: The Eras Tour opened to a staggering $92.8 million domestically, by far the biggest launch ever for a concert movie. No one expected Renaissance to do the same sort of business, considering her audience is older.

    Before Eras Tour, 2008’s Miley Cyrus and Hannah Montana: The Best of Both Worlds Concert Tour held the record for the top domestic opening for a concert film with $31.1 million, not adjusted for inflation. That was followed by 2011’s Justin Bieber: Never Say Never, which opened to $29.5 million.

    Renaissance is also rolling out overseas, where it is likewise tracking to open in the $20 million range for a global start of $40 million.

    The concert pic isn’t the only gift for exhibitors this weekend. The Japanese film Godzilla Minus One looks to come in No. 3 behind Renaissance and holdover The Hunger Games: The Ballad of Songbirds and Snakes with a hefty $9 million to $10 million thanks to younger men. Males made up 77 percent of ticket buyers on Friday, with 63 percent of all ticket buyers between the ages of 18 and 34.

    Coming in No. 4 is the newest offering from Angel Studios, home of sleeper hit Sound of Freedom. The sci-fi, faith-based The Shift is looking at a muted start in the $4.5 million range.

    Elsewhere, the news was bleak for Thanksgiving entries Napoleon, from Apple Original Films and Sony, and Disney Animation’s Wish.

    Trolls Band Together, Wish and Napoleon are in a three-way race for fourth-place. The trio of films is pacing for a weekend gross in the $7 million range. For Wish, that would mean a steep drop of 63 percent, although Disney is more hopeful in giving a $7 million to $9 million range.

    Napoleon is an even worse position, and could fall off as much as 66 percent after opening ahead of expectations over Thanksgiving. The steep decline isn’t a surprise to Hollywood insiders, considering the biographical epic got dinged with a B- CinemaScore by audiences, coupled with poor exits on PostTrak.

    Wish, conversely, earned an A CinemaScore and strong exits, meaning it could have legs thanks to strong word of mouth.

    More to come.

    Pamela McClintock

    Source link

  • Taylor Swift’s ‘Eras Tour’ Concert Film To Stream In December With Three Additional Songs

    Taylor Swift’s ‘Eras Tour’ Concert Film To Stream In December With Three Additional Songs

    Taylor Swift‘s Eras Tour concert film will begin streaming on Dec. 13 – the superstar’s birthday – and will include three additional songs not included in the theatrical release.

    The extra songs, Swift announced on social media today, are “Wildest Dreams,” “The Archer” and “Long Live.”

    “Well, so, basically I have a birthday coming up and I was thinking a fun way to celebrate the year we’ve had together would be to make The Eras Tour Concert Film available for you to watch at home!,” Swift wrote on X/Twitter. “Very happy to be able to tell you that the extended version of the film including ‘Wildest Dreams,’ ‘The Archer’ and ‘Long Live’ will be available to rent on demand in the US, Canada & additional countries to be announced soon starting on … you guessed it, December 13.”

    The film’s theatrical release has been a big success: Earlier this month, the film’s box office grosses passed $232 million globally, AMC CEO Adam Aron said Wednesday.

    The streaming announcement was a surprise for fans, who have been anticipating that Swift’s next big reveal would be the release date for a new “Taylor’s Version” album re-recording, this time the Reputation album. No word on that project just yet.

    Greg Evans

    Source link

  • WATCH: Travis Kelce Reacts After Taylor Swift Alters ‘Karma’ Lyrics To Reference Him

    WATCH: Travis Kelce Reacts After Taylor Swift Alters ‘Karma’ Lyrics To Reference Him

    Travis Kelce and social media users are sharing their reactions after Taylor Swift included the NFL player in revised lyrics for her song “Karma.” As The Shade Room previously reported, the two are speculated to have begun dating in September.

    RELATED: Travis Kelce Says His Friends & Family Spoke ‘Good Things’ About Taylor Swift

    Taylor Swifts Gives A Sweet Nod To Travis Kelce As The NFL Player Reacts

    Over the weekend, footage surfaced of Travis Kelce standing alongside Taylor Swift’s father, Scott. The pair were reportedly in a VIP section at Swift’s latest tour stop in Argentina. To add, the singer is currently embarking on an international tour called “The Eras Tour,” per her official website.

    In the clip, Kelce and Swift intently watch as Swift performs on stage. The singer is not seen on screen. However, viewers can hear that she is singing her 2022 hit single, “Karma,” where she largely refers to the phenomenon as her “boyfriend” or “God.”

    As the singer approaches the song’s end, fans expect her usual lyrics.

    “Karma is the guy on the screen coming straight home to me”

    However, as Swift performs, Kelce and the entire stadium realize that Swift has altered the lyrics to include his mention.

    “Karma is the guy on the Chiefs coming straight home to me,” Swift sings.

    Once the realization sets in, Kelce holds his face in disbelief as Swift’s father excitedly applauds. Furthermore, the stadium lights briefly turn red, seemingly as an additional nod to Kelce’s Kansas City Chiefs.

     

    As of Monday, November 13, Kelce has not publicly commented on Swift’s nod to him during her Argentina show. Meanwhile, Swift has taken to X to share a brief recap of photos from the event while also thanking her fans.

    “Andddd we’re back at it! Starting off the South American leg of The Eras Tour in Argentina = best decision possible. I can’t even express my gratitude to the Buenos Aires crowds. I’d never been to Argentina before and they gave us the most electric, magical memories. Thanks to the amazing fans whose show was postponed Friday for coming back Sunday and blowing us away with your passion and excitement. See you next weekend, Rio!!…”

     

    Social Media Chimes In

    Social media users have entered The Shade Room’s comment section to share their reactions to Swift’s nod to Kelce. Many users poked fun at Kelce’s dance moves.

    Instagram user @_jelliethedon wrote.

    “i’m hollering because sir that lil dance got too much seasoning for this 😂 they cute tho”

    While Instagram user @thatsjust.diamond added.

    “He dancing too groovy for that particular song 😭”

    Meanwhile, others remarked that the singer and NFL player’s relationship just doesn’t feel “authentic.”

    Instagram user @frenchh22 wrote.

    “Something about this relationship don’t feel authentic to me 🤨”

    While Instagram user @whereis_shay added.

    “Let me know when this publicity stunt is over…. I’m tired 😴”

    However, one social media user, @ericabroadous, defended Swift.

    “Taylor literally doesn’t bother or bash anyone, yet people constantly bash her. She is dating a new guy and having fun. Let her live!!! Go Taylor!!”

    Travis Kelce’s Previous Comments On His Relationship With Taylor

    As The Shade Room previously reported, Travis Kelce opened up about his relationship with Swift after the singer made her initial appearance at a football game of his in September. Kelce spoke about Swift with his brother, Jason, on their podcast, ‘New Heights with Jason and Travis Kelce.’

    During the conversation, Travis Kelce explained that his friends and family “had nothing but good things” to say about the singer.” However, he seemingly insinuated that from here on out, he would keep their dealings private.

    RELATED: Travis Kelce Slams Rumor Ex-GF Paid Half On Dates & He Only Gave Her $100 In Five Years

    Jadriena Solomon

    Source link

  • Box Office: ‘Five Nights at Freddy’s’ Leads Slow Frame With $19.4M, ‘Priscilla’ Opens Nationwide

    Box Office: ‘Five Nights at Freddy’s’ Leads Slow Frame With $19.4M, ‘Priscilla’ Opens Nationwide

    Universal and Blumhouse’s horror hit Five Nights at Freddy’s led a frightfully slow frame at the domestic box office amid the ongoing SAG-AFTRA strike.

    Originally, Denis Villeneuve’s high-profile tentpole Dune: Part Two was set to open this weekend, but the movie fled to 2024 because of the prohibition on stars doing any promotion. Legendary Pictures, home of the Dune franchise, believes the sequel’s cast — including Zendaya and Timothée Chalamet — is integral to the movie’s success.

    Domestic ticket sales for all films are expected to come in at around $64 million for the weekend, one of the lowest showings of the year so far.

    Five Nights at Freddy’s remains a star in its own right. The pic earned $19.4 million from 3,789 theaters in its sophomore outing as it jumped the $100 million mark domestically in less than 10 days. It’s no surprise that the pic tumbled a steep 76 percent, considering it’s also available on Peacock.

    Overseas — where it is only available in theaters — Freddy’s pulled in an impressive $35.6 million for foreign tally of $103.5 million and global haul of $217.1 million against a modest $20 million budget (it is only the second horror title of 2023 to cross $200 million after New Line’s The Nun II, which has dazzled with $265.9 million).

    Taylor Swift‘s and AMC Theatres’ Taylor Swift: Eras Tour continued to impress, grossing another $12 million to $13 million from 3,604 cinemas to hold at No. 2. The record-breaking concert pic has now cleared the $165 million domestically, according to rival estimates.

    Martin Scorsese’s Oscar contender Killers of the Flower Moon, from Apple Original Films, came in third with an estimated $7 million from 3,706 locations for a domestic total of $52.3 million through its third weekend. Paramount is distributing Killers on behalf of Apple, which fully financed and marketed the $200 million epic starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro.

    Sofia Coppola‘s awards contender Priscilla also made a major play this weekend as A24 expanded the movie nationwide after a promising start at the specialty box office. The movie, starring Cailee Spaeny as Priscilla Presley, chronicles the years Presley spent with Elvis Presley, who is played by Jacob Elordi.

    Thanks in large part to younger females, Priscilla came in ahead of industry expectations with an estimated $5.1 million from 1,344 theaters, good enough to come in No. 4. Female moviegoers made up 65 percent of the audience, while 75 percent of all ticket buyers were under 35.

    Mexican comedy-drama Radical, starring and produced by Eugenio Derbez, rounded out the top five in North America with an estimated opening of $2.4 million from only 419 theaters. The new film features Derbez in his first dramatic starring role, and is from Pantelion Films, Participant and production outfit 3Pas Studios.

    Radical is already a box office hit in Mexico, where it is one of the most successful films of the post-pandemic era.

    More to come.

    Nov. 5, 7:30 a.m.: Updated with revised weekend estimates.

    This story was originally published Nov. 4 at 9:57 a.m.

    Source link

  • AFM: Business in Holding Pattern as Dealmakers Wait out SAG-AFTRA Strike

    AFM: Business in Holding Pattern as Dealmakers Wait out SAG-AFTRA Strike

    “Strike, strike, strike, strike,” said Millennium Media President Jeffrey Greenstein, when asked about the lack of big projects and deals at this year’s American Film Market. Santa Monica’s annual indie movie showcase, which wraps up Sunday, has been quieter than usual, with no blockbuster sales and only a handful of new projects generating real buzz.

    A24’s Civil War, Alex Garland’s new sci-fi film starring Kirsten Dunst, Wagner Moura and Cailee Spaeny, was the rare finished film at AFM that everyone was talking about that appears to have triggered a bidding war. The near-future thriller —”an intellectual action film,” is how one buyer described it — is set in a United States on the brink of total collapse.

    But much of the independent film industry remains in a holding pattern, awaiting a final deal between SAG-AFTRA and the Alliance of Motion Picture and Television Producers (AMPTP) to end the actors strike and allow filmmakers to cast their new projects and sales agents to package and present them to buyers international and domestic.

    SAG-AFTRA and the AMPTP continued negotiations on Thursday and appear to be close to a final contract, if outstanding issues, like the use of AI, can be resolved. The moment a deal is done, many expect a flood of new projects and deals, a burst of business that could create its own problems with too many filmmakers chase too few actors and scheduling slots.

    “We were in negotiations with an actor for a movie and had an April slot for next year when the strike happened, so it was pencils down,” said Greenstein. “When the strike ends, we’re going to have to see what else she has on her schedule and if there’ll be a bottleneck.”

    The actors strike is only the most immediate crisis for the industry, however. Dealmakers at AFM were more concerned about the more fundamental disruption of the traditional business models that underpin indie film. The windowing system, where a film was licensed to be shown sequentially on different, exclusive exploitation platforms — first theatrical, then transactional or home entertainment, later on pay-TV, streaming and free TV — was smashed by the rise of the streamers, who often did global all rights deals for movies, meaning they were only shown on their platform and nowhere else.

    “The different windowing system broke [with] all these windows shrinking or gone completely,” noted Lourdes Diaz, CCO, AGC Studios, “but all rights from the streamers are going away and everything is opening up again.”

    Diaz said AGC’s big eight-figure deals with Netflix for Richard Linklater’s Hitman and Anna Kendrick’s directorial debut Woman of the Hour, announced at TIFF, included exclusive theatrical windows. “These films work really well with an audience and so it was important to us, and to our filmmaker partners, to makes sure they could be seen with an audience,” she said.

    “The value of the theatrical window is real,” added Maren Olson, EVP, Film at 30WEST. “For so long we’ve been selling to streamers and that ends up being one-stop shopping, whereas before we were trying to sell to literally everybody, and you’d want to get a fee for every single window that your film could possibly have.”

    Apple moved into theatrical releasing with Martin Scorsese‘s Western drama Killers of the Flower Moon, which opened to a respectable $23.3 million in its big-screen debut. The tech giant’s next theatrical play will be Ridley Scott’s historic epic Napoleon, starring Joaquin Pheonix, which Apple and Sony will open Nov. 22. Earlier this year, Apple Original Films said it plans to spend $1 billion a year to produce movies intended for theatrical release.

    Universal and Blumhouse hit a new theatrical high with the $80 million domestic opening for Emma Tammi’s horror video game adaptation Five Nights at Freddy’s, despite Universal’s decision to debut the movie simultaneously on its sister streaming service Peacock. And Taylor Swift‘s Eras Tour concert film, released through a direct deal with AMC Theatres, has grossed some $150 million domestically and more than $200 million worldwide.

    “Five Nights at Freddy’s shows a simultaneous theatrical and streaming release can work if done right,” said Brian O’Shea, CEO of The Exchange. “But no one knows what works and what doesn’t or where the money is going to come from: Theatrical, transactional, pay-one? The models right now are all over the place.”

    “What we are seeing is there is real opportunity in the distribution business,” said Olson. “At the moment in the U.S. there is definitely a need for more domestic buyers. But if we can have those additional theatrical successes, that will lure more distributors back into the business, give everybody more options, and will create a cycle that is positive for business both on the streamers and the theatrical front.”

    Source link

  • Box Office: ‘Five Nights at Freddy’s’ Terrifies With Monstrous $78M Opening

    Box Office: ‘Five Nights at Freddy’s’ Terrifies With Monstrous $78M Opening

    Universal and Blumhouse‘s Five Nights at Freddy’s is off to a historic start at the domestic box office, helping drive overall revenue

    The latest horror offering from Universal and Blumhouse opened to a record-smashing $78 million, despite debuting simultaneously on sister streaming service Peacock. It started off with a monstrous Friday haul of $39.5 million, including $10.3 million in Thursday previews.

    The pic — which came in notably ahead of industry expectations — scared up the third-biggest horror opening of all time behind New Line’s two It movies, as well as the best showing ever for Halloween weekend. It’s also the biggest horror opening of 2023 to date, besting Scream VI ($44.4 million), and the second-biggest opening of all time for a video-game adaptation behind The Super Mario Bros. Movie ($146.3 million), not adjusted for inflation.

    The news is just as good overseas, where Five Nights at Freddy’s opened to an estimated $52.6 million from 60 markets for a global start of $130.6 million against a modest $25 million production budget. It supplants New Line’s The Nun II ($88.1 million) to boast the year’s biggest worldwide start for a horror film.

    Freddy’s passed up Halloween, which started off with $76.2 million in 2018, to mark the biggest domestic opening ever for Blumhouse, not adjusted for inflation. It is also Blumhouse’s top global launch. Other honorable mentions: Freddy’s supplants The Mummy Returns ($68.1 million) to rank as the top opening ever for a horror pic rated PG-13, not adjusted for inflation.

    While most critics bashed Freddy’s, the audience graced the movie with an A- CinemaScore (it is rare for a horror pic to receive an A or any variation thereof).

    Universal insiders say the decision to do a day-and-date release is a win-win for the overall ecosystem (only paid-tier Peacock subscribers have access). Those who want the communal experience of watching a horror movie in a theater can do so, while Peacock can woo much-needed subscribers. Streamers see notable growth in October because of Halloween-themed offerings.

    Before the pandemic, most theaters would have outright refused to book a title already available in the home. The COVID-19 crisis changed everything, however, with the traditional 72- to 90-day theatrical window shrinking dramatically to as little as three weeks for films that open to less than $50 million. Day-and-date releases aren’t the norm, but no cinema operator was going to refuse to play Five Nights at Freddy’s.

    Directed by Emma Tammi, Freddy‘s stars Josh Hutcherson as a washed-up security guard who has no choice but to take a crappy job safeguarding a long-shuttered family-themed pizza restaurant. The only problem — the pizzeria’s giant animatronic animal characters spring to life and go on murderous rampages. He’s also trying to maintain sole custody of his 10-year-old sister (Piper Rubio) and prevent her from falling into the clutches of their Aunt Jane (Mary Stuart Masterson).

    Things go from bad to worse when a group of local toughs hired by Jane break into Freddy’s while Mike is off-duty to trash the joint so he’ll lose his job. Needless to say, the giant animatronic animals don’t like the intrusion and try to exact their revenge.

    Kat Conner Sterling and Matthew Lillard also star. Jim Henson’s Creature Shop created the animatronic characters.

    Elsewhere, Taylor Swift and AMC Theatres’ Eras Tour achieved another huge milestone in singing past the $200 million mark at the worldwide box office, a first for a concert film. It earned another $14.7 million domestically to finish its third weekend with a North American cume of $149.3 million and $203 million globally (the pic only plays Thursday-Sunday).

    Martin Scorsese‘s adult-skewing Killers of the Flower Moon came in third behind Freddy’s and Eras Tour with an estimated $9 million, a sharp decline of 61 percent. Apple Original Films produced and financed the $200 million film, with Paramount handling distribution duties. The movie, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, is counting on being a slow burn as Oscar season unfolds, but the producers had hoped for a smaller drop in the film’s second weekend.

    Killers of the Flower Moon earned another $14.1 million from 64 markets oversea for a foreign tally of $44 million and $88.6 million globally.

    Angel Studios opened its first release since its indie film Sound of Freedom took the summer box office by storm. Its new faith-based movie, After Death, took in $5 million to come in No. 4.

    Blumhouse and Universal’s The Exorcist: The Believer, which is now available on Premium VOD after a disappointing showing at the box office, rounded out the top five in its fourth weekend. The movie grossed $3.1 million for a domestic total of $61 million and $120.4 million globally.

    The specialty box office saw two high-profile Oscar hopefuls enter the fray, Focus Features’ The Holdovers and A24’s Priscilla. The two films opened in several locations both in New York and Los Angeles, with each reporting a promising per-location average in the $33,000 range.

    The Holdovers grossed $200,000 from six locations for a per-theater average of $33,333. Priscilla, launching in four cinemas, earned $132,139 for a location average of $33,035.

    Oct. 29, 8:10 a.m.: Updated with revised weekend estimates.

    This story was originally published at 7:55 a.m. Saturday.

    Source link

  • Taylor Swift’s Eras Tour Has Made Her A Billionaire

    Taylor Swift’s Eras Tour Has Made Her A Billionaire

    Taylor Swift, whose ultra-lucrative Eras Tour is still going, has officially become a billionaire.

    According to a new analysis by Bloomberg News, the 33-year-old pop superstar now has a net worth of $1.1 billion. The tour is a major component of her fortune, with about $700 million in ticket sales for shows performed to date. Its 53 U.S. stops this year have contributed an estimated $4.3 billion to the country’s gross domestic product, per Bloomberg Economics. There are still 89 more shows left on the tour, which has seen tickets go for hundreds of dollars apiece.

    Swift’s fame extends well beyond the concert stage, of course. This fall, she has become a force on television and in movies. After becoming romantically linked with Kansas City Chiefs tight end Travis Kelce, Swift has cheered him on at multiple NFL games, captured on national telecasts rooting with members of his family and other Chiefs partisans. Her concert film, a document of the Eras Tour, is closing in on $200 million at the global box office, and its $92.8 million domestic opening was the second-biggest for any October release in history.

    RELATED: Taylor Swift: Which Eras Tour Songs Didn’t Make Concert Film & Which Surprise Songs Got In

    In her native music industry, another Swift initiative in recent years has also had a significant payoff. After discovering she had no control over the master recordings of some of her most popular albums, she decided to re-record them in chronological order, with the “Taylor’s Version” of each successive album lighting up social media. A new take on 1989, an album originally released in 2014, has just come out, complete with five new “vault” tracks. Over time, these newer albums are apt to draw increasing audiences via streaming algorithms, thereby pushing up the value of the catalog rights Swift does control. Many artists have sold their catalogs for hundreds of millions of dollars in recent years.

    Bloomberg describes its net worth calculation as “conservative,” saying it is based only on assets and earnings “that could be confirmed or traced from publicly disclosed figures.”

    Source link

  • Box Office: ‘Five Nights at Freddy’s’ Is Off to Rip-Roaring Start With $10.3M in Thursday Previews

    Box Office: ‘Five Nights at Freddy’s’ Is Off to Rip-Roaring Start With $10.3M in Thursday Previews

    Five Nights at Freddy‘s partied hard on its first night in theaters.

    The latest horror offering from Universal and Blumhouse scared up a massive $10.3 million in Thursday previews at the domestic box office. That’s on par with New Line’s It: Chapter Two ($10.5 million), which debuted to a record $91 million in 2019, not adjusted for inflation. And it’s notably ahead of Blumhouse/Universal’s Halloween ($7.7 million), which also smashed records when opening to $76.2 million in 2018, as well as Halloween Kills ($4.9 million) and Halloween Ends ($5.4 million), not adjusted for inflation. It also trumped Jordan Peele’s Us ($7.4 million).

    Freddy’s is tracking to open to $45 million to $50 million, a huge sum considering that the movie is being released simultaneously on Universal’s sister streaming service, Peacock (only paid-tier subscribers will have access). Others think it will do notably more, a premise backed up by the preview gross. But no one knows yet how front-loaded the film is.

    Universal insiders say the decision to do a day-and-date release is a win-win for the overall ecosystem. Those who want the communal experience of watching a horror movie in a theater can do so, while Peacock can woo much-needed subscribers. (Apparently, streamers see notable growth in October because of Halloween-themed offerings.)

    Before the pandemic, most theaters would have outright refused to book a title already available in the home. The COVID-19 crisis changed everything, however, with the traditional 72-to-90 day theatrical window shrinking dramatically to as early as three weeks for films that open to less than $50 million. Day-and-date releases aren’t the norm, but no cinema operator was going to refuse playing Five Nights at Freddy’s.

    Directed by Emma Tammi, Freddy’s stars Josh Hutcherson as washed-up security guard who has no choice but to take a crappy job safeguarding a long-shuttered family-themed pizza restaurant. The only problem — the pizzeria’s giant animatronic animal characters spring to life and go on murderous rampages. He’s also trying to maintain sole custody of his 10-year-old sister (Piper Rubio) and prevent her from falling into the clutches of their aunt (Mary Stuart Masterson).

    Things go from bad to worse when a group of local toughs hired by Aunt Jane break into Freddy’s while Mike is off-duty to trash the joint so he’ll lose his job. Needless to say, the giant animatronic animals don’t like the intrusion.

    Kat Conner Sterling and Matthew Lillard also star. Jim Henson’s Creature Shop created the animatronic characters.

    “There has been perhaps no other category of film that has enjoyed the cinematic history, enduring popularity and box office consistency as the horror genre and this weekend will continue the tradition with Five Nights At Freddy’s set to scare up one of the best, if not the best horror debut of 2023,” says box office analyst Paul Dergarabedian.

    Taylor Swift’s Eras Tour, which only plays Thursday-Sunday, has grossed a record $132 million domestically and $46.8 million overseas. The movie is tipped to earn another $12 million to $15 million.

    Martin Scorsese’s adult-skewing Killers of the Flower Moon hopes to enjoy a strong hold in its second weekend after opening to $23.2 million domestically. The movie, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, should pull in $12 million.

    Source link

  • Box Office: Taylor Swift’s ‘Eras Tour’ Nabs $10.4M Friday, ‘Killers of the Flower Moon’ Rides to $9.4M

    Box Office: Taylor Swift’s ‘Eras Tour’ Nabs $10.4M Friday, ‘Killers of the Flower Moon’ Rides to $9.4M

    Taylor Swift and AMC Theatres’ Eras Tour earned $10.4 million on its second Friday, enough to beat the $9.4 million grossed by Martin Scorsese‘s Western true-crime drama Killers of the Flower Moon on its opening day at the domestic box office.

    While Taylor Swift: Eras Tour is virtually assured of winning the weekend with a gross of $30 million to $33 million after crossing the $100 million mark domestically, that doesn’t mean Killers of the Flower Moon can’t carry a tune. (AMC is being more conservative in projecting a $26 million to $27 million weekend for Eras in case there is, once again, little walk-up business.)

    Flower Moon — starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro — is expected to score $23 million for the weekend, the third-best nationwide opening of Scorsese’s career behind 2010’s Shutter Island ($41 million) and 2006’s The Departed ($26.9 million), not adjusted for inflation. It also ties with The Departed and Goodfellas in receiving the best CinemaScores of his career, an A-.

    Apple Original Films is giving the $200 million to $250 million film a traditional theatrical run via Paramount. Its performance so far is impressive for an adult drama that runs three hours and 26 minutes.

    And while Flower Moon is skewing older, 46 percent of Friday ticket buyers were under the age of 35, including 27 percent between the ages of 25 and 34. Among older adults, 38 percent of the audience was 45 and older. Since this latter demo is notorious for not rushing out on opening weekend, Apple and Paramount are counting on Flower Moon to enjoy a strong run in the ensuing weeks as awards season unfolds, thanks to strong reviews and audience exit polls.

    The movie skewed notably male on Friday (61 percent), but the gender breakdown could even out as the weekend unfolds.

    Flower Moon is based on David Grann’s book about the murders of Osage Nation tribe members in the 1920s after oil was found on their Oklahoma land.

    DiCaprio — one of the world’s biggest movie stars — and the rest of the cast haven’t been able to do any publicity since the SAG-AFTRA strike commenced July 14. Apple was able to bank some interviews previous to the strike and generated headlines around the world when it took Killers of the Flower Moon to the Cannes Film Festival in late May but didn’t reap the benefits of a final publicity blitz by the actors. (Scorsese, who has a strong fan base, instead did the heavy lifting solo.)

    This weekend marks a turning point for Apple’s film ambitions. Killers of the Flower Moon, costing $200 million, is arguably the biggest event film to date from a tech giant to be given a conventional theatrical release versus going relatively quickly to streaming. Earlier this year, Apple Original Films revealed it intends to spend $1 billion a year to produce movies intended for theatrical, both to boost its streaming service and strengthen its profile in theaters.

    Apple’s next major theatrical test after Killers of the Flowers Moon is director Ridley Scott’s historic epic Napoleon, starring Joaquin Pheonix in the titular role. Apple and Sony open the film Nov. 22 on the eve of Thanksgiving.

    Source link

  • Taylor Swift Still Bejeweled With $32M Second Weekend; ‘Killers Of The Flower Moon’ Brings Adults Back To Cinemas With $23M Opening & A- CinemaScore – Box Office Update

    Taylor Swift Still Bejeweled With $32M Second Weekend; ‘Killers Of The Flower Moon’ Brings Adults Back To Cinemas With $23M Opening & A- CinemaScore – Box Office Update

    UPDATED SATURDAY AM: Refresh for more updates and analysis The overall box office at around $87.3M is off 23% from a year ago, but AMC‘s Taylor Swift: The Eras Tour and Apple and Paramount‘s Martin Scorsese movie, Killers of the Flower Moon are keeping business flowing and popcorn popping with respective weekend takes of $32M and $23M; the latter an exceptional start for what is a very long movie — longer than Oppenheimer– and a great beginning for Apple’s foray into the wide theatrical business, especially at a time when actors can’t promote due to the actors strike. Imagine if there wasn’t an actors strike, how much higher this could go? Also, an applaudable start for a period movie, this being set in the 1920s; quite often tracking sources pin ‘period’ as a factor which dogs grosses. And the exits are great for Killers of the Flower Moon: With an A- CinemaScore, Killers of the Flower Moon is up there with Scorsese’s top rated by the audience polling org, i.e. The Departed (A-) and Goodfellas (A-). Comscore/Screen Engine’s PostTrak remains high at 88% and 4 1/2 stars and a 72% recommend. CinemaScore audiences have been hard on several Scorsese classics, and haven’t handed him many As during his career in the pollster’s era i.e. Casino (B-), The Aviator (B+), Gangs of New York (B), Wolf of Wall Street (C) and Shutter Island (C+).

    At $23M+, Killers of the Flower Moon is just north of DiCaprio’s opening box office average with Scorsese of $19M, and it’s the best start for a De Niro and Scorsese combo beating Cape Fear‘s $10.2M opening.

    Taylor won Friday at $10.4M to Killers of the Flower Moon‘s $9.4M which includes Thursday previews of $2.6M.

    What’s working here? First, let’s start with the fact that the movie was promoted to the entire Apple sub base on Apple TV+; and they were told not to stay home. It’s DiCaprio, Scorsese and De Niro, and to any clear thinking adult moviegoer, that’s a call to get off your couch (81% were over 25). Throw in the fact that the movie is based on a best-selling book. Apple since blasting the movie off with the support of its cast out of Cannes has kept the loudspeakers on in the pic’s promotion with a robust outdoor campaign (go to the Century City Mall and digital billboards for Killers of the Flower Moon are all around you).

    iSpot measured a very robust TV ad spend for the film at $15.4M which reached 1.12 billion household TV impressions. Spots aired across NFL football, (13.7%), College Football (6.9%), MLB (4.6%), Law & Order SVU (3.0%) and House Hunters (2.4%) with top network ad runs on ESPN (9.6%), FOX (9.5%), CBS (8.6%), NBC (6.3%) and ABC (6.2%).

    It’s also a western, and while some thought this movie would simply play well in New York and LA, its strongest regions are the South and the West. For Paramount, in some ways this is reminiscent to the Coen Bros’ True Grit, which was a wide appealing western for them, and had a $24.8M start; however, that pic had some legs. We’ll see where Killers of the Flower Moon roams. Top theater in the nation belongs to AMC Lincoln Square which has minted over $71K so far. PLFs and Imax are driving 37% of ticket sales.

    Demo diagnostics for Killers of the Flower Moon on PostTrak are 61% Male / 39% Female with 46% of the audience between 18-34 years old and the largest quad being 25-34 years old at 27% with an amazing 38% of the audience over 45. Diversity demos were 54% Caucasian, 21% Latino and Hispanic, 10% Black, 8% Asian and 8% Native American/other, the latter who gave the movie about the Osage Nation tragedy an 84% grade. Best grades for the movie were from the under 25 guys demos, who didn’t show up in bulk at 13%, who gave the DiCaprio-De Niro movie a 90% grade.

    more…..

    UPDATED, FRIDAY MIDDAY: AMC’s Taylor Swift: The Eras Tour is currently looking to hold onto the No. 1 spot at the domestic box office with a second estimated Friday of $10.25 million, off 73% week over week, for what’s looking like a second weekend around $32 million at 3,855 theaters, -66%. That’s a very similar second-weekend decline to Disney’s 2008 concert film Hannah Montana and Miley Cyrus: Best of Both Worlds Concert. The running total for Eras Tour by EOD Sunday would be $130.7M.

    Meanwhile, Apple Original Films and Paramount’s 3-hour and 26-minute Martin Scorsese movie Killers of the Flower Moon is looking pretty good. Booked at 3,628 theaters, Friday is shaping up to be $9M ahead of a $22M three-day opening. Some rival distribs even have it higher.

    Third place at 3,364 theaters is PAW Patrol: The Mighty Movie with $1.2M in its fourth Friday and a fourth weekend of $5.1M, -26%, and a running total of $56.7M.

    Disney rereleased Tim Burton’s Nightmare Before Christmas in 1,650 theaters with an estimated Friday of $1.45M and a three-day total of $4.3M.

    Universal/Blumhouse’s The Exorcist: Believer is looking at fifth place with $1.25M in its third Friday at 3,323 theaters and a three-day of $3.95M, -64%, and a running total by Sunday of $52.6M.

    Lily Gladstone and Leonardo DiCaprio in ‘Killers of the Flower Moon’

    Apple TV+ / Courtesy Everett Collection

    PREVIOUSLY, FRIDAY AM: The AMC-distributed Taylor Swift: The Eras Tour returned to theaters Thursday at around noon after a three-day pause, pulling in $5.9 million per industry estimates. This takes the running total of the Sam Wrench-directed concert film to $98.7M at 3,855 theaters. Meanwhile, Apple Original Films’ big splash into wide theatrical releases with Martin Scorsese’s Killers of the Flower Moon, distributed by Paramount, drew $2.6 million in previews that began at 2 p.m. Why so early? The movie starring Leonardo DiCaprio and Robert De Niro is 3 hours and 26 minutes long.

    Comps to Killers of the Flower Moon are Ford v. Ferrari at $2.1M and Elvis which did $3.5M. Elvis at 2 hours and 39 minutes opened to $31.2M, while Ford v. Ferrari at 2 hours and 32 minutes had a $31.4M start.

    Heading into the weekend, many are expecting it’s Swift’s to lose with, at a bare minimum, a second-weekend take of $27M, off 70% from Week 1. However, no one has been able to gauge 100% the trajectory of this young female-skewing pic. While we heard most of the presales were for last weekend, we’ll see if the Swifties show up again this weekend.

    RELATED: ‘Taylor Swift: The Eras Tour’ Review: A Joyful Celebration That Encourages Audiences To Revel In The Spectacle

    That said, in an autumn box office season turned upside down by the actors strike, and thespians unable to promote, many are bullish on the first-weekend prospects of Killers of the Flower Moon exceeding a $20M+ start. By the way, that’s just north of the $19M opening-weekend average for a DiCaprio movie with Scorsese.

    RELATED: ‘Killers Of The Flower Moon’ Review: A Powerful And Dark Epic Of Love, Deception, Murder And Greed Set Against The Osage Nation

    Paramount made sure that Killers of the Flower Moon had all the Imax and PLF screens working to its upside this weekend. Some wouldn’t be surprised if it beats Swift. The last time the actors promoted the movie was back at its Cannes Film Festival world premiere in May. After the wattage of such movies like The Creator and A Haunting in Venice were squashed by the actors strike, how could a long movie like Killers of the Flower Moon actually break through? Many attribute its possible upside to DiCaprio’s star power, the fact that Scorsese (who brings in moviegoers) has been out there promoting, a vacancy for such star -owered big pics on the marquee, plus the fact that the movie is based on a bestselling novel by David Grann.

    Among several exclusives that Deadline has reported about Killers of the Flower Moon, Imperative Entertainment’s Dan Friedkin and Bradley Thomas won the book rights back in 2016, shelling out $5M. Apple won the auction for the Scorsese-DiCaprio-De Niro package, the film costing around $200M-lplus after Oklahoma tax credits.

    Already, early audience Comscore/Screen Engine exits are showing there’s not a divide between moviegoers and critics when it comes to Killers of the Flower Moon. While movie reviewers are at 93% certified fresh on Rotten Tomatoes, PostTrak shows 4 1/2 stars, 87% positive and a 72% recommend. While men over 25 repped half of last night’s crowd and women over 25 another 30%, it was men under 25 at 13% who gave the movie its best grades, that being 95%. Overall guys showed up at 64%. These demos will fluctuate throughout the weekend.

    Apple Original Films has not set a streaming date for the movie as they want a long theatrical window during awards season.

    Top theaters last night for the Scorsese movie came from New York, Los Angeles, Oklahoma City, Tulsa, San Francisco, Toronto, Boston and Vancouver.

    Rest of yesterday: Universal/Blumhouse’s The Exorcist: Believer saw around $746,000, -9% from Wednesday, for a two-week running total of $48.6M. Pic was booked at 3,684 theaters.

    Third belongs to Indian action movie Leo: Bloody Sweet. Although it made $679K yesterday stateside and $1.87M on Wednesday at 720 theaters for a two-day total of $2.5M, the Joseph Vijay-starring feature directed by Lokesh Kanagaraj broke several box office records with Rs 63 crore (630 million) in India on day one across all languages, the biggest opening for a Kollywood film in India. Abroad, the pic made Rs 66 crore (Rs 660 million). Global take is Rs 130 crore (1.3 billion). Leo has joined blockbusters like RRR, Baahubali 2, KGF 2 and Pathaan among titles that have crossed Rs 100 crore (Rs 1 billion) worldwide on their opening day.

    Pic follows Parthiban, a mild-mannered cafe owner in Kashmir, as he fends off a gang of murderous thugs. He gains attention from a drug cartel who claims he was once a part of them.

    Here’s the trailer:

    Lionsgate‘s Saw X saw $499K yesterday, -3% from Wednesday, for a $43.6M three-week running total. The sequel is playing at 3,058 theaters.

    Paramount and Spin Master’s PAW Patrol: The Mighty Movie earned $424K at 3,707 theaters, +11% from Wednesday for a three-week running total of $51.6M.

    Another Indian movie Bhagavanth Kesari was on the charts, opening Wednesday with $541K at 620 locations, and grossing another $155,600 yesterday for a two-day take of $696K. The Anil Ravipudi-directed movie follows Nelakonda Bhagavanth Kesari, who is adamant about getting even with a powerful businessman who cost him money. He is prepared to square off against the formidable foe and resolve their issues amicably.

    Source link