Cinemark XD: Extreme Digital Cinema Auditorium Features Powerful Combination of Auro 11.1 by Barco and Christie's Immersive Line Array Technology

Cypress, Calif. (April 7, 2014) -Christie®, a dominant brand in the digital cinema projection market, today announced that Cinemark Theatres has installed the Christie Vive AudioTM cinema sound system in its state-of-the-art Cinemark XD: Extreme Digital Cinema auditorium at the Cinemark StarCreek 16 in Allen, Texas. The 282-seat premium auditorium, which includes Auro 11.1 by Barco audio platform, features a huge, wall-to-wall screen and plush seating for maximum comfort; and now, Christie's leading-edge immersive line array technology that makes every seat the best seat in the house.

"We applaud Cinemark for adding a critical piece of the cinema experience with the decision to install our Christie Vive Audio solution in their premium XD Auditoriums," said Craig Sholder, vice president, Entertainment Solutions, Christie. "We believe the performance of our line array speaker technology provides a great audio experience to their XD guests, in every seat."

The innovative Christie Vive Audio system unlocks the full potential of the DCI digital cinema audio format and supports leading formats such as Auro 11.1, Dolby® AtmosTM, 7.1 and 5.1 surround sound. It is comprised of wall and ceiling surround speakers that use unique ribbon driver technology in a line array design, purpose-built for cinema environments. Christie Vive Audio speakers featured at the Cinemark XD: Extreme Digital Cinema auditorium include the Christie LA3 series for screen channels, wall and ceiling surrounds and the Christie S218 subwoofer.

"We are excited to add the Christie Vive Audio solution to our Cinema XD auditorium," said Damian Wardle, SVP Theatres Technology & Presentation at Cinemark. "Offering the ultimate in immersive cinema sound is part of Cinemark's commitment to bringing the highest quality movie-going experience to all our guests."

Phil Hacker, director of Presentation at Cinemark added, "We continue to seek out and bring the latest technology to our guests and the new generation of immersive sound is the differentiating factor. For Cinemark, Christie Vive Audio continues that objective and allows us to take full advantage of powerful immersive technology such as Auro 11.1, to bring our guests a movie-viewing experience that is also unmatched for its audio clarity."

Recognized for their exceptional timbre matching, enhanced voice intelligibility, and low distortion, the Christie Vive Audio speakers' unique line array design increases the optimal-listening area up to four times that of the standard point source systems. The complete Christie Vive Audio solution includes ceiling surrounds, wall surrounds, screen channel speakers, subwoofers, and Class D amplifiers. The system is ideal for traditional and premium large-format auditoriums, as well as postproduction studios and screening rooms.

For more information on Christie's new audio initiatives, visit .

About Cinemark Holdings, Inc.
Cinemark is a leading domestic and international motion picture exhibitor, operating 482 theatres with 5,563 screens in 40 U.S. states, Brazil, Argentina and 10 other Latin American countries as of December 31, 2013. For more information go to .

About Christie®
Christie Digital Systems USA, Inc. is a global visual technologies company and is a wholly-owned subsidiary of Ushio Inc., Japan (JP:6925). Consistently setting the standards by being the first to market some of the world's most advanced projectors, complete system displays, and entertainment audio solutions, Christie is recognized as one of the most innovative visual technology companies in the world. From retail displays to Hollywood, mission critical command centers to classrooms and training simulators, Christie display solutions and projectors capture the attention of audiences around the world with dynamic and stunning images, accompanied by awe-inspiring sound. Visit

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mpaa.pngWashington, DC - The major U.S. movie studios today filed a lawsuit against Megaupload and its key operators, alleging that the defendants facilitated, encouraged, and profited from massive copyright infringement of movies and television shows before the defendants were indicted on federal criminal charges and Megaupload was shut down.

"When was shut down in 2012 by U.S. law enforcement, it was by all estimates the largest and most active infringing website targeting creative content in the world," said Steven Fabrizio, Senior Executive Vice President and Global General Counsel of the Motion Picture Association of America. "Infringing content on and its affiliates was available in at least 20 languages, targeting a broad global audience. According to the government's indictment, the site reported more than $175 million in criminal proceeds and cost U.S. copyright owners more than half a billion dollars."

The lawsuit was filed by Twentieth Century Fox Film Corporation, Disney Enterprises, Inc., Paramount Pictures Corporation, Universal City Studios Productions LLLP, Columbia Pictures Industries, Inc., and Warner Bros. Entertainment Inc., in the U.S. District Court for the Eastern District of Virginia.

The defendants named in the lawsuit are Megaupload Limited, the registered owner of the website; Vester Limited, the majority shareholder of Megaupload Limited; Megaupload founder Kim Dotcom (aka Kim Schmitz and Kim Tim Jim Vestor); Mathias Ortmann, the Chief Technical Officer; and Bram van der Kolk, who oversaw programming.

"Megaupload was built on an incentive system that rewarded users for uploading the most popular content to the site, which was almost always stolen movies, TV shows and other commercial entertainment content. It paid users based on how many times the content was downloaded by others - and didn't pay at all until that infringing content was downloaded 10,000 times. Megaupload wasn't a cloud storage service at all, it was an unlawful hub for mass distribution," Fabrizio said. "To be clear, if a user uploaded his term paper to store it, he got nothing - and, in fact, unless he was a paying subscriber, Megaupload would delete the paper if it was not downloaded frequently enough. But if that same user uploaded a stolen full-length film that was repeatedly infringed, he was paid for his efforts. That's not a storage facility; that's a business model designed to encourage theft - and make its owners very rich in the process. There's nothing new or innovative about that. That's just a profiteer using existing technology to try to get rich off of someone else's hard work."

Fabrizio noted that the television and movie community is working every day to develop new and innovative ways to watch content online. "Today, it's easier than ever to watch the shows and movies you love where you want them, when you want them. Our industry is committed to giving consumers more choices, and to delivering the high-quality, fast viewing experience that audiences expect and deserve. But Megaupload -- and sites like it that are built on stolen works -- damage the consumer experience online and undermine the creators who don't get compensated for their work."

A copy of the complaint can be found here .


About the MPAA
The Motion Picture Association of America, Inc. (MPAA) serves as the voice and advocate of the American motion picture, home video and television industries from its offices in Los Angeles and Washington, D.C. Its members include: Walt Disney Studios Motion Pictures; Paramount Pictures Corporation; Sony Pictures Entertainment Inc.; Twentieth Century Fox Film Corporation; Universal City Studios LLC; and Warner Bros. Entertainment Inc.

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By Daniel Garris

Captain America: The Winter Soldier debuted with $95.02 million this weekend and in the process set a new opening weekend record for the month of April (which was previously held by 2011's Fast Five with $86.2 million). The highly anticipated superhero sequel from Disney and Marvel debuted in line with its lofty pre-release expectations, which tended to range from $85 million to $100 million heading into the weekend. Captain America: The Winter Soldier delivered the largest opening weekend of 2014 to date, as it easily surpassed the $69.05 million start of The LEGO Movie back in February.

Captain America: The Winter Soldier opened 11 percent ahead of the $85.74 million start of last year's Thor: The Dark World and an impressive 46 percent ahead of the $65.06 million debut of 2011's Captain America: The First Avenger. That represented a larger opening weekend percentage increase than the 30.5 percent The Dark World increased over the $65.72 million start of 2011's Thor. It should also be noted that this weekend's start for The Winter Soldier was likely deflated slightly by the semi-finals games of the NCAA Final Four on Saturday.

Captain America: The Winter Soldier opened with $36.93 million on Friday (with a sizable $10.2 million of that gross coming from late night shows on Thursday), fell an understandable 6 percent on Saturday to gross $34.67 million and declined 32 percent on Sunday to take in $23.43 million. That places the film's opening weekend to Friday ratio at 2.57 to 1. The audience breakdown for The Winter Soldier skewed towards male moviegoers (64 percent) and towards moviegoers over the age of 25 (57 percent). The film received a strong A rating on CinemaScore.

Today Disney officially announced that it would be releasing Captain America 3 on May 6, 2016. As has been widely discussed, that is also the current release date for Warner's Untitled Superman and Batman Film.

On the heels of last weekend's stronger than expected start, Paramount's Noah held up poorer than widely expected this weekend with a second place take of $17.05 million. The Darren Aronofsky directed biblical epic starring Russell Crowe was down a sizable 61 percent. Clearly, moviegoers rushed out to see Noah before Captain America: The Winter Soldier arrived on the scene, while mixed word of mouth for Noah among moviegoers also appears to have taken a toll this weekend. With that said, Noah has taken in a very solid $72.39 million in ten days and could still stabilize next weekend with the debut of The Winter Soldier now out of the way. Noah is currently running 8 percent behind the recent $78.41 million ten-day start of 300: Rise of an Empire (which fell 57 percent in its second weekend to gross $19.20 million).

Holding up significantly better was Lionsgate's Divergent, which was down a very respectable 49 percent to place in third with $12.98 million. The young adult adaptation starring Shailene Woodley continues to display relatively strong holding power and has now grossed $114.01 million in 17 days thanks in part to that holding power. Divergent is currently running just 18 percent behind the $138.40 million 17-day start of 2008's Twilight.

God's Not Dead continued to hold up extremely well upon expanding further this weekend with a fourth place take of $7.76 million. The faith-based drama from Freestyle and Pure Flix was down a very slim 12 percent from last weekend. God's Not Dead continues to cement its standing as one of the biggest surprises of 2014 thus far with a 17-day take of $32.56 million. That already places the film on the verge of surpassing the $34.52 million final gross of 2011's Courageous.

Muppets Most Wanted rounded out the weekend's top five with $6.15 million. The latest Muppets film from Disney was down 46 percent. Muppets Most Wanted surpassed the $40 million mark this weekend and has grossed an underwhelming $42.00 million through 17 days of release.

Fox Searchlight's The Grand Budapest Hotel followed closely behind in sixth with $6.12 million. Upon expanding into additional locations this weekend, the Wes Anderson directed film fell 28 percent from last weekend. With a 31-day take of $33.196 million, The Grand Budapest Hotel is quickly approaching the $45.51 million final gross of 2012's Moonrise Kingdom.

Mr. Peabody & Sherman placed in seventh with $5.13 million. In the process, the 3D computer animated film from Fox and DreamWorks Animation surpassed the $100 million domestic mark this weekend. Mr. Peabody & Sherman has grossed a respectable $102.03 million in 31 days, but is likely to take a significant hit from the release of fellow Fox computer animated film Rio 2 this coming Friday.

On the platform front, A24's Under the Skin was off to a noteworthy start with $133,154 from 4 locations in New York and Los Angeles. That gave the sci-fi film starring Scarlett Johansson a promising per-location average of $33,289 for the frame. Under the Skin is scheduled to expand into additional locations this coming Friday.

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- Captain America: The Winter Soldier opens in North America with a record-setting $96.2 million, nearly matching a $107.1 million performance from 50 overseas territories to bring its global cume over the $300 million mark after only ten days in release.

- Noah continues to perform well overseas, notching $45.6 million outside of North America to bring its global total to $178 million.

- Rio 2 is already up to $55.5 million overseas ahead of its North American debut.

- Divergent stumbles overseas. A $11.1 million overseas tally from 44 markets saw it fall behind Captain America in several markets.

- Ocho Apellidos Vascos becomes the highest grossing national film in Spain's history with $35.2 million.</p>

Captain America: The Winter Soldier posted the highest April opening of all time in North America with $96.2 million. The film’s first overseas hold in 50 territories netted $107.1 million, bringing the overseas cume to $207.1 million. The Winter Soldier has grossed a total of $303.3 million worldwide.

The Captain America sequel has already surpassed the lifetime overseas total of the original ($194M) after only ten days in release. The film posted an April debut for IMAX with a $16.1 million global and $6.5 million overseas take. China is currently responsible for $4 million of the overseas IMAX grosses.

China recorded a $39.2 million opening weekend, the best result for a Disney and Marvel release and 16% above last year’s Iron Man 3 debut. The film opened in first place in Russia ($7.4M) and Australia ($6M). Top earners for Captain America: The Winter Soldier are China ($39.2M), South Korea ($19.8M), UK ($18M), Mexico ($16.2M), and France ($12.1M).

Noah earned $45.6 million from 7,050 locations in 45 markets over the weekend, bringing its overseas total above the $100 million mark to $106.2 million.

This weekend saw the biblical epic expand to 24 new territories, including the UK, Germany, Spain, and Brazil. The new openings were responsible for $31.5 million of the film’s weekend total.

The film enjoyed the fourth biggest opening weekend of all time for a non-sequel in Brazil with an $8.5 million bow from 528 locations. The result is over five times the opening gross of Inception and nearly five times that of Gravity.

Noah took second place in the United Kingdom with a $4.2 million bow from 452 cinemas. Germany posted a #1 finish with $3.3 million from 502 sites. Spain delivered $3 million from 363 locations, also finishing in first place. The film recorded the biggest opening of 2014 in peru with $1.6 million from 73 locations. Noah also posted the biggest April opening of all time in Turkey with $1.5 million from 240 locations.

Noah collected $6.2 million from 946 cinemas in its second weekend in Russia, a 63% slide from its opening weekend, taking its local cume to $26.6 million after 11 days in release. The film’s current global cume is $178 million.

Rio 2 collected a $22.2 million haul from 6,155 screens in 12 markets. The animated sequel opened in five new markets, including the UK and Germany, to bring its overseas total to $55.5 million ahead of its North American debut. Brazil was the leading market for Rio 2 with a $5.6 million haul, down only 28% from its opening weekend and finishing its second frame as the #2 film on the market. Rio 2 has a $15.3 million cume in Brazil. The UK opened to $4.6 million from 1,295 screens to finish in first place, an 86% improvement over the original. Germany took a $3.9 million first place bow from 1,026 screens. Spain had a solid $2.4 million opening to finish third in the market. Russia posted a $2.3 million hold in its third frame to take its cume up to $24.5 million

Mr. Peabody and Sherman took $11.2 million from 9,325 screens in 65 markets over the weekend. The film posted a resilient hold in China, where it only fell by 15% in its second weekend to gross $6.5 million and reach a $15.4 million market total. The animated film has grossed a total of $137.3 million overseas and $239.5 million globally.

Divergent grossed $11.1 million from 44 markets in its second weekend of overseas release, reaching a $22.4 million overseas cume. The film took a #2 debut in Italy with $1.5 million and finished fourth in its UK premiere with $3 million from 424 screens. The Young Adult adaptation opened in second place in Mexico with $2.5 million from 600 screens.Divergent will expand to France, Finland, Australia, Germany, Denmark, Russia, and Norway next weekend. The film will reach South Korea on April 17, Brazil on April 18, and Sweden and Spain on April 30. Divergent has grossed $136.6 million worldwide.

Frozen reached a $1.097 billion global cume this weekend after adding $8.2 million from 9 overseas territories in its 20th frame. It is now the 9th highest grossing film of all time. Frozen passed Ice Age 3 this weekend to become the second biggest animated release overseas with $698.4 million.

Frozen held on to the top spot in Japan for a fourth consecutive weekend to reach a $75.1 million cume in the market. The film is now the biggest Disney/Pixar animated release of all time across the Asia-Pacific/Russia region.

Top overseas markets for Frozen include South Korea ($76.9M), Japan ($75.1M), UK ($64.7M), China ($48.6M), Germany ($48.2M), and France ($42.6M).

Need for Speed collected $4.7 million from its fourth weekend overseas. The film is nearing the end of its run in China with $65.5 million. China is the film’s top global market with nearly $25 million more from its North American cume. Other top performers for the racing film include Russia ($13.8M) and UK ($7.8M). Need for Speed has grossed $184.5 million worldwide. The film expands to France on April 16, South Korea on Aprul 17, and Japan on June 7.

The LEGO Movie opened in Australia with a successful $5.6 million bow from 537 screens (including previews), becoming the biggest opening weekend for an animated film in the Easter holiday corridor in the market. The LEGO Movie took a total of $7.3 million from all its 34 markets over the weekend, bringing its overseas cume up to $160 million. The film has grossed $410.9 million worldwide.

Ocho Apellidos Vascos occupied the top spot at the Spanish box office for the fourth consecutive weekend to become the highest grossing Spanish film of all time in its home country. The romantic comedy grossed $7.2 million in 475 dates over its fourth frame, taking 45% of the market’s market share. Ocho Apellidos Vascos has grossed a total of $35.2 million in its home market.

The Grand Budapest Hotel brought in $5.5 million from 2,369 screens in 34 markets. The Wes Anderson film crossed the $15 million mark in the United Kingdom ($15.1M) and the $10 million mark in France ($10.3M). The film has grossed $87.7 million worldwide with 21 markets left on its slate.

300: Rise of an Empire claimed $3.5 million from 63 markets in its 5th weekend of overseas release. The 300 sequel has grossed a total of $20.7 million overseas and $324.7 million globally. Top overseas markets for the film include Russia ($17.5M), Brazil ($17.1M), and France ($15.8M).

Muppets Most Wanted grossed $1.9 million from 10 territories in its third weekend of overseas release. The UK continues to be the top market for the film with $5.7 million. The Muppets sequel has grossed a total of $52.2 million worldwide. The film will expand to Australia and New Zealand on April 10, Spain on April 16, Germany on May 1, and Brazil on May 15.

The Monuments Men uncovered an additional $1.9 million from 9,325 screens in 65 markets to bring its overseas total to $137.4 million. The Monuments Men has grossed $153.1 million worldwide.

The Book Thief held on to $1.7 million from 1,052 screens in 14 markets. The film posted a strong hold in Italy, where it took $1.3 million in its second weekend to reach a $3.1 million total. The Book Thief has grossed $74.9 million worldwide.

Follow Daniel Loria and BoxOffice on Twitter for more news and updates on the global box office. 

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