maleficent.jpgDisney scored its second $700M+ global hit of the year as Maleficent became the 15th release of the studio's history to reach the vaunted milestone. 

 

Maleficent has grossed $471.8 million outside of North America through July 21 thanks to strong showings in China ($47.4M), Mexico ($45.7M), Russia ($37.5M) and Brazil ($32.3M). The film has also grossed $32.7 million in Japan, where it has won the top spot over the last three consecutive weekends. 

 

Maleficent is Angelina Jolie’s highest grossing live action film of all time domestically, internationally and globally. It is also highest grossing original film of 2014 worldwide.

 

 

 

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fandango.pngThe Nation's Leading Moviegoer Destination Continues Robust Ticket Sales and Traffic Growth on Mobile -- More than 50% of all Ticket Sales are now on Mobile Devices

LOS ANGELES - July 22, 2014 - Fandango, the nation's leading moviegoer destination, announced today that it will launch a brand-new movie discovery and ticketing app customized for Amazon's new Fire Phone releasing later this week. The new app extends Amazon's long-term relationship with Fandango, currently available on Kindle Fire tablets and other Amazon products.

Fandango also announced that it has reached a major milestone in terms of mobile ticketing, with more than 50% of its tickets sold on mobile devices. The company has seen dramatic growth in mobile traffic and ticket sales, with a 31% surge in tickets sold via mobile devices when compared with the same period in 2013.

"It is very exciting to be a part of the #1 online retailer's entry into the mobile phone space, by bringing our #1 moviegoing destination to Amazon's Fire phone," said Paul Yanover, President of Fandango. "We are seeing an enormous shift in moviegoer behavior towards mobile, and look forward to working with Amazon to further grow mobile engagement and ticketing."

"Fandango is an innovative brand offering a seamless experience for moviegoers on the go," said Steve Rabuchin, Vice President, Amazon Appstore. "We're thrilled that Fandango has created an app for the Fire phone. We think customers are going to love the experience."

As part of its new app for the Amazon Fire phone, Fandango is showcasing a top-10 movie list right on the home screen carousel that deep links to showtimes at nearby theaters for faster on-the-go ticketing. Taking advantage of the Fire phone's Dynamic Perspective technology, moviegoers can tilt their phone to reveal Fandango user movie reviews, navigate moviegoing menus, and see custom video playlists of movie trailers, celebrity interviews and Fandango's original shows, "Weekend Ticket," "Mom's Movie Minute" and "Reel Kids."

At launch, Fire users will be able to purchase tickets for new releases, including Scarlett Johansson's "Lucy" and Dwayne Johnson's "Hercules" (opening on July 25), plus advance tickets to Marvel's "Guardians of the Galaxy" (opening on August 1).
Fandango's integration into the Fire phone furthers the company's goal to be ubiquitous wherever consumers are making their moviegoing decisions. In addition to fandango.com, Fandango is also available on the mobile Web, Kindle Fire, iPhone and iPad (and via Siri), Android (and via Google Now), Windows Phone, Nook, Samsung Smart TV and Galaxy Note, Roku, and many other platforms.

About Fandango


Fandango, the nation's leading moviegoer destination and a unit of NBCUniversal, sells tickets to more than 24,000 screens nationwide. Fandango entertains and informs consumers with reviews, commentary, celebrity interviews and trailers, and offers the ability to quickly select a film, plan where and when to see it, and conveniently buy tickets in advance. For many theaters, fans can print their tickets at home or receive them as a paperless Mobile Ticket on their smartphones. Fandango's top-ranking movie ticketing apps, with more than 42 million downloads, are available on the iPhone and iPad, Android, and many other platforms. Fandango is enjoyed by more than 30 million online and mobile visitors each month, according to comScore. Film fans also find Fandango on Facebook at www.facebook.com/fandango and on Twitter @Fandango.

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By Alex Edghill

Tuesday Morning Update: Hercules started its release week with a strong 9,442 tweets on Monday. As impressive as the number was, the fact that it was down over 13% from its Sunday total is a tad of a worry as that isn't the norm for big releases such as this. The film is trying to appeal to a broad range of audiences thanks to the well known story of Hercules and the brawny box office drawn Dwayne Johnson has managed to cultivate over the past few years. By comparison, The Legend Of Hercules had 602 tweets its Monday before release while Pompeii had 1,893 tweets. No surprise that this film is tracking far ahead of The Legend Of Hercules considering the much greater marketing spend as well as much greater star power. There is no doubt its going to be the best performing Hercules movie on the year, but I'm curious to see how it rises or falls as the week progresses as this could potentially have a hefty ratio thanks to Dwayne Johnson's presence. $20 million+ is a lock with strong international returns but I think its going to have its hands full with...

Lucy began its week with a much less auspicious 5,020 tweets on Monday, a 47% bump from 3,421 tweets on Sunday. The film is looking to appeal to Sci-Fi lovers the world over and thanks to Scarlett Johansson it should be able to pad seats with a significant percentage of women. The film obviously has a super common name which really limits our ability to capture all potential tweets about it. The fact that its above 5,000 tweets with such a restrictive string speaks volumes for its appeal. By comparison, 3 Days To Kill had 785 tweets its Monday before release, while the similarly restrictively titled Hanna had just 608. This is the clear-cut favorite to win the weekend, and if it can produce $30 million+ on opening I believe there is a strong chance it might become a franchise.

Top 15 Movies for Monday July 21st

Rk Film Sun Mon Sun-Mon %
1 (+7) Guardians of the Galaxy 8,871 26,516 198.91%
2 (-1) Dawn of The Planet of The Apes 24,202 21,860 -9.68%
3 (-) The Purge: Anarchy 17,579 17,343 -1.34%
4 (+19) Star Wars: Episode VII 1,405 11,687 731.81%
5 (-1) Transformers: Age of Extinction 14,677 10,516 -28.35%
6 (+1) Fifty Shades of Grey 9,166 10,388 13.33%
7 (-1) Hercules (2014) 10,946 9,442 -13.74%
8 (-3) 22 Jump Street 12,756 8,442 -33.82%
9 (-7) The Fault in Our Stars 20,496 7,782 -62.03%
10 (+2) If I Stay 4,534 7,341 61.91%
11 (-2) The Hunger Games: Mockingjay Part 1 5,455 5,772 5.81%
12 (+1) Lucy 3,421 5,020 46.74%
13 (-3) Step Up All In 5,190 5,007 -3.53%
14 (-3) Maleficent 4,691 4,643 -1.02%
15 (+1) Avengers: Age of Ultron 2,520 3,620 43.65%
58 (-15) And So It Goes 263 202 -23.19%

Please check the methodology page for information about our Twitter project or here for historic data.

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By Daniel Garris

As was widely expected, Fox's Dawn of the Planet of the Apes held onto first place this weekend with $36.25 million. The critically acclaimed 3D sci-fi action sequel was down 50 percent from last weekend, which represented a very healthy second weekend hold for a blockbuster level film in the middle of summer. The film's second weekend hold was quite similar to the 49 percent 2011's Rise of the Planet of the Apes fell when it grossed $27.83 million during its second weekend of release. With a ten-day start of $139.21 million, Dawn of the Planet of the Apes is running an impressive 32 percent ahead of the $105.21 million ten-day take of Rise of the Planet of the Apes. This weekend's hold is a strong sign for Dawn of the Planet of the Apes going forward, though the film will also soon be facing more direct competition from the likes of Universal's Lucy, Paramount's Hercules and Disney's Guardians of the Galaxy.

Universal's The Purge: Anarchy was easily the strongest of the weekend's three new wide releases, with a second place take of $29.82 million. The sequel to last year's break-out horror film debuted in line with expectations. However, the film did open 12 percent below the $34.06 million debut of The Purge. The Purge: Anarchy took in $13.01 million on Friday (which included an estimated $2.6 million from Thursday night shows), fell 27 percent on Saturday to gross $9.51 million and fell just 23 percent on Sunday to take in $7.29 million. That placed the film's opening weekend to Friday ratio at 2.29 to 1, which represented a bit less initial front-loading than the 2.03 to 1 ratio registered by The Purge. The Purge: Anarchy will hope to hold up a bit better than The Purge did, in part from not having to face competition from the likes of Man of Steel and World War Z. The Purge: Anarchy received a solid B rating on CinemaScore. The audience breakdown for the film skewed slightly towards female moviegoers (52 percent) and towards moviegoers under the age of 25 (61 percent).

Planes: Fire and Rescue debuted in third with $17.51 million. The modestly budgeted computer animated sequel from Disney opened slightly below pre-release expectations and 21 percent below the $22.23 million debut of Planes last summer. While this summer has had a relatively limited amount of choices for family audiences, Planes: Fire and Rescue may have failed to have capitalized from the fairly empty family marketplace due in part to arriving in theatres so soon after its predecessor. Planes: Fire and Rescue opened with $6.37 million on Friday, increased 4 percent on Saturday to take in $6.61 million and fell 31 percent on Sunday to gross $4.53 million. That gave the film an opening weekend to Friday ratio of 2.75 to 1. Planes: Fire and Rescue received a strong A rating on CinemaScore. The audience breakdown for the film was split evenly between genders and skewed towards moviegoers 25 years and younger (59 percent). Family audiences represented 78 percent of the film's overall audience.

Sony's Sex Tape debuted in fourth with a significantly poorer than expected $14.61 million. The R-rated comedy starring Cameron Diaz and Jason Segel opened a disappointing 54 percent softer than the $31.60 million start of 2011's Bad Teacher. Sex Tape appears to have been hurt from both its poor critical reviews and from arriving in the marketplace on the heels of a number of successful comedies over the past few months (The Other Woman, Neighbors, 22 Jump Street and Tammy). Sex Tape opened with $5.67 million on Friday (which included an estimated $1.1 million from Thursday night shows), fell 7 percent on Saturday to gross $5.28 million and declined 31 percent on Sunday to gross $3.66 million. That placed the film's opening weekend to Friday ratio at 2.58 to 1. While Sex Tape could be helped out going forward by the lack of new comedies entering the marketplace over the next few weeks, its troubling C+ rating on CinemaScore isn't a good early sign. The audience breakdown for Sex Tape skewed slightly towards female moviegoers (53 percent) and moviegoers 30 years and over (52 percent).

Transformers: Age of Extinction rounded out the weekend's top five with $9.85 million. The fourth installment of Paramount's blockbuster sci-fi action franchise finally stabilized this weekend, as it was down a solid 40 percent. Transformers: Age of Extinction has grossed $227.00 million through 24 days of release. While that already makes the film one of the year's highest grossing releases thus far domestically, it is also a significant 28.5 percent softer than the $317.37 million 24-day take of 2011's Transformers: Dark of the Moon.

Warner's Tammy placed in sixth with $7.40 million. The Melissa McCarthy comedy vehicle was down a solid 41 percent and was likely helped out a bit this weekend by the poorer than expected start of Sex Tape. Tammy has grossed a very solid $71.05 million in 19 days, which already gives the film a current total gross to opening weekend ratio of 3.29 to 1.

On the platform front, IFC Films' Boyhood maintained momentum nicely this weekend by taking in $1.17 million from 34 locations. That gave the film a strong per-location average of $34,418 for the frame and represented a 202 percent increase over last weekend's five-location start. Boyhood has grossed a strong $1.79 million in ten days of platform release and will expand into additional locations next weekend.

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Award-winning film sound engineer Dennis S. Sands has upgraded his Sound Waves SB studio with a Meyer Sound cinema loudspeaker system for mixing in Dolby Atmos. Located in Santa Barbara, Calif., Sands's private studio is the first Dolby Atmos dubbing stage dedicated exclusively to native mixing of film music.

"I'd heard Meyer Sound systems at several well-known post-production studios," says Sands. "I was immediately impressed with the quality of the sound, the accuracy, and the depth and richness of the entire soundtrack. It was obvious Meyer Sound was the direction to go for the studio."

Sands's monitoring system is anchored by three Acheron® 80 screen channel loudspeakers and two X-800C high-power and X-400C cinema subwoofers each. Perimeter and overhead reinforcement comprises 14 HMS-10 and 10 HMS-12 surround loudspeakers with IntelligentDC technology, while a Galileo® loudspeaker management system with one Galileo 408 processor supplies drive and equalization. The system was designed and installed by Ron Lagerlof of Los Angeles-based Visioneering Design Company in consultation with Andy Potvin of Dolby Laboratories.

"It's easy to see why Dennis was pre-sold on Meyer Sound," says Lagerlof. "The loudspeakers have extremely low distortion and accurate phase response. You hear exactly what's there, and nothing else."

Since installation, Sands has finished native Atmos film score mixes for "Mr. Peabody & Sherman" and the 2014 "Godzilla" reboot. He has also completed a 7.1 mix of "Maze Runner" and television mixes for the "Cosmos: A Spacetime Odyssey" series.

Originally built as a private dubbing stage for director Andrew Davis, Sands's studio was designed by film sound legend Tomlinson Holman. The room features a 12-by-20-foot screen, a Euphonix System 5-MC DAW controller, a Euphonix CS3000 digitally controlled analog console, and four linked Pro Tools systems. A Focusrite RedNet 6 MADI bridge connects the Dolby Atmos RMU (Rendering and Mastering Unit) to a BSS SoundWeb London DSP system, which is used primarily for signal routing when switching from Atmos to 5.1 or 7.1 monitoring.

"People who have worked with me in the room before are very impressed with the improvement," reports Sands. "Reactions have been uniformly positive. For me, the monitoring decision was a no-brainer. Everything I do here translates beautifully onto the dubbing stage."

Dennis Sands has credits on nearly 300 feature films as a score mixer or re-recording mixer, earning four Academy Award nominations and winning two Cinema Audio Society Awards, including one for Lifetime Achievement.

Ron Lagerlof shares his insights into immersive cinema systems in Q&A "What to Know about the Loudspeakers in Immersive Atmos or Auro 11.1 System."

 

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