The great Broadway Crunch of Spring 2024, when 18 new productions opened between mid-March and late April – 19 if you count the commercial transfer of Appropriate – seems to be showing early signs of the inevitable shake-out, with one show (Lempicka) closing soon and a few others already playing to houses with attendance at
BoxOffice
Disney CEO Bob Iger said the company will limit its output of Marvel movies to “two good films” a year — three maximum — from about four and also cut the numbers of TV series spinoffs for the franchise. Speaking on a conference call with analysts Tuesday after quarterly numbers, Iger took questions about the
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
Universal and Illumination‘s smash The Super Mario Bros Movie finishes No. 1 to make it a wrap on Deadline’s Most Valuable Blockbuster tournament for 2023. While the industry is still coming out of Covid and the aftermath of the strikes, there’s no question about the major motion picture studios’ embrace of the theatrical downstream model; steamers
After debuting early last weekend, Universal’s The Fall Guy expanded to 78 overseas markets during its sophomore session, adding $25.4M for a running total of $36.9M at the international box office. That’s in line with Bullet Train and above The Lost City at the same point in release. Globally, the David Leitch-directed action romance is
A24’s I Saw The TV Glow beamed out one of the best limited openings of the year as the specialty market shows signs of life after a dreary April. The ‘90s era trans coming-of-age horror-thriller grossed $116.3k at four theaters in New York and LA for a per screen average of $29k for Jane Schoenbrun.
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
It’s been a rough few weeks for indies but May is here with a handful of hopefuls looking to rev up the market — from A24’s buzzy I Saw The TV Glow to Ryusuke Hamaguchi’s Venice award-winning Evil Does Not Exist. A documentary about Anita Pallenberg featuring Scarlett Johansson hits theaters, with a French animated
FRIDAY MIDDAY: Universal’s The Fall Guy is coming in a little light right now at $10.4M today, including previews, for what’s looking like a $28M opening at 4,002 theaters, below its $35M projection. Many aren’t shocked: This is where action comedies open, and Fall Guy isn’t that far from the $30M starts of Paramount 2022
Wildcat, directed and co-written by Ethan Hawke and starring Maya Hawke (Stranger Things, Little Women) as Flannery O’Connor, opens this weekend in New York and LA. One of nation’s most evocative, brilliant and ambitious writers, O’Connor was diagnosed with Lupus at 24 and reluctantly settled in with her mother, played by Laura Linney, at a
Moviegoing remains in a sling, evident in Universal’s The Fall Guy currently coming in lower than expected with $28M this weekend. Perhaps Furiosa and Garfield can bring some zing over Memorial Day weekend at the end of the month. Both hit three-week tracking Thursday, with the Warner Bros/Village Roadshow Mad Max prequel eyeing a $40M-$50M
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
EXCLUSIVE: A24 has acquired North American rights to Parthenope, the new film from Oscar winning filmmaker Paolo Sorrentino, ahead of its world premiere at the 77th Festival de Cannes. Parthenope is the seventh Sorrentino movie to play the Croisette following 2004’s The Consequences of Love, 2008’s Il Divo which won the Jury Prize and the
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
EXCLUSIVE: DreamWorks Animation/Universal’s Kung Fu Panda 4 crossed the $500M mark globally this past weekend, reaching the milestone on a staggered release pattern that has worked well for the partners in the past (think Puss in Boots: The Last Wish). Through Wednesday, it’s at $324M international box office and $509M worldwide. Directed by Mike Mitchell
The power of Greyskull is happening on June 5, 2026 when Amazon MGM Studios’ and Mattel Films’ finally bring their live-action reboot of Masters of the Universe to theaters. As Deadline first told you, Bumblebee filmmaker Travis Knight is directing off Chris Butler’s screenplay (the initial draft written by David Callaham, and Aaron and Adam Nee). Mattel Films’
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering the conversation
Deadline’s Most Valuable Blockbuster tournament is back. While studios during Covid wildly embraced the theatrical day-and-date model when cinemas were closed, they soon realized there’s nothing more profitable than a theatrical release and the downstreams that come with it. If anything, theatrical is the advertisement for a movie’s longevity in subsequent home entertainment windows. Entering
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