A24 To Reportedly Expand To “Action And Big IP Projects” After Recent Box Office Losses

There’s currently speculation that Saoirse Ronan could be engaged!

Alexander Payne’s The Holdovers from Focus Features pulled in an estimated $200k on six screens in New York and LA for a per-screen average of $33.3k, a good limited opening on an upbeat specialty weekend that also saw A24’s Priscilla by Sofia Coppola off to a fine start.

Refresh for latest…: Universal/Blumhouse’s Five Nights at Freddy’s is gaming its way to an estimated $130.6M global opening, higher even than we had it yesterday as this phenom is now eyeing a $52.6M bow from 64 international box office markets. As Anthony has chronicled, the domestic $78M opening is a stunner — and amid the day-and-date Peacock bow. Overseas, the play is purely theatrical and has set a number of records.

The phenomenon that is Universal/Blumhouse’s Five Nights at Freddy’s is currently looking at a global opening of $130M. Fazbear and crew are playing in 64 international box office markets where they are expected to reach $52M through Sunday.

Broadway box office held steady last week with total grosses for 28 shows tallying up to $28,106,860, with 224,832 ticket buyers paying an average $125.01 per seat.

Gene Maddaus Senior Media Writer Four CEOs are set to return to SAG-AFTRA headquarters on Tuesday with a new offer that they hope will break the stalemate in the 102-day actors strike. Among them will be Disney’s Bob Iger, who called SAG-AFTRA’s top negotiator, Duncan Crabtree-Ireland, on Saturday to invite the actors back to the bargaining table. The CEOs — who also include David Zaslav of Warner Bros.

There were two major new entries this weekend at the international box office, one local (Tamil thriller Leo: Bloody Sweet) and one from Hollywood. Starting with the latter, Martin Scorsese’s Killers of the Flower Moon from Apple, Paramount and Imperative Entertainment, had a big opening with $21M in 63 offshore markets and No. 1s in 24 of those, including France, Germany, Australia, Spain, Netherlands and Switzerland. The global bow, factoring in its strong domestic opening, was $44M; great for a period movie with a long running time and at a moment when talent could not promote it due to the actors strike.

Naman Ramachandran Lokesh Kanagaraj‘s Tamil-language “Leo: Bloody Sweet,” starring Vijay, debuted in third position at the global box office over the latest weekend, with $31.2 million planetwide, according to estimates released on Sunday by Comscore. The weekend was won by Martin Scorsese’s “Killers of the Flower Moon,” starring Leonardo DiCaprio, Robert De Niro and Lily Gladstone, with $44 million, followed by “Taylor Swift: The Eras Tour” with $41.5 million. However, in terms of worldwide cumulative among new releases, “Leo” scored $48.5 million (after four days) compared with the $44 million earned by “Killers of the Flower Moon.” An homage to David Cronenberg’s 2005 film “A History of Violence,” “Leo” released on Oct.

Patrick Frater Asia Bureau Chief “Only the River Flows,” a pitch-black crime noir from auteur Wei Shujun, comfortably topped the mainland China box office on a quietish weekend. The film, ostensibly a murder mystery, but one concerned more with atmosphere than linear plotting, earned $12.6 million (RMB90.8 million) in its opening three days, according to data from consultancy Artisan Gateway, or close to a third of the market. The film had its premiere in Cannes where Variety gave it a rave review, calling it an “inventive riff on Asian-noir” and making comparisons with films by Park Chan-wook and Diao Yinan. “Only the River Flows” has since played at a succession of festivals ever since, including New Zealand, BFI London, Vancouver, Adelaide and last week’s Pingyao event in China. Falling to second place at the box office after three weeks on top was Zhang Yimou’s “Under the Light,” which earned $6.9 million for a four-weekend cumulative of $176 million. Chen Kaige’s war, propaganda film “The Volunteers: To the War” earned $5.3 million in third place.

Emiliano De Pablos In times of dramatic change for the film-TV industry, Spanish auteur cinema is booming, goosed by multiple significant and high-quality titles, reaping prizes, critical praise and profile at international festivals. Beyond the preeminent interest in established auteurs such as Pedro Almodóvar, Alejandro Amenábar, J.A.

Netflix Co-CEO Ted Sarandos expects streaming data to become “much more transparent” in the near term, conforming with metrics for movies, TV and music.

Jennifer Maas TV Business Writer Netflix co-CEO Ted Sarandos says that “part “of the reason the streamer has long been tight-lipped about viewership data — even when it came to disclosing numbers to those creating the TV shows and films for the platform — is because of the talent’s own concerns about feeling “pretty trapped” by ratings and box office performance. “At the time we started creating original programming, our creators felt like they were pretty trapped in this kind of overnight ratings world and weekend box office world defining their success and failures,” Sarandos said during a prerecorded analyst interview that went live Wednesday, following Netflix’s report on its third-quarter financial results.

Merrily We Roll Along, the Sondheim revival starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, cemented its place among Broadway’s top earners during its opening week, grossing $1,706,962, filling all seats at the Hudson and securing the highest average ticket price with $220.88.

Naman Ramachandran Trafalgar Releasing’s concert film “Taylor Swift: The Eras Tour” was on song at the U.K. and Ireland box office, debuting at No. 1 with £5.7 million ($6.9 million), according to numbers from Comscore.

Cannes Palme d’Or winner Anatomy Of A Fall from Neon grossed $125,377 at five theaters for a per screen average of $25,075 — a solid limited opening for the Justine Triet-directed film that made its theatrical debut Friday in NYC, LA and San Francisco. A limited expansion is planned for next week. 

Taylor Swift seems set to do for the UK cinema industry what she has pulled off for the live entertainment industry, ie provide a much-needed cash injection.

Ellise Shafer It’s been a year since Katie Gregson-MacLeod went viral on TikTok with “Complex,” a devastating piano ballad about unrequited love that poised the 22-year-old for singer-songwriter stardom — and she’s still processing it all. “When your life changes that drastically, that quickly, I don’t think there’s ever any way of processing it,” MacLeod tells Variety over coffee and croissants at a North London café.

Naman Ramachandran Universal’s “The Exorcist: Believer” debuted atop the U.K. and Ireland box office with £1.6 million ($2 million), according to numbers released by Comscore. In its second weekend, in second place, Disney’s “The Creator” collected £1 million for a total of £4.1 million.

Craig Phillips, who was the first winner of Big Brother back in 2000, has opened up about his time on the show and has revealed how his life changed after leaving the iconic Big Brother house. During his time on the show, Craig, who now creates DIY videos with his wife Laura, spent 64 days in the house before being crowned winner by host Davina McCall. Having run a building company before signing up for the show, Craig’s life changed dramatically when he left the Big Brother house and, speaking in an interview with OK!, has revealed that he didn’t go home for nearly another 100 days.

An abandoned Scots shopping centre still lies derelict nearly 20 years after it closed for good. The Five Sisters Freeport Shopping Village, between Glasgow and Edinburgh, is boarded up and overgrown with weeds.