Box Office: ‘Dragon Ball Super: Super Hero’ Taming ‘Beast’ With Projected $21 Million Opening

Patrick Frater Asia Bureau Chief Family comedy “Table For Six” has set an opening day local record for a comedy film in Hong Kong, to the relief of producers who were forced to digest a releasing delay of six months. The Sunny Chan-directed film opened Wednesday in Hong Kong and Macau at 61 theatres, playing a total of 608 sessions. That gave it an accumulated box office of HK$1,986,701 ($255,000). “Table for Six,” which chronicles a family’s holiday gathering where food, love, friendship, jealousy and relationships are on the menu, had originally been planned as a dish to be served at Chinese New Year, in February. And producers had assembled a cast of major Hong Kong and regional talents, including Dayo Wong, Stephy Tang, Louise Cheung, Ivana Wong, Lin Min-Chen and Chan Charm Man.

Broadway gave Billy Crystal a fine send-off last week, with the star’s Mr. Saturday Night musical grossing more than $1 million during its final week of performances. That number – $1,014,614, to be precise – is a big jump over the show’s weekly box office takes in recent months. About 98% of seats at the Nederlander Theatre were filled for Crystal’s goodbye week.

Neon in association with National Geographic Documentary Films said director Sara Dosa’s Fire of Love will cross $1 million at the box office this weekend, becoming the biggest documentary release of the year for combined domestic and international gross. The film opened this summer and is entering its ninth week in theaters nationally. It will stream on Disney+ later this year.

Nick Vivarelli International Correspondent The Italian film industry is in a paradoxical state: production is booming but box office is bust. Italy’s five features vying for a Venice Golden Lion – plus a myriad more scattered in other Lido sections – reflect cinema Italiano’s current creative vibrancy, if you look at the cream of the crop; however, the average quality is not that great. On the plus side, the country is making a quantum leap forward in terms of the global visibility of its movies just as the number of Italian directors considered bankable in Hollywood, such as Paolo Sorrentino, Luca Guadagnino and Stefano Sollima (“Without Remorse”), to name but a few, is growing.

Nick Vivarelli International Correspondent The Italian film industry is in a paradoxical state: production is booming but box office is bust. Italy’s five features vying for a Venice Golden Lion – plus a myriad more scattered in other Lido sections – reflect cinema Italiano’s current creative vibrancy, if you look at the cream of the crop; however, the average quality is not that great. On the plus side, the country is making a quantum leap forward in terms of the global visibility of its movies just as the number of Italian directors considered bankable in Hollywood, such as Paolo Sorrentino, Luca Guadagnino and Stefano Sollima (“Without Remorse”), to name but a few, is growing.

Brent Lang Executive Editor of Film and Media After Warner Bros. executives signed off on the risky decision to bankroll their $90 million look at the life of Elvis Presley with a little-known actor portraying the hip-swinging rocker, producer Gail Berman reached for her phone. She wanted to immortalize the moment for Austin Butler, the man who reportedly beat out the likes of Ansel Elgort and Miles Teller to land the kind of role that can make a career. “I needed to take a photo of all these people sitting around after they made a decision that was going to mark a major change in Austin’s life,” says Berman. “It was wonderful that they saw from his screen test just how good he was, and that they were ready to support him on this journey.”

Wise men say only fools predict that adult films don’t work at the pandemic box office, however, older moviegoers kept falling in love with Warner Bros.’ Elvis this summer to the point where it’s now director Baz Luhrmann’s highest grossing movie ever of his career in U.S./Canada with $144.851M, beating the original run of his 2013 title, The Great Gatsby, which made $144.84M.

By comparison, “Dragon Ball Super: Broly” opened to $9.8 million from 1,238 theaters back in 2018. With business slowing down significantly during this end-of-summer period and Sony showing a strong track record of specialty success with its anime offerings, Crunchyroll has used one of the most famous anime series ever to expand its theatrical footprint, taking $3.4 million from Imax and other premium formats.

Rebecca Rubin Film and Media Reporter“Dragon Ball Super: Super Hero” topped the box office in its debut, beating expectations by collecting an impressive $21 million in North American ticket sales.The anime film, playing on 3,007 screens, is backed by the production company Crunchyroll, which specializes in Japanese anime film and television. “Super Hero” is a necessary bright spot in an otherwise dreary August at the movies.

according to IMDB’s Box Office Mojo.The Japanese animated adventure film is expected to take in $21 million during its first weekend in theaters, according to Variety.The Idris Elba-led “Beast,” roared into second place, earning close to $4.3 million in sales in its debut. A survival story of a family who gets stalked by a lion in South Africa, the movie “makes you miss ‘Anaconda,'” The Post quipped.“Bullet Train” slowed down to third place after spending two weeks in the No.

Over the past few years, Sony has found specialty success by releasing anime films from major franchises in the genre like “My Hero Academia” and “Demon Slayer,” and the release of this new “Dragon Ball Super” film is one of the first to be released after the studio merged its Funimation distribution wing into Crunchyroll, which is its anime streaming service. In addition, the late August dry period for theaters is a partial reason why “Super Hero” has received a much wider screen count than the last “Dragon Ball” film to hit theaters, “Broly,” which opened to $9.8 million from just 1,238 theaters in 2018.

local listings.While “Dragon Ball Super: Super Hero” will not be streaming upon its initial release, it will eventually be streaming on Crunchyroll.The latest installation of the “Dragon Ball” institution sees the return of Red Ribbon Army, an evil organization that Goku previously destroyed. Since its destruction, the army has been reformed with new and mightier Androids, Gamma 1 and Gamma 2 and is back for vengeance against Goku and his family.

We hearing from industry sources that Crunchyroll’s sequel, Dragon Ball Super: Super Hero, notched an estimated $4M in Thursday night previews, trouncing Universal’s Idris Elba lion movie, Beast, which did $925K at 2,900 theaters. Both began previews at 5PM last night. Crunchyroll is sending out an official update tomorrow.

Two wide studio releases will hopefully prevent this summer from reaching another low at the box office after last weekend’s $67.3M. If there’s one movie that’s going to pull ahead, sources are betting on Crunchyroll’s Dragon Ball Super: Super Hero. That distributor has proven in a short amount of time that they can draw a great deal of anime fans in a Friday through Sunday span. The Tetsuro Kodama directed animation movie is looking at anywhere from $12M-$15M, ahead of Universal’s genre lion-stalking film, Beast, starring Idris Elba; that pic hoping for at least double digits.

Rebecca Rubin Film and Media ReporterJordan Peele’s science-fiction thriller “Nope” landed at the international box office, generating a so-so $6.4 million from 19 territories.The film had the biggest start in the United Kingdom and Ireland with $2.1 million, which ranked below the $2.6 million haul that the opening of Peele’s debut feature “Get Out” amassed in the same territory. In Australia, “Nope” scored $1.2 million, which falls below “Get Out’s” $1.4 million debut in the country.

Michael Nordine authorThere’s a good chance you know more about “Dragon Ball” than you think you do. Whether through memes or references to terms like “Super Saiyan,” “Kamehameha” and “It’s over 9,000,” the 38-year-old franchise has achieved global popularity even as it’s remained something of a niche outside its native Japan.

Rebecca Rubin Film and Media ReporterJordan Peele’s latest nightmare, “Nope,” has crossed $100 million at the domestic box office, marking the director’s third feature film (out of three) to achieve that benchmark.After three weeks on the big screen, the film’s North American tally stands at $100.32 million.“Nope” — starring Daniel Kaluuya and Keke Palmer as siblings who discover something spooky hovering around their family’s ranch — is one of the few original movies to cross the $100 million mark in pandemic times. When it comes to movies that aren’t based on existing brands or franchises, only director Baz Luhrmann’s musical biopic “Elvis” ($137 million) and the Sandra Bullock-led romantic comedy “The Lost City” ($105 million) have surpassed the coveted threshold in 2022.

Bandai Namco has announced that Dragon Ball FighterZ will be coming to PS5 and Xbox Series X|S consoles alongside a rollback netcode update.Announced during the annual fighting game tournament Evo 2022 (August 5 to 7), it was confirmed that alongside a current-gen release which is now in development, Dragon Ball FighterZ, as well as Samurai Shodown, will be getting rollback netcode.Rollback netcode is pretty important in online fighting games and is a frequently requested feature to be added. Most fighting games feature delay-based netcode, meaning when players hit buttons they aren’t acted on or seen immediately by either player.