‘The Invitation’ Scares Up $775,000 at Thursday Box Office

The Viola Davis femme African warrior epic The Woman King —a flashback to the types of historical epics Columbia Pictures has had a long history of notching Oscars with– is looking at a $12M opening per Sony this weekend, while rivals have it in the $13M-$16M range.

Rebecca Rubin Film and Media Reporter Fresh off its enthusiastic world premiere at the Toronto Film Festival, the Viola Davis-led historical epic “The Woman King” will touch down in 3,700 North American movie theaters over the weekend. The domestic box office desperately needs a boost, but will U.S. audiences be as receptive as festival-goers in Canada? Touted as the real-life “Black Panther,” Sony’s “The Woman King” is aiming to collect at least $15 million in its domestic debut. Independent box office observers are optimistic that opening weekend returns could reach $17 million to $20 million. Yet Sony, who co-financed the movie with eOne, is projecting $12 million, in line with 2018’s “Widows,” which also starred Davis. Replicating those ticket sales, even with tempered pandemic-expectations, would be tepid-at-best since “The Woman King” carries a $50 million price tag.

Naman Ramachandran Ayan Mukerji’s Bollywood action fantasy “Brahmāstra Part One: Shiva” was one of the leading films at the global box office over the weekend, grossing $28.2 million, according to its producers, Disney’s Star Studios India and Dharma Productions. The film released in India across 5,019 screens and debuted at No. 1 with a three-day weekend of $18.9 million. The film’s overseas screen count was 3,894. In the U.S., where the film is distributed by Disney, it released in 810 theaters and debuted at No. 2 with $4.4 million. However, the film needs to sustain its momentum to break even, with its budget approximately $51 million.

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.

This was yet another soft weekend at the international box office with no major fresh titles and as summer fully closes out in Europe and beyond.

Rebecca Rubin Film and Media Reporter Movie theaters and the terrible, horrible, no good, very bad end-of-summer continues at the box office. Without any major releases on the calendar, Sony’s “Spider-Man: No Way Home” — yes, a movie that debuted in December of 2021 — managed to return to the No. 1 spot in North America. Sony re-released the film with 11 minutes of extra footage that proved to be tantalizing to comic book fans, bringing in $6 million from 3,935 theaters over the weekend. “No Way Home” is expected to finish the Labor Day holiday weekend on Monday with $7.6 million. Another holdover, Paramount’s “Top Gun: Maverick,” is trailing ever-so-slightly with $5.5 million between Friday and Sunday and an estimated $7 million through Monday. Since ticket sales are close, the final order could change on Monday. In any case, the triumph of “Spider-Man: No Way Home” and “Top Gun: Maverick” highlights the bleakness at the box office considering both of those films are widely available on home entertainment.

Current industry estimates have overall figures for the 4-day weekend finishing at just $63-65 million. In 2021, “Shang-Chi” boosted that total to $140 million, and prior to the pandemic, only one Labor Day weekend in the 2010s saw a 4-day total below $100 million ($97 million in 2017.)The National Association of Theater Owners stemmed the tide somewhat with National Cinema Day, a campaign that offered $3 movie tickets at cinemas nationwide on Saturday with major chains like Cinemark and AMC also offering discounts on popcorn and soda.

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.

Outlander is one of the most iconic romance fantasy shows of recent years, skyrocketing the careers of leads Caitriona Balfe and Sam Heughan and creating a global fanbase.

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.”

A glum weekend box office overall (one of the worst of the year) wasn’t so awful for specialty, relatively speaking, with Breaking passing $1M on 900 screens and Spanish-language The Good Boss at $27K on 15. Both are a far cry from pre-pandemic numbers but did hit the new normal for limited releases – reaching at least $1 million on 500 to 1,000 screens, and keeping the per theater average above three digits.

To mark National Cinema Day on Saturday, September 3, Vue is inviting film fans nationwide to enjoy the best seats, screen, and brilliant sound of the big screen experience, for just £3 per ticket*.

Rebecca Rubin Film and Media Reporter If three new movies debut in theaters, but nobody goes to see them… That is how Sony’s creepy thriller “The Invitation” managed to top box office charts with a paltry $7 million. Its win comes with some pretty weak bragging rights; it’s the lowest first-place finish since May 2021, when COVID was keeping people at home. Now, it’s not the pandemic that’s preventing audiences from going to theaters, it’s the lack of appealing options. Overall, the domestic box office generated just $54 million over the weekend, the worst collective result in months. And the bad times are expected to continue until at least late September or early October, when “Don’t Worry Darling” (Sept. 23), “Halloween Ends” (Oct. 14) and the comic book adaptation “Black Adam” (Oct. 21) open in theaters. It’s a disappointing finale to an otherwise strong summer at the movies, which fielded plenty of box office hits including “Top Gun: Maverick,” “Minions: The Rise of Gru,” “Thor: Love and Thunder” and “Elvis.”

“The Invitation” is taking No. 1 with an opening of just $7 million from 3,114 theaters, which is just more than half of the $11 million opening that Sony earned with another critically panned Screen Gems horror production, “Slender Man,” in August 2018.

according to IMDB’s Box Office Mojo, and is projected to bring home $6.5 million this weekend, according to Forbes. Based on Bram Stoker’s “Dracula,” the Sony film has received lackluster reviews, but still holds the number one spot in this summer’s lowest-grossing weekend at the box office.

J. Kim Murphy In a summer that’s often seen only one new wide release in a weekend, a whopping three new films hit theaters on Friday: Sony’s horror-thriller “The Invitation,” George Miller’s “Three Thousand Years of Longing” and bank heist movie “Breaking,” starring John Boyega. However, none of them seem to be making much of an impact, as the total box office projects a sum in the $50 million to $60 million range. That wouldn’t just be the worst weekend of the summer, but also the worst since February. “The Invitation” is tracking ahead of the other two, as it looks to claim the weekend’s top spot with a meagre $6 million to $7 million gross from 3,114 locations in its opening. Critics didn’t really care for the movie — it landed a 40% approval rating from review aggregate website Rotten Tomatoes — and audiences were perhaps more unenthused. The film holds a “C” grade from research firm Cinema Score, indicating a rather snoozy reception from general consumers.

SATURDAY AM UPDATE: The bowels of the summer box office have been reached with Sony’s new C CinemaScore horror movie The Invitation leading with $6M-$7M at 3,114 theaters. Like the late Andy Rooney, I get a lot of mail from sources, but in this instance it’s about why it’s important to be gentle when covering the box office. We’re still in the pandemic, we’re not back yet, it’s not good for our business to be nasty, blah blah blah. However, simply putting random movies in theaters without any great P&A spend doesn’t do the box office, or exhibitors any favors. This weekend will rank as the lowest grossing weekend to date of summer with an estimated $54M for all titles (some even have it lower). If it makes anyone feel better, it’s not the worst weekend of the year. That belongs to Jan. 28-30 when all titles made $34.9M per Box Office Mojo.