Tonys Boost Box Office For ‘Kimberly Akimbo’, ‘Leopoldstadt’, ‘Shucked’; ‘Here Lies Love’ Sells Out First Preview

Patrick Frater Asia Bureau Chief Pixar animation film “Elemental” expanded at the South Korean box office in its third weekend of release and easily bested new release title “Indiana Jones and the Dial of Destiny.” “Elemental” earned $5.27 million between Friday and Sunday, according to data from Kobis, the box office tracking service operated by the Korean Film Council (Kofic). That represented a 38% increase on its previous weekend performance and was the best of its three weekends so far. It also increased its market share to 39%, also its strongest market position, despite only adding a handful of additional screens. After 19 days on release, “Elemental” has amassed $16.9 million from 2.25 million spectators.

Rebecca Rubin Film and Media Reporter “Indiana Jones and the Dial of Destiny” is stumbling in its box office debut, generating $70 million internationally and $130 million globally to start. Those ticket sales wouldn’t be bad for a film aimed at older audiences, except for the fact that Disney and Lucasfilm spent $295 million before marketing to bring the fifth and final action-adventure, starring Harrison Ford, to the big screen. “Dial of Destiny” is posting similar numbers to Warner Bros. and DC’s misfire “The Flash,” which opened to $75 million internationally and $139 million globally but cost $100 million less to make. Both tentpoles are expected to lose money in their theatrical runs.

Refresh for latest…: Disney/Lucasfilm’s Indiana Jones and the Dial of Destiny is off to a disappointing start with a $130M global opening. Of that, $70M is from 52 international box office markets as the the fifth installment in the beloved 42-year-old franchise came in below projections.

Rebecca Rubin Film and Media Reporter Disney’s “Indiana Jones and the Dial of Destiny” lassoed the top spot on domestic box office charts, collecting an underwhelming $60 million in its opening weekend. That’s a decent amount of money for a tentpole that’s aimed at older audiences, but “Indiana Jones 5,” one of the most expensive movies ever, cost $295 million before marketing. It’ll take a heroic feat, one that would test even an enduring legend like Indiana Jones, for the fifth installment in the decades-old franchise to become profitable in its theatrical run. It was a disappointing weekend at the box office as “Ruby Gillman, Teenage Kraken,” a $70 million-budgeted family film from DreamWorks and Universal, cratered in its sixth-place debut with $5.2 million. In addition to “Dial of Destiny” and “Ruby Gillman,” the DC superhero adventure “The Flash” tumbled to the No. 8 spot in its third weekend of release with $5 million, another embarrassing 67% drop. It has yet to cross $100 million domestically, with ticket sales at $99.2 million to date.

according to IMDB’s Box Office Mojo.The film stars Harrison Ford in his fifth and final portrayal of archeologist-extraordinaire Jones. “While Ford is scrappy and lovable as ever, Indy was never a role that should have been played for 41 years,” The Post said.“Spider-Man: Across the Spider-Verse” remained in second place this week, taking home $3.435 million.

“Indiana Jones and the Dial of Destiny” hit theatres on Friday, but given the long-awaited sequel’s weak opening-day numbers, a better title may have been “Indiana Jones and the Box Office of Doom”.

J. Kim Murphy Indiana Jones has begun his last box office crusade, with the fifth franchise entry earning $24 million on its opening day from 4,600 theaters. It’s a figure that includes $7.2 million in previews in Thursday previews. The action-adventure film from Disney and Lucasfilm is expected to debut near the bottom of projections, projecting a three-day opening of $60 million or so. It’ll be more than enough for the Harrison Ford finale to land in the top spot on domestic charts, setting itself up to draw crowds through the Fourth of July holiday — but it’s not exactly the victorious tone-setter for one of the 20 or so most expensive blockbusters ever made. With a whopping $295 million production budget, “Indiana Jones 5” faces quite the trek to theatrical profitability.

SATURDAY AM: Refresh for chart…and more analysis Disney/Lucasfilm’s Indiana Jones and the Dial of Destiny is still bound to open at the bottom of end of tracking’s projection of $60M as this morning. I saw an estimate in The Flash vicinity of $55M last night and took an Alka Seltzer out of shock. Hopefully Dial of Destiny doesn’t fall apart tonight and at least stays on course for a Mission: Impossible – Fallout type opening in the $60M range over three days. That figure might be good for exhibition and popcorn sales over the five-day holiday weekend, but it stinks for a movie that has a reported cost of $250M to near $300M before P&A.

Rebecca Rubin Film and Media Reporter “Indiana Jones and the Dial of Destiny” is gunning for the top spot on box office charts. The fifth and final adventure to star Harrison Ford as the legendary, globe-trotting explorer is targeting at least $65 million from 4,500 North American theaters in its opening weekend. The latest Indy installment is also debuting day-and-date at the international box office, where it’s aiming to add $80 million for a global start of $145 million to $150 million. Those ticket sales are decent, especially for the fourth sequel to a decades-old property that’s aimed at older audiences. But Disney spent a mind-boggling $295 million to bring the action-adventure to life. That’s not including marketing costs, such as a no-expense-spared premiere and afterparty at the Cannes Film Festival where much champagne was tippled. Even in the best circumstances, it’ll take a heroic feat — and a lot of nostalgia from long-time fans of the series — for “Indiana Jones 5” to turn a profit in its theatrical run.

$2.3 billion “Avatar: The Way of Water” raked in last Christmas — movie theaters are back to being an armory of high-profile bombs. This weekend, wobbly Warner Bros.’ “The Flash” dropped a staggering 73% in its second week to a worldwide total of just $210 million. A more-than-50% decline for an expensive DC Comics superhero film spells trouble.Consider that fellow Justice League member “Aquaman” made $229 million by his second weekend in the US and Canada alone.Pixar’s uninspired “Elemental,” released June 16 and so far having grossed $121 million, will wind up as one of the Disney-owned animation studio’s biggest failures ever.

Patrick Frater Asia Bureau Chief Pixar animation “Elemental” rose to the top of the South Korean box office over the latest weekend. It overtook “The Roundup: No Way Out” and kept new release “Spider-Man: Across the Spider-Verse” at bay, in third place. Released a week earlier, “Elemental” rose from second place to first and grew its revenue by 19% in its second frame. According to data from Kobis, the tracking service operated by the Korean Film Council, “Elemental” earned $3.86 million between Friday and Sunday for a 12-day cumulative of $9.47 million. “The Roundup: No Way Out,” which had dominated the sector for the previous three weekends, slipped to second position. It earned $3.34 million over the weekend, a 34% week-on-week decline. Since releasing on May 31, it has amassed $73.2 million, from 9.67 million ticket sales, by far the biggest haul of any film released this calendar year.

Welcome to Global Breakouts, Deadline’s fortnightly strand in which we shine a spotlight on the TV shows and films killing it in their local territories. The industry is as globalized as it’s ever been, but breakout hits are appearing in pockets of the world all the time and it can be hard to keep track… So, we’re going to do the hard work for you.

EXCLUSIVE: Stand-up comedian and Easter Sunday actor Jo Koy has joined the Broadway producing team of the David Byrne-Fatboy Slim musical Here Lies Love ahead of the show’s first preview performance on Saturday, June 17.

With the Tony Awards – and a seriously orange New York City sky – prompting some Broadway productions to reduce their playing schedules last week, total box office and attendance was down a bit, with the 33 shows taking in $30,961,479 for the week ending June 11.

Police in Korea on Tuesday raided three major multiplex chains and the offices of three film distributors on suspicion of box office manipulation, according to multiple local media reports. News agency Yonhap, citing officials from the Seoul Metropolitan Police, said the six entities are alleged to have obstructed the business of the Korean Film Council (KOFIC) by falsely counting audience numbers for some local films.

Patrick Frater Asia Bureau Chief “Transformers: Rise of the Beasts” enjoyed a $38.9 million (RMB276 million) opening weekend in mainland China. The score was comfortably the biggest by any film between Friday and Sunday and the second biggest opening by a Hollywood film this year in the territory. Data from consultancy firm Artisan Gateway suggests that the film accounted for some 63% of China’s nationwide gross box office over the weekend. Giant screen systems provider, Imax reported that the film earned $5.9 million of the total from its screen network in China, or some 15% of the China total.

The best of Broadway was honored at the 2023 Tony Awards!

Broadway’s biggest night is back! The 2023 Tony Awards were held on Sunday, June 11, at the United Palace in New York City’s Washington Heights.

The 76th annual Tony Awards preshow is under way before tonight’s televised ceremony tonight in New York, and Deadline is updating the winners list as they are announced. Have a look below to see which shows, stars and crew have taken trophies so far, followed by the list of remaining nominees for productions staged on Broadway during the 2022-23 season. And keep up with all the action with our Tonys liveblog here.

Patrick Frater Asia Bureau Chief Korean-produced crime action film “The Roundup: No Way Out” dominated proceedings at the South Korean cinema box office for the second successive weekend. Its massive haul now totals $60 million. “Transformers: Rise of the Beasts” opened with a puny second place. The Friday to Sunday period saw the film bring in $10.4 million from 1.32 million ticket sales and account for a 72% market share, according to data from Kobis, the data tracking service operated by the Korean Film Council (Kofic). Including pre-release previews and strong midweek sales, the film has now rushed on to an aggregate of $59.6 million that has been earned from 7.78 million spectators.