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Spoiler: These are not the funerals of Madea.Lionsgate
Funeral of the Madea family may not have dominated the box office this weekend, but it's an unqualified winner. The ninth (and supposedly final) Madea comedy earned $ 27.05 million during its first weekend. It's a solid weekend multiplier of 2.94 times and one of Tyler Perry's biggest debut in his 14-year / 20-film career.
Among Tyler Perry's films, he sits behind Boo! A madea halloween ($ 28 million in 2016), Why Did I Get Married Too? ($ 29 million in 2010), A family meeting Madea ($ 30 million in 2006) and Madea goes to jail ($ 41 million in 2009). Yes, inflation places it among Madea's inferior films, but seven of Madea's nine films have (with inflation) opened with at least $ 27 million of adjusted ticket sales. This is a solid appeal to an iconic character on the big screen.
The fans came for Funeral of the Madea family because they wanted to see Madea. As far as viewers now see movies in a theater especially if they like the main character (be it Wonder Woman or Freddie Mercury) and to the extent that everything can be an event movie s & # 39; 39, it can be considered a big problem for a specific demographic group (think Crazy Rich Asians or Girls' travelIt can be argued that Tyler Perry was the pioneer of modern event film. Again and again, with or without Madea, Perry's melodramas attracted many viewers who wanted what he was selling, even though the rest of Hollywood claimed to be shocked.
Over the past 14 years, Perry's nine adventures in Madea have generally been between $ 21 million and $ 25 million and between $ 50 million and $ 65 million. There were eruptions here and there. & Nbsp;Boo! A Halloween Madea & nbsp;took advantage of a Halloween season devoid of conventional panic movies and opened with $ 28 million before moving to $ 73 million domestically while & nbsp;A family meeting Madea & nbsp;(his second film and the first one he's realized) opened with $ 30 million in 2006, a year later & nbsp;Journal of a crazy black woman & nbsp;shocked us all in 2005 with a $ 22 million and $ 50 million launch. & nbsp;Madea goes to prison & nbsp;opened with a staggering $ 40 million in early 2009 (a season when all of a sudden broke out) and ended with $ 90 million in domestic dollars.
Despite inflation, supporters continued to show up until the end. & Nbsp; It's doubly impressive when we know that we have at least a little more diversity on the screen than in 2005. As we have repeated many times over the years, Tyler Perry has arrived at the "right" time , just like the crash of the DVD and the obsession of the Hollywood zip lines have turned & nbsp;The best man & nbsp;and & nbsp;Waiting to expire & nbsp;in cash endangered.
Love them or hate them, Tyler Perry's films (those with and without Madea) used a whole generation of black actors in leading and secondary roles. Almost all the notorious black actresses we now claim to venerate (Taraji P. Henson, Viola Davis, Elise Kimberly, Gabrielle Union, etc.) were treated to fleshy and secondary roles in these films while Hollywood ignored them otherwise . Idem the likes of Idris Elba (whose title is & nbsp;Daddy's little girls & nbsp;before becoming the boyfriend of the Internet) and Angela Bassett (whoseMeet the Browns & nbsp;was his first lead in ten years).
If you wanted a big-screen melodrama featuring black actresses, as well as performers including Alfre Woodard, Loretta Devine, Derek Luke, Whoopi Goldberg, Michael Jai White and many others, Perry was the only game in town. Heck, there was a period when he was practically the only director out of direct drama (except maybe Clint Eastwood) outside of the Oscars season. Hollywood finally noticed his entire "specific demographic event movie" schtick and Will Packer became very rich in offering traditional studio programmers a host of black actors, without explicit melodrama, religious content and moral puritanism that we often find in Perry's autistic productions.
But even with & nbsp;Girls' travel& nbsp;Black Panther& nbsp;Think like a man & nbsp;and & nbsp;What women want & nbsp;By offering slightly comparable movies, Madea can always attract a crowd. & nbsp; Perry had wanted to give up the character almost from the beginning, but he tended to treat it as a safe system after a project unrelated to Madea. Madea goes to jail after The family that feeds). But now, with Perry leaving Lionsgate for Paramount / Viacom (which published No one is fooled last November), this really looks like the end of the line.
Funeral of the Madea family& nbsp; is unfortunately not very good (it is a glorified theater of readers and one feels much less "like a movie" than & nbsp;Madea goes to prison & nbsp;or & nbsp;Madea Family Reunion), so I would not expect legs longer than usual for Perry. Lionsgate has successfully sold the entire "last chapter of the Madea saga" hook, although the movie actually teases no purpose (and, slight mess, no Madea does not die in the end). The fact is we can expect another national finish of $ 55 million to $ 65 million, which is exactly what we expect from this extremely impressive cinematic success story.
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Spoiler: These are not the funerals of Madea.Lionsgate
Funeral of the Madea family may not have dominated the box office this weekend, but it's an unqualified winner. The ninth (and supposedly final) Madea comedy earned $ 27.05 million during its first weekend. It's a solid weekend multiplier of 2.94 times and one of Tyler Perry's biggest debut in his 14-year / 20-film career.
Among Tyler Perry's films, he sits behind Boo! A madea halloween ($ 28 million in 2016), Why Did I Get Married Too? ($ 29 million in 2010), A family meeting Madea ($ 30 million in 2006) and Madea goes to jail ($ 41 million in 2009). Yes, inflation places it among Madea's inferior films, but seven of Madea's nine films have (with inflation) opened with at least $ 27 million of adjusted ticket sales. This is a solid appeal to an iconic character on the big screen.
The fans came for Funeral of the Madea family because they wanted to see Madea. As far as viewers now see movies in a theater especially if they like the main character (be it Wonder Woman or Freddie Mercury) and to the extent that everything can be an event movie s & # 39; 39, it can be considered a big problem for a specific demographic group (think Crazy Rich Asians or Girls' travelIt can be argued that Tyler Perry was the pioneer of modern event film. Again and again, with or without Madea, Perry's melodramas attracted many viewers who wanted what he was selling, even though the rest of Hollywood claimed to be shocked.
Over the past 14 years, Perry's nine adventures in Madea have generally been between $ 21 million and $ 25 million and between $ 50 million and $ 65 million. There were some eruptions here and there. Boo! A madea halloween took advantage of a Halloween season devoid of classic scaring films and opened with $ 28 million before moving to $ 73 million A family meeting Madea (his second film and the first that he realized) opened with $ 30 million in 2006 a year later Journal of a crazy black woman We were all shocked in 2005 with a $ 22 million and $ 50 million launch. Madea goes to jail opened with a staggering $ 40 million in early 2009 (a season when all of a sudden broke out) and ended with $ 90 million in domestic dollars.
Despite inflation, supporters continued to show up until the end. It's doubly impressive when we know that we have at least a little more diversity on the screen than in 2005. As we have repeated many times over the years, Tyler Perry has arrived at the right time, just like the crash of DVD and Hollywood. obsession tentpole turned the likes of The best man and Waiting to expire in cash endangered.
Love them or hate them, Tyler Perry's films (those with and without Madea) used a whole generation of black actors in leading and secondary roles. Almost all the notorious black actresses we now claim to venerate (Taraji P. Henson, Viola Davis, Elise Kimberly, Gabrielle Union, etc.) were treated to fleshy and secondary roles in these films while Hollywood ignored them otherwise . Same the likes of Idris Elba (who titled Daddy's little girls before becoming the boyfriend of the Internet) and Angela Bassett (whose Meet the Browns was his first lead in ten years).
If you wanted a big-screen melodrama featuring black actresses, as well as performers including Alfre Woodard, Loretta Devine, Derek Luke, Whoopi Goldberg, Michael Jai White and many others, Perry was the only game in town. Heck, there was a period when he was practically the only director out of direct drama (except maybe Clint Eastwood) outside of the Oscars season. Hollywood eventually noticed his film "demo-specific events" schtick and Will Packer became very rich in offering traditional studio programmers a host of black actors without the explicit melodrama, religious content and the moral puritanism often found in Perry's autistic productions.
But even with Girls' travel, Black Panther, Think like a man and What women Want offering slightly comparable cinematic offerings, Madea can always attract a crowd. Perry had wanted to give up the character almost from the beginning, but he tended to treat it as an absolute security after the fall of a non-Madea project (think Madea goes to jail after The family that feeds). But now, with Perry leaving Lionsgate for Paramount / Viacom (which published No one is fooled last November), this really looks like the end of the line.
Funeral of the Madea family is unfortunately not very good (it is a glorified theater of readers and one feels a lot less "like a film" than Madea goes to jail or Madea Family Reunion), so I would not expect legs longer than usual for Perry. Lionsgate has successfully sold all the hook of the "last chapter of the saga Madea", even if the film does not really tease any purpose (and, to not spoil anything, no Madea dies in the end). The fact is we can expect another national finish of $ 55 million to $ 65 million, which is exactly what we expect from this extremely impressive cinematic success story.