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& # 39; Dark Phoenix & # 39;
Fox
As feared, Dark Phoenix Poor reviews, an indifferent buzz and a surprisingly low opening weekend (33 million US dollars and 140 million worldwide) in zero post-debut. The film was behind Aladdin as early as last Sunday and was behind Rocketman in big day before the end of the week. Simon Kinberg's film, the second X Men movie to try to tell the story "Dark Phoenix" after X-Men: The Final Clash in 2006, he won $ 9 million on his second national weekend, a 72.9% drop from his first mount.
This is the third worst drop for a cartoon movie. Whereas the two comics movies with bigger drops were those of Shaquille O'Neal Steel which dropped 77% from a start of $ 1.9 million in August 1997 and Brandon Routh Dylan Dog: Dead at night which opened with $ 754,000 in 2011 and then dropped 87% by the end of week two, Dark Phoenix probably takes the record for a "big" cartoon superhero movie in terms of second weekend falls. This is the biggest fall of the second weekend of the 58th weekend for all films and the 19th largest drop of films having opened on more than 2,000 screens.
Among more than 3,000 open screens, it's only behind Friday 13 (-80% compared to the launch of 40 million dollars in 2009), Fatal engines (-77% compared to $ 7.55 million in the beginning of 2018) and Fifty shades of Grey (-73.9% on $ 85 million of starts in 2015). And this brings the national consumption of the ten-day movie to only $ 51 million, less than the opening weekend of Wolverine ($ 53 million in 2013), X Men ($ 54 million in 2000) and X-Men: First class ($ 55 million in 2011). Even a $ 75 million national finish could be a dream for Simon Kinberg's film, budgeted at $ 200 million.
For reference, the last movie "Dark Phoenix", X-Men: The Final Clash, earned $ 77 million in the first two days of its national release. The film Sophie Turner / James McAvoy / Michael Fassbender / Jessica Chastain has reported $ 204 million worldwide. X-Men: Days of Future Past had $ 500 million worldwide at the end of its second weekend. Given the budgetary differences, this will be a much greater loss for all parties than for The four fantastics, which earned $ 56 million in the domestic market and $ 167 million worldwide with a budget of $ 120 million.
Even assuming a 25/75 split, a $ 75 million finish for Dark Phoenix around the world, would cost only $ 290 million, a little less than the $ 299 million consumption of the first X Men back in 2000. That Fox is now owned by Disney and so Dark Phoenix is a version of Disney is somewhat ironic. Whether it is right or not, it continues like Walt Disney to have the greatest successes (Black Panther, Indestructible 2, etc.), but some of the biggest flops (A ride in time, Nutcracker and the Four Kingdoms) of a given year.
For reference, The four fantastics earned $ 167 million worldwide, 1.4 times its production budget of $ 120 million. Dark Phoenix is expected to earn about $ 290 million worldwide, or 1.45 times its (assumed) cost of $ 200 million. At this point, reach at least $ 280 million worldwide, so that he would at least have been able to earn the same percentage of his budget as The four fantastics, must be the best that this one can hope for.
I do not want to talk about this well-organized and sometimes well-organized science-fiction drama because, to tell you the truth, it's better than X-Men: Apocalypse and X-Men Origins: Wolverine. There is something vexing about watching producers and writers / directors apparently making all the wrong decisions, and then bewildered by the outcome. As was noted yesterday, and this is repeated, they did a story that nobody really wanted to see redone, they gave us less fantasy and less glare, they focused on men rather than the character and have spent too much time on a final product "different is not better".
Simon Kinberg has mostly escaped blame for the film directed by Josh Trank The four fantastics or led by Bryan Singer X-Men: Apocalypse, not least because it would have intervened on this last one together X Men movie when Singer was not where he was supposed to be. But since he is the author, the director and the producer of Dark Phoenix, well, just or not, everything is on him. More importantly, in a world where theatrical cinema is in a mortal struggle for survival, the industry simply can not afford movies like Dark Phoenix.
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& # 39; Dark Phoenix & # 39;
Fox
As feared, Dark Phoenix Poor reviews, an indifferent buzz and a surprisingly low opening weekend (33 million US dollars and 140 million worldwide) in zero post-debut. The film was behind Aladdin as early as last Sunday and was behind Rocketman in big day before the end of the week. Simon Kinberg's film, the second X Men movie to try to tell the story "Dark Phoenix" after X-Men: The Final Clash in 2006, he won $ 9 million on his second national weekend, a 72.9% drop from his first mount.
This is the third worst drop for a cartoon movie. Whereas the two comics movies with bigger drops were those of Shaquille O'Neal Steel which dropped 77% from a start of $ 1.9 million in August 1997 and Brandon Routh Dylan Dog: Dead at night which opened with $ 754,000 in 2011 and then dropped 87% by the end of week two, Dark Phoenix probably takes the record for a "big" cartoon superhero movie in terms of second weekend falls. This is the biggest fall of the second weekend of the 58th weekend for all films and the 19th largest drop of films having opened on more than 2,000 screens.
Among more than 3,000 open screens, it's only behind Friday 13 (-80% compared to the launch of 40 million dollars in 2009), Fatal engines (-77% compared to $ 7.55 million in the beginning of 2018) and Fifty shades of Grey (-73.9% on $ 85 million of starts in 2015). And this brings the national consumption of the ten-day movie to only $ 51 million, less than the opening weekend of Wolverine ($ 53 million in 2013), X Men ($ 54 million in 2000) and X-Men: First class ($ 55 million in 2011). Even a $ 75 million national finish could be a dream for Simon Kinberg's film, budgeted at $ 200 million.
For reference, the last movie "Dark Phoenix", X-Men: The Final Clash, earned $ 77 million in the first two days of its national release. The film Sophie Turner / James McAvoy / Michael Fassbender / Jessica Chastain has reported $ 204 million worldwide. X-Men: Days of Future Past had $ 500 million worldwide at the end of its second weekend. Given the budgetary differences, this will be a much greater loss for all parties than for The four fantastics, which earned $ 56 million in the domestic market and $ 167 million worldwide with a budget of $ 120 million.
Even assuming a 25/75 split, a $ 75 million finish for Dark Phoenix around the world, would cost only $ 290 million, a little less than the $ 299 million consumption of the first X Men back in 2000. That Fox is now owned by Disney and so Dark Phoenix is a version of Disney is somewhat ironic. Whether it is right or not, it continues like Walt Disney to have the greatest successes (Black Panther, Indestructible 2, etc.), but some of the biggest flops (A ride in time, Nutcracker and the Four Kingdoms) of a given year.
For reference, The four fantastics earned $ 167 million worldwide, 1.4 times its production budget of $ 120 million. Dark Phoenix is expected to earn about $ 290 million worldwide, or 1.45 times its (assumed) cost of $ 200 million. At this point, reach at least $ 280 million worldwide, so that he would at least have been able to earn the same percentage of his budget as The four fantastics, must be the best that this one can hope for.
I do not want to talk about this well-organized and sometimes well-organized science-fiction drama because, to tell you the truth, it's better than X-Men: Apocalypse and X-Men Origins: Wolverine. There is something vexing about watching producers and writers / directors apparently making all the wrong decisions, and then bewildered by the outcome. As was noted yesterday, and this is repeated, they did a story that nobody really wanted to see redone, they gave us less fantasy and less glare, they focused on men rather than the character and have spent too much time on a final product "different is not better".
Simon Kinberg has mostly escaped blame for the film directed by Josh Trank The four fantastics or led by Bryan Singer X-Men: Apocalypse, not least because it would have intervened on this last one together X Men movie when Singer was not where he was supposed to be. But since he is the author, the director and the producer of Dark Phoenixgood, fair or not, everything is on him. More importantly, in a world where theatrical cinema is in a mortal struggle for survival, the industry simply can not afford movies like Dark Phoenix.