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Post by veu on Jun 2, 2023 4:28:59 GMT -5
Source: www.e-duesse.it/cinema/box-office-italia-la-sirenetta-grandiosa-gia-a-42-milioni-di-euro/Box office Italia, una grande Sirenetta già a 4,2 milioni di euro In soli 5 giorni di programmazione il film live action distribuito da Disney ha incassato 4.272.409 euro, per 577.683 presenze. Intanto I Guardiani della Galassia abbatte il muro dei 10 milioni e Fast X è già a quota 9,5 milioni Valentina Torlaschi by Valentina Torlaschi 31 Maggio 2023 in Cinema
La sirenetta è riuscita a rispettare le alte aspettative e, in soli 5 giorni di programmazione nelle sale italiane, è già arrivata a un incasso complessivo di 4,2 milioni di euro. Dopo l‘ottimo esordio di mercoledì 24 maggio con 634.796 euro, nei quattro giorni del weekend (da giovedì a domenica), il live action tratto dal classico Disney, presente in ben 562 cinema, ha raccolto altri 3.629.714 euro, con una media a cinema di 6.459 euro. Si tratta del quarto miglior debutto sul fine settimana di 4 giorni del 2023, dopo Fast X (6,3 milioni) e Super Mario Bros. – Il film (5,7 milioni ) e Guardiani della galassia – Vol. 3 (3,7 milioni). Un bel risultato anche a fronte di un fine settimana soleggiato e dalle temperature estive che ça va sans dire hanno in parte disincentivato l’affluenza alle sale.
Sommandosi agli ottimi risultati di Super Mario Bros. (ormai arrivato a 20,2 milioni), I guardiani della Galassia (totale di 10,3 milioni) e Fast X (totale di 9,5 milioni), con La sirenetta il box office italiano continua la sua decisa accelerata e forte ripresa avviandosi verso la chiusura di maggio con numeri che andranno anche oltre i livelli pre-pandemia.
IL PODIO DEL WEEKEND Tornado ai risultati del fine settimana del 25-28 maggio 2023, dietro a La Sirenetta troviamo Fast X (Universal; 498 cinema) che, al suo secondo weekend nelle sale, incassa altri 1,8 milioni di euro (-71%), con una media di 3.677 euro, per un grande totale di 9.534.675 euro. Chiude il podio Rapito: dopo il passaggio al Festival di Cannes, il nuovo film di Marco Bellocchio distribuito da 01 in 332 cinema ha raccolto 458.835 euro, con una media di 1.382 euro; un buon esordio – anche se inferiore a quello di Moretti (Il sol dell’avvenire aveva chiuso il suo primo weekend a 947mila) – destinato a crescere nelle prossime settimane grazie a una lunga tenitura.
LE ALTRE NUOVE USCITE Tra le altre nuove uscite che sono riuscite a entrare nella Top 10 segnaliamo: l’evento-concerto Roger Waters – This is not a drill (Nexo) con 272.464 euro; Renfield (Universal) con Nicolas Cage nel ruolo di Dracula con 125.975 euro; il biopic Dalìland (Plaion) sugli ultimi anni di Salvador Dalì con Ben Kingsley nei panni del geniale artista con 64.103 euro; e ancora un evento-concerto, ovvero TXT ACT: Sweet Mirage della band coreana dei Tomorrow X Together con 63.718 euro.
I NUMERI COMPLESSIVI DEL WEEKEND Nel complesso il weekend del 25-28 maggio 2023 è valso 7.224.842 euro di box office per 943.866 presenze. Numeri in calo del 22% rispetto al fortissimo fine settimana precedente. Sullo stesso fine settimana dell’anno scorso siamo a +76?%, ed è segno positivo anche sul pre-Covid con +3,8% sulla media 2017-18-19 dello stesso weekend.
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Post by veu on Jun 2, 2023 4:30:47 GMT -5
Source: www.cbr.com/why-the-little-mermaid-failing-china/Why The Little Mermaid Is Failing in China BY NARAYAN LIU PUBLISHED 11 HOURS AGO Disney's The Little Mermaid is failing in China, and many assume it's due to widespread racism, but it's a little more complicated than that.
Disney's live-action remake of The Little Mermaid is the subject of criticism and debate among moviegoers, particularly when it comes to the casting of actor Halle Bailey, a Black actor, as Princess Ariel. In fact, her casting is assumed to be the reason why the recently-released film is performing so poorly in territories like China. The truth, however, is that race plays a much smaller part than people think.
The Little Mermaid grossed just $2.63 million at the box office in China over its opening weekend, making it one of Disney's worst openings in 2023. But this didn't come as a surprise to observers since early reactions and pre-sales figures indicated as much. But why are Chinese moviegoers uninterested in this release? There are many reasons why some might conclude that there is a widespread aversion to seeing people of color on the screen, and that includes Disney's approach to marketing material.
The Little Mermaid's Chinese Poster Fiasco
Many of Disney's major releases in the past have attempted to hide or dismiss Black actors in posters and other images. When Star Wars: Episode VIII - The Force Awakens secured a release date, actor John Boyega's image was less noticeable in the film's Chinese posters, though he was fairly prominent elsewhere. It's similar to the approach Lionsgate took when 12 Years a Slave was released in 2014.
There are some who have accused Disney of repeating this blatantly racist habit for The Little Mermaid, with certain posters seemingly blue-washing Halle Bailey in order to avoid discouraging Chinese audiences. Those accusations, however, stem from the release of the film's Chinese IMAX posters, which use the exact same image as the IMAX posters in the U.S. and elsewhere. In fact, the film's other posters, where Bailey's skin color is proudly shown, have been seen used just as much.
The argument some might use is that Disney wouldn't have tried to seemingly hide actors of color in promotional material in the first place if Chinese audiences didn't have such an issue with race. That's partly true. China suffers from widespread racism, and minorities or people of color are treated abhorrently. While state media and official lines might deny it, there is clear, systemic racism. But that is a whole other conversation.
China's Major Race Issues
Any person of color who has spent time in Mainland China can likely attest to the fact that there is widespread xenophobia. Mainland China possesses a virtually homogenous population of Han Chinese people, and the Communist Party-ruled government has placed increasing effort into instilling a greater sense of nationalism in the populace. This isn't to excuse the racism that exists. But it does illustrate some of the crucial reasons as to why China struggles with inclusion, why things like blackface or brownface are not uncommon in Chinese media and why Disney would feel it necessary to hide Black actors.
It's fair to assume that racism may have played a part in the apparent failure of The Little Mermaid, but not to the extent that so many people in the West seem to believe. For proof, audiences don't need to look much further than 2018's Black Panther, which featured a predominately Black cast. The film earned $65 million upon opening and went on to gross $105 million. Even Sony's animated Spider-Man: Into the Spider-Verse, with its $25.8 million opening weekend, topped the Chinese box office that year.
China's Filmgoing Tastes Are Changing
What has played an even bigger role in this Disney project's failure to draw in Chinese audiences is everything that happened during the height of the coronavirus (COVID-19) pandemic, catalyzing a trend that had already been taking place since 2018 in China. The entire movie industry shut down and slowly restarted in time for the centennial of the Communist Party. During this tumultuous point in time, the Party pushed for the production and distribution of propaganda films and imposed strict new regulations on media and even the consumption of certain kinds of content, all to try and create a greater sense of nationalism in the Chinese population and encourage them to reject Western media and values.
As a result, virtually all major Hollywood releases were prevented from releasing in China, regardless of whether they were given the green light by state censors. Those that did pass censorship reviews incidentally suffered from controversies relating to old interviews or statements someone related to those projects might have made in the past. In that way, Western films were rejected while the official quota for the importation of foreign films could remain unchanged. In fact, to date, the quota stands at 34.
The Root of The Little Mermaid's Failure in China
Still, efforts across the Chinese film industry have proven effective as it has become clear over the years that Chinese moviegoers are becoming increasingly disenchanted by Hollywood films, especially since more and more Chinese films of similar visual quality are being released. While they are filled with government-approved values that don't necessarily reflect the values of moviegoers, they do oftentimes tell stories that are far more relatable, which makes them more appealing to Chinese audiences than Hollywood films are nowadays.
It's all of that that has worked against The Little Mermaid, along with the vast majority of Hollywood films that have been released in China since the virtual ban was lifted. Much more so than any racism at play. All that is evident in the conversations being had on Chinese social media, including Weibo and the Maoyan ticketing service, where viewers can easily find many of the same conversations people hear with Western audiences.
There are plenty of racist comments, but for the most part, viewers don't seem to care about the fact that a Black actor is playing Ariel. Instead, they are complaining about the film's length, the odd choice to focus on realism in the design of Ariel's friends, like Sebastian and Flounder, and the lack of any original ideas. Those are all points that Western critics have brought up anyway. The only difference is that The Little Mermaid is performing better in the U.S. because it resonates more with audiences who may have grown up with the animated Disney film.
The Little Mermaid is now in theaters.
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Post by veu on Jun 2, 2023 4:31:47 GMT -5
Source: www.e-duesse.it/cinema/il-punto-sul-box-office-italiano-il-mese-di-maggio-2023/Box office Usa, per La Sirenetta un buon primo weekend da 95,5 milioni di dollari
Il film beneficerà anche della festività del Memorial Day di lunedì 29 maggio
by Valentina Torlaschi 29 Maggio 2023 in Cinema
Un buon debutto per La sirenetta anche al box office Usa dove il live action tratto dal classico animato della Disney è arrivato a 95,5 milioni di dollari nei tre giorni del weekend (26-28 maggio). L’incasso è destinato a crescere e beneficiare anche della festività del Memorial Day di lunedì 29 maggio: secondo le stima di Deadline, il box office di questo weekend lungo dovrebbe arrivare a 117 milioni. Un incasso sui livelli di quelli di Aladdin che nel 2019 aveva registrato un botteghino di 91,5 milioni.
Dietro a La sirenetta, troviamo Fast X che, al suo secondo fine settimana nelle sale, perde il 66% e incassa altri 23,02 milioni di dollari arrivando a un totale di 107,9 milioni. Chiude il podio Guardiani della Galassia 3 che, al suo quarto fine settimana nel cinema, raccoglie altri 19.95 milioni di dollari per un totale di 299,42 milioni.
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Post by veu on Jun 2, 2023 4:32:43 GMT -5
Source: www.e-duesse.it/cinema/box-office-spagna-la-sirenetta-incassa-3-milioni-nel-suo-primo-weekend/Box office Spagna, La sirenetta incassa 3 milioni nel suo primo weekend In tre giorni, da venerdì 26 a domenica 28 maggio, il film con Halle Bailey ha guadagnato 3.065.341 euro, mentre Fast X è arrivato a 8,5 milioni e I Guardiani della Galassia 3 a 9,6 milioni by Valentina Torlaschi 29 Maggio 2023 in Cinema
Un buon primo weekend per La sirenetta anche in Spagna dove il live action tratto dal classico animato della Disney ha incassato in tre giorni – da venerdì 26 a domenica 28 maggio 2023 – 3.065.341 euro per 444.977 presenze. In Italia il film è già arrivato a 4,2 milioni ma contando su 2 giorni in più di programmazione visto che da noi il film è uscito mercoledì 24 maggio.
Dietro La sirenetta, il secondo miglior incasso del fine settimana spagnolo è stato Fast X con 2.029.256 euro e un calo del -59% sul weekend precedente, per un totale di 8,5 milioni. In Italia l’action è a quota 9,5 milioni con 1 giorno in più di programmazione, ma il film ha perso nettamente di più, ovvero il 71%, al suo secondo weekend.
Sul terzo gradino del podio troviamo I Guardiani della Galassia 3 che, al suo quarto weekend, porta a casa altri 601.084 euro arrivando a un totale di 9,6 milioni di euro. In Italia il cinecomic Marvel è a quota 10,3 milioni, contando sempre 1 giorno in più di programmazione.
Le altre nuove uscite che sono riuscite a guadagnarsi un posto nella Top 10 sono il live-action targato Sony de I Cavalieri dello zodiaco con 104.048 euro e il mediometraggio di Pedro Almodovar Extraña Forma de Vida con 70.287 euo.
Da segnalare che nella Top 20 troviamo anche due titoli italiani: Le otto montagne che, al suo secondo fine settimana nei cinema spagnoli, raccoglie altri 56.201 euro, con un calo di solo il -24%, per arrivare a 181.899 euro in totale e Il colibrì che ha esordito con questo weekend con 34.688 euro.
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Post by veu on Jun 2, 2023 4:34:04 GMT -5
Source: collider.com/the-little-mermaid-global-box-office-209-million/‘The Little Mermaid’ Swims Toward Original Animated Movie’s Lifetime Total at the Global Box Office BY RAHUL MALHOTRA PUBLISHED 15 HOURS AGO Despite floundering overseas, ‘The Little Mermaid’ is set to swim past the lifetime haul of the animated classic.
Halle Bailey as Ariel in The Little MermaidImage via Disney
During an opening weekend that was more dramatic than most movies, Disney’s The Little Mermaid ended up grossing $163.8 million worldwide, falling short of projections by around $20 million. Most of the discrepancy could be attributed to a soft global opening, which came in at around $68 million. But a couple of days after it was expected to, the big-budget live-action remake of the classic 1989 animated film has finally passed the $200 million mark at the worldwide box office.
The Little Mermaid has made $130 million domestically and another $79 million from overseas territories, for a running global haul of $209 million. The movie cost a reported $250 million to produce (minus marketing), which means that there is an ocean currently separating it from success. The Little Mermaid grossed $38 million domestically on opening day, setting it up for a four-day extended weekend haul of $125 million. But it ultimately ended up making $117 million across four days at the domestic box office. Globally, the movie was expected to hit $80 million in its opening weekend, but it fell short of this figure by around $12 million.
A great comp heading into the weekend was Disney’s last major live-action remake, Aladdin, which delivered a virtually identical opening weekend haul during the same frame in 2019. That film legged it to over $350 million domestically and more than $1 billion worldwide, on the back of mixed reviews. Critical reception for The Little Mermaid has also been mixed, although it received an excellent A CinemaScore from opening day audiences. Collider’s Ross Bonaime called it “one of the rare live-action remakes that manages to capture that Disney magic” in his review.
The original film was directed by John Musker and Ron Clements and grossed $211 million at the global box office — a figure that the remake will surpass today. By comparison, the original The Lion King made over $750 million worldwide in its initial run, while its remake grossed more than $1.6 billion globally just a few years ago. That figure looks completely out of reach for The Little Mermaid, but anything close to Aladdin’s billion-dollar global haul should be considered a major win (although those low foreign grosses are concerning).
Disney's Live-Action Remakes Have Been Hit-Or-Miss Directed by Disney veteran Rob Marshall (Pirates of the Caribbean: On Stranger Tides, Mary Poppins Returns), The Little Mermaid comes on the heels of over a dozen live-action remakes of classic Disney titles. The run has been inconsistent, to say the least. While a handful of these remakes have done exceptionally well at the box office — four films, including Aladdin, Alice in Wonderland, Beauty and the Beast, and The Lion King, have grossed over $1 billion worldwide — a bunch of them flopped, and some were restricted to streaming-only releases. But considering the enduring popularity of the source material, it makes sense for the Mouse House to have allocated such a massive budget to The Little Mermaid remake; the studio understandably has optimistic expectations for it.
Starring newcomer Halle Bailey as the titular character, the film also features Melissa McCarthy as the villainous Ursula, Jonah Hauer-King, Daveed Diggs, Awkwafina, Javier Bardem, Jacob Tremblay, Noma Dumezweni, and Art Malik. You can watch an interview with Bailey and Hauer-King here, and stay tuned to Collider for more updates.
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Post by veu on Jun 2, 2023 4:44:26 GMT -5
Source: www.today.it/film-serie-tv/la-sirenetta-disney-recensione-editoriale.htmlLa Sirenetta sarà la fine dei Live Action Disney?
Su la Sirenetta in questi giorni le opinioni si sono sprecate. Enorme successo di botteghino, trionfo, alto gradimento di pubblico… si è parlato di scommessa vinta da parte della Disney nel live action fino ad oggi più controverso, più dibattuto, che ha attirato maggiori polemiche e discussioni. Ebbene, le ultime notizie suggeriscono una situazione molto diversa, molto più complessa, specchio della politica produttiva della Disney di questi anni, che ha subito quella che in modo incontrovertibile appare una battuta d'arresto su cui vale la pena riflettere.
Ombre e luci sul risultato al botteghino La Sirenetta al momento ha guadagnato 165 milioni di dollari in tutto il mondo. La critica americana è stata abbastanza benevola con il film, il pubblico ha gradito molto in Canada e USA, con 118 milioni di incasso. In Europa e soprattutto Asia invece, le recensioni sono state poco clementi, con incassi molto al di sotto delle attese. In Cina il tonfo è stato incredibile: meno di tre milioni di dollari nel mercato cinematografico più ricco del mondo, e che è al centro del mirino delle majors, dopo la riapertura dei confini decisa del regime di Pechino. È andata un po’ meglio in Giappone, ma unendo tutti questi dati, il risultato finale è un passivo che potrebbe costare alla Disney qualcosa tra i 50 e 100 milioni di dollari. Costato 250 milioni, dovrebbe incassarne almeno 750-800 per poter essere un successo ed appare improbabile.
Poi c’è il problema del review bombing. In diversi paesi ha impressionato a tal punto il numero di feedback negativi, che IMDb e altri siti hanno modificato le regole, cercato di correre ai ripari in qualche modo. Ma intanto è chiaro che solo Oltreoceano il film ha sbancato, segnando il quinto miglior esordio nel Memorial Day di sempre e il risultato globale migliore per un film con un’attrice afroamericana protagonista. Una situazione estremizzata che non può essere spiegata con il mero hating, internet trolling, con il razzismo del pubblico. Perché la Sirenetta è stata insignita fin dal suo concepimento dell’incarico di rappresentare tutto ciò che sono i Live Action della Disney, con la loro carica inclusiva, la loro volontà di non essere meri remake e di guardare al pubblico moderno. Ma la politicizzazione di cui sono pregni, forse infine ha veramente stancato una larga fetta di pubblico, di cui la Disney non può fare a meno ma che oggettivamente avrà grossi problemi a recuperare.
Paese che vai, pubblico che trovi: il politically correct non ha funzionato ovunque Halle Bailey, la protagonista de la Sirenetta, anche chi non ha apprezzato il film l’ha lodata per la sua interpretazione. Ma è l’unica costante. Per il resto non si sono placate le polemiche di chi voleva un film fedele in tutto e per tutto a quel capolavoro che 1989 lanciò il Rinascimento della Disney.
Qualcosa che riguardava non solo la trama, ma anche la somiglianza fisica. La Disney invece vuole dare soprattutto maggior rappresentazione alle minoranze, anche a costo di prendersi quelle libertà, che al pubblico più tradizionalista fanno storcere il naso. Canzoni, temi trattati, la caratterizzazione dei personaggi hanno subito una profonda metamorfosi, sovente anche eccessivamente puritana, tanto da risultare infine una sorta di operazione educativa-moralizzatrice. Stando ai dati un quarto del pubblico de la Sirenetta in patria era afroamericano. C'è un solo problema: fuori dagli Stati Uniti la composizione della società è etnicamente diversa, ma soprattutto la problematica razziale è molto meno sentita. La conflittualità sociale poi non solo è minore ma è anche diversa nella sua caratterizzazione. In sintesi, in Europa, così come in Oriente, questa necessità che ha comportato la variazione rispetto all'originale di tanti personaggi e idee, non è ritenuta necessaria o centrale. Ed è probabilmente qui che vi è stato l'errore principale della Disney: pensare che la polemica, il politically correct, avrebbero generato interesse e incassi. Invece ha polarizzato le opinioni, reso refrattario un segmento di pubblico estero di cui non ha capito molto umore e soprattutto complessità.
Tanta pubblicità per film quasi sempre mediocri Lo abbiamo visto recentemente anche con Cleopatra di Netflix: al pubblico afroamericano vengono dati prodotti quanto più possibile su misura, anche a costo di forzare premesse storiche o di prendersi libertà alquanto importanti su determinati universi narrativi. L'obiettivo da parte della Disney in particolare è stato sempre quello di massimizzare i profitti giocando da un lato sull’effetto nostalgia degli adulti, dall’altro creando film quanto più possibile ritratto della nuova Generazione Z, molto più multiculturale e connessa al mondo LGBTQ. C'è solo un piccolo problema: gli adulti sono abituati a ricordare una Disney diversa, film d'animazione diversi, e vedere modificati i propri personaggi di continuo, accompagnati da una tesi circa la necessità di “correggerli”, alla lunga è stato vissuto probabilmente anche come una sorta di attacco personale: se ti piace ancora questo film degli anni ’80 o ‘90, della società del passato, allora sappi che sei nel torto, il film più giusto è questo che stiamo facendo noi. Ma a nessuno piace farsi fare delle prediche, non all'infinito almeno.
Cleopatra nera, il blackwashing e il bisogno di un passato per gli afroamericani Se il clima culturale e politico nel mercato audiovisivo degli Stati Uniti accompagna fino all'eccesso questa tesi, ebbene nel resto del mondo il discorso cambia. Il risultato è stato un hating sempre più galoppante, uno scarso interesse verso il genere perché visto anche come ripetitivo e poco interessante. Niente attrae come la novità, ma soprattutto i live action Disney, se si fa eccezione per il Cinderella di Kenneth Branagh, sono anche un monumento cinematografico alla mediocrità nel senso più assoluto. La Sirenetta con ogni probabilità rappresenta sia il punto più alto che più basso della Disney in tal senso, e se il portafoglio piange, sappiamo che da progressisti a conservatori è solo un attimo da quelle parti.
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Post by veu on Jun 2, 2023 4:50:34 GMT -5
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Post by veu on Jun 2, 2023 5:43:16 GMT -5
In Italy. Source: www.cinemotore.com/?p=240891SITUAZIONE INCASSI – DATI CINETEL Pubblicato il 2 giugno 2023 Il nuovo SPIDER-MAN d’animazione (1*) vola subito in alto con € 567.254 nel primo giorno di programmazione aspettando i dati del week end che sono i due giorni in cui si riversano i più piccoli (e non solo) accompagnati in sala
Grande risposta del pubblico per LA SIRENETTA (2*) che ha superato i 6 milioni di euro (entrando tra i primi 10 incassi della stagione scalzando dalla top ten ANT-MAN AND THE WASP: QUANTUMANIA .. oggi LA nuova SIRENETTA sorpasserà anche IL GATTO CON GLI STIVALI 2)
FAST X (3*) viaggia ormai sopra i 10 milioni
RAPITO ancora molto distante da 1 milione, attualmente a € 658.229
Niente da fare per ora per le altre new entries: oltre a SPIDER-MAN si piazzano come 4* incasso di ieri THE BOOGEYMAN con € 68.545, 7* BLUEBACK con € 6.296, 10* BILLY con € 3.859. Non compaiono tra i primi 10 incassi di ieri: LA VERSIONE DI ANITA, SPOILER ALERT
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Top 3 incassi ieri – DATI CINETEL
1* USA – SPIDER-MAN: ACROSS THE SPIDER-VERSE € 567.254
2* USA – LA SIRENETTA € 463.659 € 486.571
3* USA – FAST X € 156.648
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TOP 10 – Maggiori incassi della stagione – DATI CINETEL
1* USA – AVATAR – LA VIA DELL’ACQUA – 44.7 mil di euro (Uscita: 14/12) – The Walt Disney Company Italia
2* USA – SUPER MARIO BROS – IL FILM – 20.2 mil di euro (Uscita: 5/4) – Universal Pictures International Italy
3* USA – MINIONS 2 – COME GRU DIVENTA CATTIVISSIMO 14.7 milioni di euro (Uscita: 18/8) – Universal Pictures International Italy
4* USA – GUARDIANI DELLA GALASSIA VOL. 3 – 10.4 mil di euro (Uscita: 3/5) – The Walt Disney Company Italia
5* USA – FAST X – 10.1 mil di euro (Uscita: 18/5) – Universal Pictures International Italy
6* USA – BLACK PANTHER – WAKANDA FOREVER 8.4 (Uscita: 9/11) – The Walt Disney Company Italia
7* ITA – IL GRANDE GIORNO – 7.1 mil di euro (Uscita: 22/12) – Medusa Film
8* USA – CREED III – 6.8 mil di euro (Uscita: 2/3) – Warner Bros Pictures
9* USA – IL GATTO CON GLI STIVALI 2 – L’ULTIMO DESIDERIO – 6.1 mil di euro – Universal Pictures International Italy
10* USA – LA SIRENETTA 6 mil di euro (Uscita: 24/5) – The Walt Disney Company Italia
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4 Titoli nella top ten dei maggiori incassi della stagione sono distribuiti da Walt Disney e 4 da Universal, 1 da Medusa e 1 da Warner Bros Pictures
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Post by veu on Jun 2, 2023 15:49:46 GMT -5
Source: collider.com/the-little-mermaid-global-box-office-250-million/'The Little Mermaid' Box Office Soars to Impressive Worldwide Totals BY HILARY REMLEY PUBLISHED 2 HOURS AGO Halle Bailey leads the latest live-action Disney adaptation.
It looks like things are going swimmingly for The Little Mermaid. The highly anticipated live-action remake of the 1989 Disney animated classic dominated the domestic box office last weekend. And it looks like this mermaid has legs, as the film just crossed the $250 million mark at the global box office, officially breaking even on its $250 million budget, not including the film's massive marketing budget, and propelling past disappointing international box office numbers, which were no doubt influenced by 'ratings bombings' on international review sites.
The live-action film, which stars Halle Bailey as the mermaid Ariel, is Disney's latest live-action re-imaginings of their iconic properties. Just yesterday the live-action remake passed the 1989 film's worldwide box office total. However, despite the film's generally positive response from audiences and its domestic success, the film's profitability has been a constant question since its release. There is no doubt that, internationally, at least, the film has floundered. In China, the film had an opening weekend of under 5 million dollars, a dismal showing for the country, which usually makes up a fair share of Disney's international box office.
Another Mixed Bag for Disney's Live-Action Turn The new film was directed by Rob Marshall, the man behind several of Disney's recent live-action ventures, including Mary Poppins Returns. The Little Mermaid is only the latest of Disney's recent attempts to recapture the magic of their animated classics in live-action films. The success of these ventures has been uneven, with some films, such as The Lion King grossing over $1 billion worldwide, while other films either flat-lined or have been straight to streaming. However, considering how iconic the original The Little Mermaid is, many were optimistic regarding the project's box office potential.
The new, live-action The Little Mermaid stars Bailey as Ariel and includes a star-studded ensemble cast that brings the animated classic to life. The classic Disney villain Ursula is played by Melissa McCarthy. Eric, the film's charming and clueless prince, is played by Jonah Hauer-King. Other stars include Daveed Diggs, Awkwafina, Javier Bardem, Jacob Tremblay, Noma Dumezweni, Art Malik, and Simone Ashley. The film has been well received by audiences at least. And though the film has received mixed reviews, the film's star, Halle Bailey, has received nearly universal praise for her turn as the aquatic princess.
And though the film was met with a less-than-stellar international box office, it looks like the film still has some staying power. The Little Mermaid is currently playing in theaters worldwide.
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Post by veu on Jun 3, 2023 3:59:13 GMT -5
Source: www.badtaste.it/cinema/articoli/incassi-italia-la-sirenetta-in-testa-2-giugno/Incassi Italia: La Sirenetta torna in testa il 2 giugno! Andrea Francesco Berni 3 Giugno 2023 alle 08:32 · aggiornato il 3 Giugno 2023 alle 08:32 Cinema Articoli
Ottimi incassi al box-office italiano nella giornata del 2 giugno: la festività inaugura un weekend lungo che potrebbe avere risultati importanti al botteghino grazie allo “scontro” tra due importanti blockbuster e a una ricca offerta cinematografica anche per i film in tenitura. Oltre 2.2 i milioni di euro raccolti nella giornata di ieri, un dato un po’ superiore allo stesso giorno nel 2019.
In testa troviamo La Sirenetta, che torna in vetta con 833 mila euro, un incasso superiore a venerdì scorso (per via della festività). Complessivamente, il film Disney (che ha avuto ottimi infrasettimanali) sfiora i 7 milioni di euro. Evidentemente il passaparola è decisamente positivo.
Scende al secondo posto Spider-Man: Across the Spider-Verse, che incassa altri 693 mila euro, salendo così a ben 1.2 milioni di euro in due giorni. Ricordiamo che il primo film sfiorò i 3 milioni complessivi a fine corsa: una cifra che verosimilmente verrà superata entro il prossimo weekend.
Al terzo posto troviamo Fast X, che a debita distanza incassa 274 mila euro e sale a 10.4 milioni di euro.
Quarta posizione per Rapito, che incassa 133 mila euro e sale a quasi 800 mila euro. Al quinto posto The Boogeyman incassa 103 mila euro, salendo a 171 mila euro complessivi.
In fondo alla top-ten altre due uscite: Campioni, che incassa 11mila euro e sale a quasi 19 mila euro, e Blueback, che incassa 11 mila euro e sale a 18 mila euro complessivi.
INCASSI ITALIA 3 GIUGNO 2023
La Sirenetta: €833.403 / Totale: €6.918.065 Spider-Man: Across the Spider-Verse: €693.524 / Totale: €1.261.808 Fast X: €274.081 / Totale: €10.419.270 Rapito: €133.702 / Totale: €792.095 The Boogeyman: €103.048 / Totale: €171.672 Guardiani della Galassia Vol. 3: €70.877 / Totale: €10.566.201 Il Sol dell’Avvenire: €16.332 / Totale: €3.828.908 Super Mario Bros. – Il Film: €14.499 / Totale: €20.277.634 Campioni: €11.646 / Totale: €18.911 Blueback: €11.104 / Totale: €18.404
Fonte: Cinetel
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Post by veu on Jun 4, 2023 5:45:28 GMT -5
Source: www.badtaste.it/cinema/articoli/incassi-italia-sirenetta-7-milioni-complessivi-sabato/Incassi Italia: La Sirenetta supera i 7 milioni complessivi sabato
Andrea Francesco Berni 4 giugno 2023 alle 09:52 · aggiornato il 4 giugno 2023 alle 09:53
Continua la corsa de La Sirenetta in Italia: dopo essere sceso al secondo posto giovedì, il film Disney ha riconquistato la vetta venerdì ed è rimasto saldamente al primo posto anche sabato, incassando altri 762 mila euro e superando il traguardo dei 7 milioni di euro. Complessivamente, ha quindi raggiunto i 7.7 milioni di di euro, e oggi supererà gli 8.5 milioni.
Seconda posizione per Spider-Man: Across the Spider-Verse, che pur avendo perso la vetta della classifica si sta comunque comportando estremamente bene, con altri 616 mila euro e un totale di 1.8 milioni di euro in due giorni.
Chiude il podio Fast X, che incassa 279 mila euro e sale quindi a 10.7 milioni di euro complessivi.
La classifica prosegue con Rapito, che sale a 924 mila euro, e la nuova uscita The Boogeyman, che incassa 125 mila euro e sale a 297 mila euro in due giorni.
INCASSI ITALIA 3 GIUGNO 2023 La Sirenetta: €762.185 / Totale: €7.682.495 Spider-Man: Across the Spider-Verse: €616.377 / Totale: €1.880.113 Fast X: €279.080 / Totale: €10.698.737 Rapito: €131.279 / Totale: €924.035 The Boogeyman: €125.310 / Totale: €297.066 Guardiani della Galassia Vol. 3: €73.098 / Totale: €10.639.339 Super Mario Bros. – Il Film: €16.822 / Totale: €20.294.455 Il Sol dell’Avvenire: €15.449 / Totale: €3.844.462 Campioni: €14.118 / Totale: €33.029 Blueback: €12.128 / Totale: €30.532
Fonte: Cinetel
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Post by veu on Jun 5, 2023 4:29:16 GMT -5
Source: www.badtaste.it/cinema/articoli/incassi-italia-la-sirenetta-weekend-debutto-across-the-spider-verse/ Incassi Italia: La Sirenetta vince il weekend, grande debutto per Across the Spider-Verse Andrea Francesco Berni 5 Giugno 2023 alle 08:25 · aggiornato il 5 Giugno 2023 alle 09:12
Ottimo weekend al box-office italiano: gli incassi complessivi sfiorano gli 8 milioni di euro in quattro giorni, un dato molto incoraggiante che batte di gran lunga lo stesso weekend del triennio precedente al Covid, cosa che sta capitando abbastanza di frequente nelle ultime settimane e che rappresenta un elemento molto incoraggiante per la ripresa. Come sempre, il merito altro non è che delle nuove uscite numerose e regolari.
A guidare la classifica del weekend resta La Sirenetta, che incassa altri 2.9 milioni di euro: si tratta di una tenuta davvero notevole, soprattutto se si pensa alla concorrenza delle nuove uscite, e rappresenta un calo solo del 21% rispetto all’esordio. Complessivamente, quindi, il film ha raggiunto gli 8.5 milioni di euro.
Apre al secondo posto Spider-Man: Across the Spider-Verse, con 2.4 milioni di euro. Si tratta di un grande lancio per un film d’animazione, e di un esordio in forte crescita rispetto a quello del primo film: Un nuovo universo, infatti, raggiunse i 2.8 milioni di euro complessivi alla fine della sua corsa.
Al terzo posto Fast X raccoglie altri 947 mila euro, dimezzando gli incassi di una settimana fa e sfiorando gli 11 milioni di euro complessivi. Quarta posizione per Rapito, che pareggia i dati di una settimana fa incassando altri 545 mila euro, per un totale di un milione di euro. Una resistenza non indifferente. Apre al quinto posto l’horror The Boogeyman, con 388 mila euro in quattro giorni.
Per quanto riguarda il resto della classifica, al settimo posto troviamo l’evento di sabato SUGA – August D Tour D-Day in Japan: Live Viewing, con 102 mila euro (con un prezzo del biglietto di circa venti euro) mentre al decimo posto troviamo Blueback con 47 mila euro.
INCASSI ITALIA 1-4 GIUGNO 2023
LA SIRENETTA – Weekend: 2.896.907 euro / Totale: 8.495.436 euro SPIDER-MAN: ACROSS THE SPIDER-VERSE – Weekend: 2.420.814 euro / Totale: 2.420.941 euro FAST X – Weekend: 947.841 euro / Totale: 10.936.563 euro RAPITO – Weekend: 454.469 euro / Totale: 1.065.451 euro THE BOOGEYMAN – Weekend: 388.147 euro / Totale: 388.147 euro GUARDIANI DELLA GALASSIA – VOL. 3 – Weekend: 243.833 euro / Totale: 10.705.622 euro SUGA – AGUST D TOUR D-DAY IN JAPAN: LIVE VIEWING – Weekend: 102.001 euro / Totale: 102.001 euro SUPER MARIO BROS. – IL FILM – Weekend: 57.420 euro / Totale: 20.318.745 euro IL SOL DELL’AVVENIRE – Weekend: 50.913 euro / Totale: 3.858.082 euro BLUEBACK – Weekend: 46.063 euro / Totale: 47.067 euro
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Post by veu on Jun 5, 2023 4:32:05 GMT -5
Source: movieweb.com/the-little-mermaid-box-office-success/Is The Little Mermaid a Box Office Success? By David Grove Published 12 hours ago
While the reaction to The Little Mermaid has been split along ideological lines, the truth behind the remake’s box office performance is clear.
The Little Mermaid, the live-action remake of the classic 1989 Disney animated film of the same name, has become so shrouded in debate and politicization that simply liking the film, or not liking the film, has become less about holding a critical opinion and more about defending an ideological position and making a statement.
While many people honestly felt that the very idea of remaking the beloved 1989 film was pointless, if not sacrilegious, much of the criticism of the remake has, of course, centered on the remake’s perceived woke agenda, specifically with the casting of Halle Bailey, a black actress, as the film’s titular character, in a traditionally red-haired, and white, role.
This polarization even extends to the perception of the film’s box office performance, as the film’s defenders have bent over backward, so to speak, to portray the film as a box office success, while detractors have been just as keen to portray the remake as a flop.
Accordingly, while box office figures, like all statistics, can certainly be twisted to fit conflicting narratives, the current box office performance of The Little Mermaid, approximately ten days into the remake’s theatrical release, is already very telling in terms of deciding if the remake will be profitable for Disney.
Swimming Upstream Overseas
Released in North America on May 26, 2023, prior to the Memorial Day Weekend, The Little Mermaid grossed $118.6 million over the Friday-to-Monday Memorial Day frame, slightly ahead of the 2019 live-action remake of Aladdin, which grossed $116.8 million during the same four-day frame in 2019.
However, this $118.6 million opening weekend at the domestic box office was more than offset by a lackluster opening weekend performance in the international markets, where The Little Mermaid only grossed $63.8 million, including a pitiful $2.5 million opening weekend gross from the all-important Chinese market.
As the previous live-action Disney remake films have made more money at the international box office than domestically, and by a wide margin, The Little Mermaid is in a very bad position to simply reach a break-even point financially, much less earn a sizable profit.
With a $250 million production cost and a reported $140 million marketing cost, The Little Mermaid, under the most generous of projections, needs to gross approximately $560 million at the worldwide box office, according to Hollywood insiders, to reach its break-even threshold.
However, this $560 million figure, which assumes a $300 million domestic gross and a $260 million international gross, also includes $100 million in expected earnings from television, both free and pay television, another $100 million from home entertainment, digital and DVD, and $80 million from international television sales and streaming rights. Basically, the $560 million break-even scenario accounts for an exhaustion of the film’s potential revenue streams beyond its theatrical life and leaves little possibility for the film to be able to achieve any substantial profit for Disney.
Lagging Behind the Other Disney Live-Action Remakes
With its weak international box office performance, The Little Mermaid has already fallen far behind the box office pace and performance of Disney’s previous live-action remake films, not including the pandemic-addled 2020 live-action remake of Mulan.
For example, the 2019 live-action remake of Aladdin grossed $356.5 million at the domestic and a whopping $695.1 at the international box office, for a worldwide box office gross of over $1 billion. Prior to Aladdin, Beauty and the Beast, the 2017 live-action adaptation of Disney’s 1991 animated film grossed $504 million domestically, and $759.5 internationally, for a worldwide box office gross of over $1.2 billion.
In stark contrast, The Little Mermaid, at the end of its second theatrical weekend, has grossed approximately $260 million at the worldwide box office. Given its current box office trajectory, especially in the international markets, the only recent live-action Disney film that The Little Mermaid has a chance of surpassing, commercially speaking, is Dumbo, the 2019 adaptation of the classic 1941 animated film of the same name, which grossed $353 million at the worldwide box office gross, against a reported $500 million worldwide box office break-even point.
A Box Office Iceberg
The Little Mermaid, both the animated film and the live-action remake, tells the story of a mermaid princess, Ariel, who is captivated by the outer human world, especially after she rescues a dashing human prince, Prince Eric, from drowning. Anxious to be reunited with Eric, Ariel makes a deal with a deceitful sea witch, Ursula, to be human for three days in exchange for Ariel’s ethereal singing voice so that Ariel can impress Eric before the three-day spell expires.
Given its array of whimsical elements, how and why did The Little Mermaid become such a divisive symbol, and did the backlash against the film, and the accompanying effect of the practice of review-bombing, have, as has been suggested, an adverse effect on the film’s box office, especially in the international markets, where the remake earned a further discouraging $42 million in its second weekend for a current overseas total of $140.5 million?
Regardless of the reasons for the backlash and the film’s box office performance, the numbers don’t lie. The Little Mermaid, which has presently grossed approximately $326 million at the worldwide box office, is a box office failure for Disney. The only remaining question is: Will the box office performance of The Little Mermaid, and the intense backlash that Disney received for the film, affect Disney’s approach to their future film and television projects?
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Post by veu on Jun 5, 2023 4:33:12 GMT -5
Source: collider.com/the-little-mermaid-global-box-office-326-million/'The Little Mermaid' Wants to Be Part of Your World at the Global Box Office By Diego Peralta Published 16 hours ago
Halle Bailey stars as Ariel in the live-action remake of Disney's 1989 animated classic.
The Little Mermaid has been performing impressively when compared to other recent Disney live-action adaptations, and now, the movie has another worldwide box office milestone in the books. According to Variety, the blockbuster romance has earned over $300 million all over the world, with the exact sum coming at $326 million as of today. It looks like there's no stopping Rob Marshall's version of the beloved story, telling the tale of a young girl who would do anything to explore the world she feels extremely fascinated by, even if it comes at a cost.
Ariel (Halle Bailey) is constantly collecting things from the human world as she tries to get close to them, even if her father, King Triton (Javier Bardem), doesn't always agree with that. One fateful night, Ariel saves Prince Eric (Jonah Hauer-King) from a terrible shipwreck, and she immediately falls in love with him. Looking at the girl's needs, Ursula (Melissa McCarthy) comes up with a plan to manipulate her into giving away her father's throne, using Ariel's love for the human world as leverage. The witch offers the girl the possibility of being human for three days, so she can make Eric fall in love with her, but there's obviously a catch.
If Ariel fails to share a true love's kiss with Eric during that time frame, she'll turn back into a mermaid, and she'll be long to Ursula forever. It will be up to Ariel's friends and family to do whatever they can to help the princess before it's too late, and she has to spend the rest of her days inside a haunted sea cave. Sebastian (Daveed Diggs) and Scuttle (Awkwafina) come together to think about different ways of making Eric fall in love with Ariel, including elaborate dates under the moonlight and being alert to what's happening in the castle. With their efforts combined, they'll be able to save their friend.
How is The Little Mermaid Performing in Other Territories?
Even if the movie has managed to earn $186 million in the United States and Canada alone, it looks like The Little Mermaid is leaving her mark at the international box office, with Mexico, Brazil, and the United Kingdom as the three international territories where the adaptation has reached new heights pushing the film's international total to $140 million. While the musical romance might not reach a billion at the worldwide box office due to the intense competition of the summer movie season, it's still proving that audiences from all over the planet fell in love with Bailey's vocals, Marshall's direction, and a timeless story about romance and hope.
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Post by veu on Jun 5, 2023 11:51:02 GMT -5
Source: www.screendaily.com/news/spider-man-across-the-spider-verse-swings-to-209m-global-box-office-debut-little-mermaid-posts-strong-international-hold/5182821.articleNews ‘Spider-Man: Across The Spider-Verse’ swings to $209m global box office debut; ‘Little Mermaid’ posts strong international hold
By Charles Gant5 June 2023
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‘Spider-Man: Across The Spider-Verse’, ‘The Little Mermaid’ Worldwide box office June 2-4 Rank Film (distributor) 3-day (world) Cume (world) 3-day (int’l) Cume (int’l) Territories 1. Spider-Man: Across The Spider-Verse (Sony) $208.6m $208.6m $88.1m $88.1m 60 2. The Little Mermaid (Disney) $82.9m $326.7m $42.3m $140.5m 53 3. Fast X (Universal) $50.6m $603.3m $41.4m $474.8m 85 4. The Roundup: No Way Out (various) $25.3m $27.9m $25.1m $27.7m 4 5. Guardians Of The Galaxy Vol.3 (Disney) $22.6m $780.1m $12.4m $457.4m 53 6. The Boogeyman (Disney) $20m $20m $7.7m $7.7m 48 7. The Super Mario Bros. Movie (Universal) $11.8m $1.3bn $8.4m $734m 82 8. Castle In The Sky (various) $6m $12.8m $6m $12.8m 1 9. Doraemon The Movie: Nobita’s Sky Utopia (various) $4.2m $42.3m $4.2m $42.3m 1 10. Godspeed (various) $3.9m $155m $3.9m $155m 4
Credit: Comscore. All figures are estimates. ‘Spider-Man’ animation surges past opening of ‘Into The Spider-Verse’
Columbia Pictures and Sony Pictures Animation had plenty to celebrate with the launch of Spider-Man: Across The Spider-Verse, achieving Sony’s biggest animated opening of all time, with an estimated $120.5m in North America and $88.1m in 59 international markets. The numbers combine for a worldwide debut of $208.6m.
The film’s international total is 2.8 times the opening of 2018’s Spider-Man: Into The Spider-Verse in like-for-like markets, excluding China, and is also 40% ahead of last week’s international launch of The Little Mermaid for the same group of markets. In North America, the estimated debut is 3.4 times Into The Spider-Verse’s $35.4m opening.
China led the international pack, with a $17.3m opening, then Mexico with an estimated $11.6m, just ahead of UK/Ireland with $11.5m.
Europe took an estimated $30.5m overall, powered by the UK/Ireland number, with France (an estimated $3.7m) ahead of Italy ($2.7m), Spain ($2.5m) and Germany ($2.1m).
In Asia, China was followed by India ($2.8m) and Indonesia ($1.7m). Japan and South Korea are both yet to open – those dates are set respectively for June 16 and 21.
In Latin America, Mexico led Brazil (an estimated $3.7m) followed by Peru ($1.6m).
Into The Spider-Verse grossed powerful multiples of its opening numbers over the course of the film’s lifetime (5.4 times the opening in the case of North America, for example). High anticipation for the sequel means that fans have rushed out to see it, and Sony will expect a quicker burn this time around.
Still, Across The Spider-Verse should have no trouble speeding past the $190.2m North America total for Into The Spider-Verse, and ditto that film’s international lifetime tally of $194.0m. Across The Spider-Verse is already 54% of the way to matching the earlier film’s global lifetime total of $384.3m.
Spider-Man: Across The Spider-Verse is the first of a two-part conclusion to the multiverse story that began with Into The Spider-Verse, and concludes next year with Spider-Man: Beyond The Spider-Verse. Both concluding parts are directed by trio Joaquim Dos Santos, Kemp Powers and Justin K Thompson; written by Dave Callahan, Phil Lord and Chris Miller; and produced by Lord and Miller alongside Avi Arad, Amy Pascal and Christina Steinberg.
‘The Little Mermaid’ enjoys strong traction outside North America
On its opening weekend, Disney’s The Little Mermaid remake proved significantly more potent in North America than in international markets, but the second session shows the film performing slightly better in the latter – albeit still lagging in cumulative total.
The Little Mermaid grossed an estimated $40.6m in North America at the weekend, declining 58%, plus an estimated $42.3m from 52 international markets – a drop of just 34%.
The film has now grossed $186.2m in North America and $140.5m for international, combining to deliver $326.7m worldwide
UK/Ireland, where most regions were wrapping up a week-long school holiday, fell just 17%, and drops were likewise gentle in Germany (-21%), Brazil (-22%) and Italy (-23%). Some smaller markets did even better in percentage terms, with Singapore up 4%, Indonesia down 7%, and respective drops of 10%, 11% and 12% in Poland, South Africa and Austria.
Despite the formidable challenge of Across The Spider-Verse, The Little Mermaid held on to the top spot in Italy and several smaller markets including Philippines.
Among international markets, UK/Ireland has now overtaken initial top territory Mexico to lead with a $20.0m total. Mexico is next with $14.5m, ahead of Italy ($9.2m), Brazil ($8.5m) and France and Australia tied with $7.4m.
China and South Korea continue to disappoint. China does not feature in Disney’s list of 12 top international territories so far – a chart propped up by Argentina with $3.9m. South Korea ranks ninth with $4.4m to date.
With $327m so far, The Little Mermaid is already 93% of the way to reaching the $353m lifetime total of Disney’s Dumbo remake from 2019; and has achieved 60% of the $542m lifetime gross of 2015’s Cinderella. Other remakes such as Beauty And The Beast (2017), The Lion King and Aladdin (both 2019) all achieved for higher totals, above $1bn, with 2016’s The Jungle Book just below the magic number on $968m. ‘The Boogeyman’ launches with $20m worldwide
North America proved reasonably potent for Disney’s release of The Boogeyman, adapted from the 1973 short story of the same name by Stephen King – but is comparatively weak overseas.
In North America, the supernatural horror film landed in third place with an estimated $12.3m. Among international markets, it’s in seventh place with an estimated $7.7m. Those numbers combine to deliver a $20.0m global opening – and sixth place in the worldwide weekend ranking.
Mexico, which traditionally scores well with supernatural horror, led the international pack with an estimated $800,000, ahead of UK/Ireland and France both with $600,000. These estimated figures are rounded to nearest $100,000.
Also for Disney, Guardians Of The Galaxy Vol 3 added an estimated $22.6m globally in its fifth session, taking the total so far to $780.0m. It remains the second-highest-grossing global release of 2023 to date, behind Universal’s The Super Mario Bros. Movie.
Vol 3 has now overtaken the $773.4m lifetime total achieved by the original Guardians Of The Galaxy in 2014. And it’s now 90% of the way to matching the $863.8m lifetime total of 2017’s Guardians Of The Galaxy Vol 2.
‘The Roundup: No Way Out’ dominates South Korea box office
Crime action sequel The Roundup: No Way Out landed with a blaze of glory at the top of the South Korean box office, with a reported $21.9m – and an 88% market share. The film is a sequel to 2022’s The Roundup, which opened with $21.2m on its way to a $99.8m total in South Korea.
Don Lee stars as a muscular detective working at a major crimes unit. Both Roundup films are sequels to the 2017 film The Outlaws, which introduced the character. The Roundup and No Way Out are both directed by Lee Sang-yong.
Data gatherer Comscore reported weekend box office of $25.4m for The Roundup: No Way Out across four markets. The film is also on release in North America (grossing an estimated $200,000), Hong Kong and Taiwan.
‘Fast X’ hits $600m; ‘Super Mario’ passes $1.3bn
Two films from Universal passed box office milestones at the weekend: Fast X added an estimated $50.6m in its third session, and has pushed past $600m for a $603.3m total. The Super Mario Bros. Movie added $11.8m in its ninth weekend of play, nudging the film past a $1.30bn total.
Fast X is chasing the $726.2m global total achieved by previous franchise entry Fast & Furious 9, which released in a still-Covid-challenged 2021.
The Super Mario Bros. Movie has now overtaken Frozen to become the second-biggest animated film of all time at the worldwide box office, behind only Frozen II ($1.45bn). It’s now also the 19th biggest film of all time, and needs to add another $10m to catch Jurassic World: Fallen Kingdom, in 18th place with $1.31bn.
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Post by veu on Jun 6, 2023 7:05:07 GMT -5
Source: www.hollywoodreporter.com/movies/movie-news/box-office-the-little-mermaid-gets-doused-in-china-south-korea-after-racist-backlash-1235505682/Box Office: ‘The Little Mermaid’ Gets Doused in China, South Korea After Racist Backlash Disney's live-action retelling of the iconic animated film, which is bombing in those countries, stars Halle Bailey in the titular role.
BY PAMELA MCCLINTOCK, PATRICK BRZESKI JUNE 5, 2023 4:06PM
Halle Bailey as Ariel in Disney's live-action 'The Little Mermaid.' COURTESY OF DISNEY
The Little Mermaid is getting doused in select foreign markets amid a racist backlash over the casting of Black actress Halle Bailey in the role of Ariel.
The movie has grossed a mere $3.6 million its first 10 days of release in China, by far the worst showing among Disney’s live-action adaptations. The movie is also struggling badly in South Korea, where it has earned $4.4 million through June 4. Sources close to the movie, as well as box office analysts, say Disney knew Little Mermaid could face challenges, but is surprised by the extent of the backlash and its impact.
The social media outcry over Bailey’s casting has been particularly vociferous in both markets. Sources believe this has resulted in unverified audience reviews bashing the movie. In South Korea, such reviews have even made headlines.
Negative audience reviews have also populated social media in China. And just before the film opened in that country, the government-affiliated The Global Times ran an editorial lambasting Disney’s motives.
“The controversy surrounding Disney’s forced inclusion of minorities in classic films is not about racism, but its lazy and irresponsible storytelling strategy,” stated the op-ed. “Many Chinese netizens said that like ‘Snow White,’ the image of the mermaid princess in Hans Christian Andersen’s fairy tales has long been rooted in their hearts and it takes a leap of imagination to accept the new cast.”
The editorial further questioned whether Disney’s “political correctness” is motivated by financial interests or genuine concern for representation.
Bailey landed the role in summer 2019 after an extensive search that included hundreds of actresses.
“She immediately set the bar so high that no one surpassed it,” director Rob Marshall told THR last month. “We saw every ethnicity. There was no agenda to cast a woman of color. It was really just, ‘Let’s find the best Ariel,’ and Halle claimed the role.”
Bailey’s performance has been widely lauded by critics and (verified) audiences alike.
In China, Hollywood earnings have been down dramatically since the pandemic. The biggest U.S. hits so far this year have been Fast X and Guardians of the Galaxy Vol. 3, both nearing the ends of their runs with current totals of approximately $125 million and $78.8 million, respectively. Those are solid numbers, but much less than each franchise’s predecessors. F9: The Fast Saga (2021) earned $217 million and F8 (2017) took $392.8 million in China; while Guardians of the Galaxy Vol. 2 (2017) brought in $100 million. And all other U.S. tentpoles have fared significantly worse this year.
But even against a collective backdrop of diminished China potential, the scale of The Little Mermaid‘s flop is conspicuous. The Jungle King (2016) and The Lion King (2019) were outright blockbusters in China, earning $150 million and $120 million, respectively, while Aladdin (2019) took in a solid $53.5 million. Even Cruella, which was released during the pandemic, earned $24 million, far more than Little Mermaid ultimately will.
“It’s disappointing,” says the Little Mermaid insider.
Adds a source outside the studio who tracks the performance of Hollywood event pics: “We did not expect the racist reaction and therefore, for the picture to underperform internationally.”
In the U.S., The Little Mermaid has been doing good business despite protestations by some regarding Bailey’s casting. The movie has earned north of $186 million in its first 10 days and is pacing on par with breakout live-action hit Aladdin. In its second weekend, Little Mermaid dropped an estimated 58 percent in North America as Spider-Man: Across the Spider-Verse entered the marketplace.
Box office analysts believe Little Mermaid could top out at $350 million domestically. Aladdin‘s domestic haul was $355.6 million.
Overseas, Aladdin reached $695.1 million for a worldwide total of $1.05 billion. South Korea, however, accounted for $91 million, while China contributed $53.5 million. It remains to be seen where Little Mermaid lands internationally. It finished June 4 with a foreign tally of $140.5 million after debuting a week earlier to a disappointing $68.3 million (Disney had counted on at least $80 million). The good news: the female-skewing held well in a number markets, and it continues to play particularly well in Latin America.
Japan is another key market for Little Mermaid, where it opens in the coming days (Aladdin earned a sizeable $112.5 million in that territory).
Disney’s final marketing push in Japan trumpets the film’s strong verified audience score on Rotten Tomatoes, as well as the movie’s promising start in North America. The studio also continues to focus on the acclaim Bailey has earned.
As for combatting user reviews made in poor faith, observers say it’s harder to do internationally.
“Domestically, you can search by verified [audience] reviews,” notes one box office analyst. “Internationally, you cannot.”
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Post by veu on Jun 6, 2023 7:07:29 GMT -5
Source: edition.cnn.com/2023/06/06/media/little-mermaid-box-office-china-korea-intl-hnk/index.html‘The Little Mermaid’ tanks in China and South Korea amid racist backlash from some viewers By Michelle Toh, Candice Zhu and Gawon Bae, CNN Published 5:03 AM EDT, Tue June 6, 2023
01:02 - Source: CNN Hong Kong/Seoul CNN — “The Little Mermaid” has bombed with moviegoers in China and South Korea amid racist critiques in some quarters over the casting of Black actress Halle Bailey as main character Ariel.
Disney’s live-action remake has made only $3.6 million in mainland China since opening there on May 26, according to Box Office Mojo.
It brought in just 19.5 million yuan ($2.7 million) in its first five days, compared with 142 million yuan (nearly $20 million) for “Spider-Man: Across the Spider-Verse” in the first five days of that film’s opening, according to Chinese box office tracker Endata.
In South Korea, “The Little Mermaid” has grossed $4.4 million since May 24.
The movie attracted some 472,000 viewers in its first week in theaters there, less than the 643,000 fans who showed up for new “Fast and Furious” film “Fast X,” over the same duration, according to the Korean Film Council. “Fast X” opened a week before “The Little Mermaid.”
The chilly reception came as viewers in both countries questioned the choice of Bailey as the star of the movie, a decision that has been celebrated elsewhere.
In the United States, young Black girls have hailed Disney’s decision, saying they feel represented on the big screen because of her titular role.
“The Little Mermaid” has also done well at the domestic box office, ranking as the number two movie over the past weekend, which is only its second so far in theaters, according to Comscore.
But on IMDb, the film has allegedly been hit by “review bombing,” a practice where users leave negative reviews on a title to try to lower its rating. The issue led IMDb last week to warn of “unusual voting activity” and tweak how it calculates the ratings.
A cold reception Globally, the film has now brought in an estimated $327 million, with $186 million of that coming domestically and $141 million driven by international audiences, according to Comscore.
China, the world’s second largest box office, has contributed a negligible amount.
Fans in mainland China have shared their objections to the movie online, mainly expressing disappointment with Bailey’s casting.
On Douban, a popular Chinese movie review website, users scored the film just 5.1 out of 10.
On Maoyan, a Chinese movie review and box office tracking platform, one user said they were “puzzled” as “the ‘Little Mermaid’ in my mind is White.” Several others made discriminatory comments about Bailey’s skin color.
“The fairy tale that I grew up with has changed beyond recognition!” wrote another Maoyan user.
Similar sentiment was found on social media in South Korea. On Instagram, one user wrote that the movie had been “ruined” for them, adding “#NotMyAriel.”
In Japan, where the film has yet to open, it has also faced criticism from those who say the portrayal of Ariel appears to differ from the one they remember. “Don’t trample on my cherished childhood memories and the image of Ariel,” one online forum user wrote.
Chinese state media has also egged on such reactions.
In an editorial published a day before the film’s debut in China, state-run tabloid Global Times said it had “caused a debate about representation in entertainment and highlighted the challenges of adapting beloved, traditional tales.”
The publication also suggested Disney’s decision to cast Bailey was part of a wider effort to include minorities in studio productions, and be seen as “politically correct.”
“The controversy surrounding Disney’s forced inclusion of minorities in classic films is not about racism, but its lazy and irresponsible storytelling strategy,” it said, echoing views expressed on social media in China, Japan and South Korea.
Disney declined to comment.
The film’s director, Rob Marshall, had previously refuted the idea that Bailey was hired for anything other than talent.
“She immediately set the bar so high that no one surpassed it,” he told The Hollywood Reporter last month. “We saw every ethnicity. There was no agenda to cast a woman of color. It was really just, ‘Let’s find the best Ariel,’ and Halle claimed the role.”
Strong showing elsewhere “The Little Mermaid” has performed better in other Asian markets such as the Philippines and Indonesia, raking in $4.4 million and $4.1 million, respectively, according to Comscore data.
It also ranked as the most popular film in Italy and second most popular in Germany, the United Kingdom, Australia, Brazil and Mexico over the past weekend, the analytics provider said. Fans turned out in strong numbers in countries spanning the globe, from Singapore to Finland to the United Arab Emirates.
All that helped make its international performance in its second weekend “stronger than ‘Beauty and the Beast’ and ‘Maleficent’ and equal to ‘Cinderella,’” according to Paul Dergarabedian, senior media analyst at Comscore.
“The bottom line is that every movie has its own distinctive box office trajectory, unique audience appeal and within the context of the competitive and cultural landscape, will have various marketplace challenges and advantages,” he said.
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Post by veu on Jun 11, 2023 15:13:49 GMT -5
Source: collider.com/the-little-mermaid-global-box-office-413-million/‘The Little Mermaid’ Sails Past New Milestone at the Global Box Office BY RAHUL MALHOTRA PUBLISHED 4 HOURS AGO The movie is swimming along at the domestic box office, but struggling to stay afloat overseas.
Halle Bailey as Ariel in a D23 promo for 'The Little Mermaid' 2023Image via The Walt Disney Company
Is The Little Mermaid a hit, or not? The answer changes with each new layer of context that you bring to the table. On the face of it, the fact that Disney’s live-action remake of the classic 1989 animated film has now passed the $400 million mark globally is worth celebrating. But when you consider that more than half of that has come from domestic theaters, the achievement loses some of its value. And then, when you take into account that the movie cost a reported $250 million to produce (minus marketing), that $400 million number doesn’t look so special after all.
The rule of thumb is that a movie of this size needs to gross twice its budget in theaters to break even, which means that The Little Mermaid, after two full weeks of release, is still in the red. And it’s currently pacing to conclude its global run with around $500 million, which would barely put it in the clear. The Little Mermaid added an estimated $22 million from domestic theaters this weekend, taking its running total to $228 million. The movie has made around $185 million from overseas territories so far, for a running worldwide haul of $413 million, according to Variety.
It opened to mixed reviews last month, and is currently sitting at a “fresh” 68% score on review aggregator Rotten Tomatoes. But it earned a solid A CinemaScore from opening day audiences, and Collider’s own Ross Bonaime wrote that it is "one of the rare live-action remakes that manages to capture” the magic of the original. While audiences have been unanimously kind toward newcomer Halle Bailey’s starring performance, fans of the animated classic have complained about the changes that veteran Disney director Rob Marshall brought to the remake.
The Little Mermaid grossed a promising $117 million in its domestic debut, which was virtually identical to what Aladdin made in its first weekend in 2019, also during the Memorial Day extended weekend. But that film legged it to over $350 million domestically, and more than $1 billion worldwide. While those global figures are going to be impossible to match, each passing day suggests that The Little Mermaid might struggle to surpass Aladdin even at the domestic box office.
How Does the Movie Stack Up Against Other Disney Live-Action Remakes? The film’s $413 million worldwide haul puts it ahead of fellow Disney live-action remakes (and their sequels) such as Dumbo ($353 million), Alice Through the Looking Glass ($299 million), Cruella ($229 million), and The Sorcerer's Apprentice ($215 million). Next up, it will target the lifetime global haul of Maleficent: Mistress of Evil ($491 million), but that’s about it. Even Cinderella’s $543 million global haul seems out of reach at this point, and there's an ocean separating it from the highest-grossing Disney live-action remakes -- Aladdin, Alice in Wonderland, Beauty and the Beast, and The Lion King, each of which made over $1 billion worldwide.
The Little Mermaid also stars Melissa McCarthy as Ursula, Jonah Hauer-King, Noma Dumezweni, Daveed Diggs, Javier Bardem, Awkwafina, Jacob Tremblay, and Art Malik. You can watch our interview with Marshall here, and stay tuned to Collider for more updates.
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Post by veu on Jun 20, 2023 16:19:29 GMT -5
Source: collider.com/the-little-mermaid-global-box-office-465-million/?utm_term=Autofeed&utm_campaign=Echobox-CL&utm_medium=Social-Distribution&utm_source=Facebook&fbclid=IwAR060uguTTqQ0HfhIyk0AAD5kMlCk-Iqcxe-nJmRdmlEKmPO9sgRaV9xl-o#Echobox=1687213990‘The Little Mermaid’ Sails Past New Global Box Office Milestone BY RAHUL MALHOTRA PUBLISHED 1 DAY AGO It looks like the movie might have some air left in its lungs after all.
The-little-mermaid-Halle-Bailey-Jacob-TremblayImage by Annamaria Ward As it nears the end of its theatrical run, Disney’s The Little Mermaid is indicating that it might have the energy for one last lap. The movie has struggled commercially after debuting a little over three weeks ago, but after braving some choppy waters initially, it appears to have steadied itself. This weekend The Little Mermaid swam past three new milestones at the box office — the $250 million mark domestically, the $200 million mark in international territories, and the $450 million mark worldwide.
Not too long ago, these numbers might have sounded far-fetched. But as things stand, The Little Mermaid now has a strong chance of finishing with half a billion dollars worldwide before running out of breath. Currently, the movie has made $253 million at the domestic box office, and $212 million from overseas territories, for a global haul of $465 million. As you can probably tell from these numbers, The Little Mermaid’s revenue has been unusually skewed. Films of this size — big-budget, effects-driven spectacles — tend to generate more money from overseas markets, but it seems like the brand isn’t as beloved internationally as it is at home. The Little Mermaid debuted with $117 million in its extended domestic opening weekend, and generated $168 million worldwide globally in its debut. These are hardly splashy numbers, especially considering the film’s massive $250 million reported production budget (which, as usual, doesn’t include the marketing spends). As a rule of thumb, movies this size need to make twice their budgets theatrically to break even, and the fact that Disney was willing to spend so heavily on The Little Mermaid shows that the studio had high hopes from the movie.
And why wouldn’t it? Disney’s last major theatrical live-action remake — Aladdin — managed to make more than $1 billion worldwide. And it cost less than $200 million. Aladdin actually opened with an almost identical number stateside, before legging it to $350 million domestically and $1.1 billion worldwide. While there’s still a chance that The Little Mermaid is able to pass $300 million domestically, it’s clear that not having movie stars of Will Smith’s stature is hurting it in markets where things like this matter. The only other live-action Disney remake that The Little Mermaid still has a realistic chance of passing is Maleficent: Mistress of Evil, which concluded its global run with $494 million.
The Little Mermaid Isn't Top-Tier Disney But finishing among the top-tier of these movies is out of the question. In the last decade and a half, four Disney remakes have managed to generate more than $1 billion globally. There’s Aladdin, of course, and also The Lion King ($1.66 billion), Beauty and the Beast ($1.2 billion) and Alice in Wonderland ($1 billion). As far as 2023 is concerned, however, The Little Mermaid is now the sixth-biggest Hollywood release, behind Ant-Man and the Wasp: Quantumania, Spider-Man: Across the Spider Verse, Fast X, Guardians of the Galaxy Vol. 3 and The Super Mario Bros. Movie.
The Little Mermaid stars newcomer Halle Bailey in the titular role, alongside Melissa McCarthy as Urusula, and Jonah Hauer-King, Noma Dumezweni, Daveed Diggs, Javier Bardem, Awkwafina, Jacob Tremblay, and Art Malik. You can watch our interview with the film’s director Rob Marshall here, and stay tuned to Collider for more updates.
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Post by veu on Jun 20, 2023 16:20:45 GMT -5
Source: dapsmagic.com/2023/06/the-little-mermaid-continues-to-swim-at-the-box-office/“The Little Mermaid” Continues to Swim at the Box Office June 20, 2023 / Disney, Entertainment / By Mr. DAPs / 2 minutes of reading / Leave a Comment
The Little Mermaid is nearing the end of its theatrical run (or swim). However, Disney’s newest live-action remake of an animated classic continues to pass milestones at the box office. Over the weekend it surpassed some new milestones. For many who watched the films original opening numbers, some of these numbers were somewhat surprising.
On the domestic front, The Little Mermaid passed the $250 million mark. It now has garnered $253 million domestically. Internationally, the film passed the $200 million mark and has now earned $212 million. In total, this means the film has made more than $450 million globally and currently sits at $465 million. While this isn’t record breaking, with some of the challenges the film saw internationally it is definitely respectable.
The Little Mermaid does not look like it will be able to do the numbers of Beauty and the Beast, Aladdin, The Lion King, or Alice in Wonderland. All of these films surpassed the $1 billion mark at the global box office. It could, however, perhaps catch up with Maleficent: Mistress of Evil which garnered $494 million during its global box office run. It could also possibly reach $300 million domestically and $500 million globally if it can just keep swimming.
The results for The Little Mermaid at the global box office are not as strong as Disney most-likely anticipated for the film. Most of this is due to the weakness of the overseas box office results. In general, these big live-action films need to make double their budget to break even. In this case, The Little Mermaid had a reported $250 million budget. If the film does pass the half-billion dollar mark globally, it would just be breaking even by that assumption.
The Little Mermaid Description The Little Mermaid is the beloved story of Ariel, a beautiful and spirited young mermaid with a thirst for adventure. The youngest of King Triton’s daughters and the most defiant, Ariel longs to find out more about the world beyond the sea and, while visiting the surface, falls for the dashing Prince Eric. While mermaids are forbidden to interact with humans, Ariel must follow her heart. She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land but ultimately places her life – and her father’s crown – in jeopardy.
What do you think of The Little Mermaid’s box office results? Do you think it should have done better or worse? Read Daps Magic’s review of this film here and share your thoughts and opinions in the comments below.
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