“Star Wars” Snags $153.5 Million Second Weekend

In what is now only worthy of a quotidian, ho-hum news bit, The Force Awakens earned an insane, record-demolishing $153.5 million in its second weekend go-around. To put that in perspective, that number breaks the previous record by a massive $46.9 million. To shovel even more perspective onto this “Star Wars” love fest, if this number holds, the movie’s second weekend box office is now the tenth-largest in cinematic history. No other film owns two weekends in the all-time top 30.

The movie’s cumulative domestic total now stands at a boggling $545 million. Avatar‘s domestic record is essentially in the bag now, and, if the film continues to hold as well as it has been for the next couple months, $1 billion domestically is not necessarily out of the question. Even adjusting for inflation, that would make this picture’s performance an undeniable landmark in cinema. Adjusting for inflation, population, and moviegoing trends, it would likely fall into the top 10 most popular films of all time.


“Force” Rakes In $40.1 Million On Record Monday

Quick post here. According to early estimates, The Force Awakens pulled in an additional $40.1 million yesterday (shattering Spider-Man 2‘s previous $27.7 million record), making its domestic total a staggering $288 million after four days. If the movie keeps up at this pace, and drops next weekend by 35%, as Deadline projects, it could be at around $570 million come the 10-day mark, and could even break $700 million by the end of its third weekend. Unreal. Could this movie be approaching Avatar‘s domestic record by New Year’s?

What a time to be alive.

“The Force Awakens” Destroys Box Office Records

“The Force Awakens” Destroys Box Office Records

It would appear that something has very much awakened. In an unprecedented debut, especially for December, Star Wars: The Force Awakens opened to a record $247 million domestically this past weekend, to go along with its $281 international take, giving it $528 million worldwide (also a record) already.

To put this in perspective, the previous opening weekend record (for both numbers) had been set by Jurassic World, with $208.8 million and $524 million respectively. That movie had the advantage of opening in the typically front-loaded month of June and with the added benefit of China, the second-largest box office market in the world, debuting the film concurrently with the rest of the globe. Star Wars doesn’t open in China until January. Who knows how massive the space opera’s numbers would have been had that country’s totals been lumped onto them?

For even more perspective, the previous stateside December opening weekend record was $84.6 million, set by the first Hobbit film in 2012. That should go to show you how utterly unusual this is. Doubling a month’s previous record is exceedingly rare. Nearly tripling it? Get out.

These unheard-of numbers are why we might not be able to treat this film as a typical December-style blockbuster. A healthy holiday mega-movie can garner anywhere from a 3.5x-4.5x weekend multiplier (how many of its opening weekend grosses it ultimately makes in the U.S. and Canada). So much demand for this film was met this weekend (nearly 1/4 of its take came just from Thursday preview shows, a type of front-loading uncommon in even the most popular of summer blockbusters), that this film might play out more like a healthy summer blockbuster, with a 2.5x-3.0x weekend multiplier.

Either way, this film is virtually guaranteed at this point to top the $1.5 billion mark worldwide and the $600 million mark domestically, which already puts it in hallowed company, making it an unmitigated success. Disney’s goal here was to reinvigorate worldwide ardor for this franchise, and they have done so in spades. My fairly tame review notwithstanding, this movie has received a rave response, with a 95% Rotten Tomatoes mark and a sparkling “A” CinemaScore. In short, this film will be the beneficiary of some uncommonly good word of mouth.

If I had to make some estimates? Without knowing really how the film with play over the week (likely very strong, considering most schools are out and the holidays are prime times to fill your kids’ days by taking them to the movies), I’d hazard a guess at a domestic total of anywhere from $670 million-$730 million domestically, and a final worldwide total of around $1.7-$1.8 billion. No, I don’t think it will cross $2 billion, and I think Avatar‘s worldwide record is very much safe at this point. Its domestic record is somewhat in play, though still would take some rare staying power for Star Wars to overtake.

Whatever this movie ends up making overall, I can agree with the critics when it comes to this oft-repeated phrase (at least in terms of this franchise’s box office dominance): Star Wars is back.

Review: “Star Wars: The Force Awakens”

Review: “Star Wars: The Force Awakens”

From the beginning, it’s clear how desperately The Force Awakens wants to prove to you that it’s bursting at the seams with the same magic the films whose shoulders it stands on did, at times to its detriment, others to its benefit; but after the sugar high wears off, you’re left wondering if you’ve watched a Star Wars film, or Star Wars.

Yes, what you’ve heard is true. The Force Awakens is essentially A New Hope given a new wardrobe, a polish job and $200 million of the best special and practical effects you can buy. And not unlike countless other derivative sequels, no amount of window dressing can alter the lack of originality at its admittedly well-intentioned heart.

Speaking just on craft, though, it is a brilliant remake; ebullient, sparkling and rife with that scintillating movement that immortalized the first one nearly four decades ago. In fact, this movie’s so well done on a technical scale that had it been the very first of the series, it might very well have been considered an untouchable classic of cinema (though it’s hard to say; trying to project modern cinema without Star Wars is like trying to project what Earth would look like if that asteroid hadn’t wiped out the dinosaurs).

The new cast flourishes. Boyega commands the screen, and Ridley, while wooden at times, shines when needed most. Their characters, Finn and Rey, represent a refreshing attempt at making the world of Star Wars look much like our own, and their arcs, while not perfect, are satisfying enough to make me interested in Episode VIII. Oscar Isaac’s typical rogueish charm flairs up in the form of hot-headed pilot Poe Dameron, a sure-to-be favorite of the new protagonists. And while he’s not technically human, the humans remote-controlling the new droid, BB-8, deserve praise; he more than fills the considerable shoes of R2-D2.

By far the most intriguing of all the new characters, though, is Adam Driver’s Kylo Ren. He is this film’s Vader analog, and one whose near-fourth-wall-breaking awareness of that role drives his entire narrative. While he is undoubtedly a villain, he has a magnetic vulnerability that makes him unlike any other Star Wars baddie we’ve seen.

Harrison Ford makes a pleasantly surprising turn as Han Solo, who, unlike many of the venerable actor’s recent roles, actually appears on screen rather than the man playing him. Fisher’s solid return as the now General Leia rounds out the old cast, as Mark Hamill barely has time to get his pants on before the film is over.

And that is one of the cracks in this loving homage’s armor: the story. Without trying to spoil too much, Hamill’s Luke Skywalker acts as the driving force of the movie, a human MacGuffin who remains mostly in the shadows. Sounds interesting, right? Did to me. So, what’s the issue?

Well, imagine Dorothy getting to the Emerald City, opening the Wizard’s chamber doors — and thats it. The screen cuts to black. Other story flaws include the film going out of its own way and defying its own internal logic to remain a near-carbon copy of A New Hope in its second half, a move that distracts from the engrossing propulsive force that drove its first hour. You’ll understand my frustration at missed opportunities that could have made a solid film into a good if not nigh-great one. Major, story-buttressing questions are left unanswered, and in that, this go-around does not succeed on the same level as its original predecessors, which managed to both present self-contained tales and be seamless parts of a larger whole.

It doesn’t help that, in what I cannot deny is a stirring climax, internal logic is discarded in favor of catharsis. The Force Awakens is not the first to commit this sin, but that doesn’t change the fact that it was an easy mistake to fix, and one that will only become more glaring once the afterglow of the movie’s feverishly-hyped release fades.

Fear not, though: the pulpy spectacle, as usual, is here in full force. As is the series’ unmistakable brand of self-effacing comedy. John Williams crafts a suitably Star Wars-y score, and JJ Abrams’ pure, simplistic direction jives well with the franchise’s past.

So, will you like it? If you want to safely and comfortably return to a galaxy far, far away simply to see hot shot pilots shoot bad guys out of the sky and red and blue lightsabers clash, without regards to originality, The Force Awakens might be your favorite movie of the year. If you want to see a new Star Wars movie thats, well, new . . . you might have to wait for Rian Johnson’s crack at it come 2017.



Some thoughts on the box office prospects of “Star Wars: The Force Awakens”

Some thoughts on the box office prospects of  “Star Wars: The Force Awakens”

This is something I posted on Reddit a little while back, and since the film in question is just around the corner, I thought I’d post it here:

There seems to be the expectation among movie fans that the all-time box office crown, which of course currently belongs to Avatar at $2.79 billion worldwide, is something the new Star Wars film should and inevitably will take. While I’m not here in an attempt to slow down the hype train, I am trying to insert some numbers and historical precedence into the conversation. Sorry in advance for the essay.

Let’s just lay out the top 10 movies of all time for reference’s sake:

  1. Avatar – $2.79 billion, $760.5 million domestic
  2. Titanic – $2.19 billion, $658.7 million domestic
  3. Jurassic World – $1.67 billion, $651.2 million domestic
  4. The Avengers – $1.52 billion, $623.4 million domestic
  5. Furious 7 – $1.51 billion, $351 million domestic
  6. Avengers: Age of Ultron – $1.40 billion, $459 million domestic
  7. Harry Potter 7 Part 2 – $1.34 billion, $381 million domestic
  8. Frozen – $1.27 billion, $400.7 million domestic
  9. Iron Man – $1.22 billion, $409 million domestic
  10. Minions – $1.15 billion, $334.3 million domestic

Movies that go on to break the all-time box office record have always been originals at the time of release, never sequels, and they’re almost always groundbreaking in some way, hence the unusually strong word of mouth that propels them to such heights. Movies like this, the sequels to said groundbreaking films, will make a lot of money, but to put things into perspective: the difference between the top two movies would be enough money to be a Top 50 all-time picture. The difference between #3 and #1 would be a smidge out of the all-time Top 10. Clearly, the gap between the two movies at the top and the rest of the field is almost insurmountably large.

Now let’s look at previous Star Wars films and how they fared. For a more realistic barometer, I’m mostly going to be referring to the prequel movies. I know we all hope that these films will be in almost every way more like the OT, and they could be, but in terms of box office numbers, or, more accurately, tickets sold and tickets per capita, those original three are virtually unreachable, especially in the case of A New Hope. Those were different times; there were fewer things with which to occupy your time, home movies were either non-existent or just being introduced into the market, and Star Wars and what it brought to the table were newer then, more exciting, more zeitgeist-capturing.

I’m going to address this from a number of different angles. First, I’m going to adjust the opening five days of each of the prequel movies (they all opened on a Wednesday, while TFA opens on Thursday night, or essentially Friday) into what a projected domestic opening weekend for TFA would be like if it were as popular as the prequel movie in question was when it opened. I’m going to be adjusting for inflation and population (tickets per capita).

Here are those numbers:

Phantom Menace First Five Days: $105.6 million

  • Tickets Sold: 20.9 million
  • Population Adjusted Tickets Sold: 23.9 million
  • Inflation Adjusted: $173.2 million
  • Population Adjusted/Inflation Adjusted: $198.3 million

Attack of the Clones First Five Days: $110.2 million

  • Tickets Sold: 19 million
  • Population Adjusted Tickets Sold: 21.1 million
  • Inflation Adjusted: $157.7 million
  • Population Adjusted/Inflation Adjusted: $175.1 million

Revenge of the Sith First Five Days: $158.4 million

  • Tickets Sold: 24.7 million
  • Population Adjusted Tickets Sold: 26.7 million
  • Inflation Adjusted: $205.1 million
  • Population Adjusted/Inflation Adjusted: $221.2 million

Of course, all of these opened in May, a month that lends itself to more front-heavy pictures. December, when TFA is being released, is not known for breaking opening weekend records. Movies released then do, however, have something else going for them: longevity. Avatar (released in December) famously made less than 10% of its eventual record-shattering domestic haul on its first weekend; it stayed at #1 for seven weeks straight and within the Top 5 for 13 weeks. While I don’t expect TFA to have quite those legs, I certainly think it will outperform the prequel movies in terms of weekend multiplier (basically how many of a movie’s “opening weekends” it makes in its domestic B.O. lifetime), save perhaps for The Phantom Menace, which despite being in a front-heavy month, still managed to pull an astounding 4.1x weekend multiplier (if again, you count its first five days as an opening weekend). I believe that those numbers are more a testament to the goodwill the franchise had and the anticipation for the movie that permeated American culture at the time than they are to the movie’s quality.

Taking that into account, and the fact that no movie has ever breached the $90 million mark in December (the record is $84.6 million, made by the first Hobbit film), I’m going to estimate that the incomparable cultural phenomenon that is Star Wars will allow the movie to “only” reach a near-record-doubling $165 million its opening weekend. This number comes from the fact that, while I believe the film will surpass all of the unadjusted opening five day numbers of its predecessors, it won’t pull in quite as many tickets per capita considering the time of its release.

Now let’s apply multipliers. The first Hobbit film, which fed off the large fanbase of another immensely popular fantasy film franchise, had roughly a 3.58x weekend multiplier. If you apply those very healthy legs to my projected opening weekend for TFA, you end up with a $591 million domestic total, which is obviously very good and would place it in the Top 5 all time.

What if the movie has even better legs, like, say, American Sniper, which had a roughly 3.9x weekend multiplier? Well, again using the projected opening weekend, that would bring TFA’s eventual total to $643.5 million, solidly in fourth place all time, and only ~$7 million from that coveted “highest-grossing film not made by James Cameron” title.

What about that Phantom Menace multiplier? 4.1x gets us to $676.5 million.

Now, just for shits and giggles, lets say that TFA is as popular on its opening weekend as the prequels were, despite its comparatively disadvantageous opening date. Let’s average out the number of tickets per capita and see what kind of take we’d get:

Averaged prequel films first five days’ takes into 1st weekend of The Force Awakens

  • Average Tickets: 21.5 million
  • Average Population Adjusted Tickets: 23.9 million
  • Average Opening Weekend Inflation Adjusted: $178.7 million
  • Average Opening Weekend Infl./Pop. Adjusted: $198.4 million

Let’s apply some legs calculations to those numbers:

  • Hobbit model: $710.3 million
  • American Sniper model: $773.8 million
  • Phantom Menace model: $813.4 million

So, if TFA nearly breaks $200 million on its opening weekend, which is, again, unheard of in December, and is as leggy as American Sniper or Phantom Menace, it will break Avatar’s all-time domestic B.O. record. That’s a lot of things that have to go right for it.

And that’s not even taking the international numbers into account.

As sacrilege as it might be to say, Star Wars isn’t quite as popular worldwide as it is in the USA. It’s still one of the more popular franchises of all time, mind you, but you need only see that two of the films are in the top 10 all-time domestically while none are in the top 15 all-time worldwide to understand that, while popular, the films don’t have quite the same draw. Or at least they haven’t in the past.

The international box office market is growing rapidly. China is adding a dozen theaters a day. Studios used to be very content when their successful blockbusters grossed 40% of its worldwide total overseas. Nowadays, you have movies like Transformers 4, Furious 7and Avatar setting the bar for international percentages (78%, 76% and 73% respectively). Even with those numbers, if a current movie grosses over half its worldwide total overseas, it can be considered a success (that is, if its domestic take were satisfactory).

The most popular a Star Wars film has been overseas in terms of box office percentage was 55% (Revenge of the Sith). What if TFA matches that franchise record number andbrings in a spectacular near-$200 million opening weekend domestically and has the fantastic legs something like The Phantom Menace?

After all that, your worldwide total for TFA would be $1.81 billion, still $380 million fromTitanic and over $1 billion from Avatar. But like I said, the international market has grown. Let’s give TFA a (generous) 70% overseas percentage and punch that in with the aforementioned optimistic numbers. Even with that franchise record-shattering show of overseas popularity, and the unheard-of opening weekend numbers, and astounding legs, the film still falls short of Avatar at $2.71 billion (albeit by “only” $70 million this time).

All this to say that a lot of things have to go right for Star Wars to even break the Top 3 films of all time, let alone become the #1 film in history. Is it possible? Of course! Is it likely? Simply, no. All I’m trying to do here is temper the expectations that might lead to undeserved disappointment if the film “only” makes, say, $600 million domestically and $1 billion overseas, for 4th-best ever. All I hear from my friends and people online is “How is this film not going to be the number one movie of all time?”, and that kind of talk isn’t likely to die down the closer we get to its release. When I try to answer reasonably, I get chastised for not being a “true fan” or not understanding how huge Star Wars is. I’m a diehard fan. Star Wars catalyzed my love for film. I understand the cultural impact the films have had. It’s just facing a huge uphill battle in its quest to be #1.

But hey, like Han said, “Never tell me the odds.” It’s possible. If any franchise can defy predictions, for better or worse, it’s this one.

TL;DR – TFA will definitely make a shit ton of money. Will it make the most? Probably not, but still possible. Don’t be disappointed if it’s only Top 5 and not #1.