Robert Zemeckis’ “The Walk” pulled in $240,000 in its first day of limited release.
The Sony film centers on performance artist’s Philippe Petit (Joseph Gordon-Levitt) and his daring attempt to walk between the Twin Towers using a high-wire. It is on track to pull in upwards of $3 million in its first five days in theaters.
The idea is to debut the 3D film in 448 Imax and premium large-format theaters as a way of raising awareness heading into a crowded fall movie season. Universal tried a similar experiment with “Everest” two weeks ago, bowing the film in Imax and other specialty screens. Results were uneven. The mountain-climbing adventure pulled in a smashing $7 million on Imax and premium-format screens, but made an underwhelming $13.2 million when it expanded to more theaters the following week.
Jurassic World” has chomped a gigantic bite out of the summer box office, big enough for the dinosaur thriller to stomp its way to becoming the No. 3 movie in Hollywood box-office history.
At more than $647 million banked in North America, it’s about $10 million away from taking the No. 2 spot away from “Titanic.”
But just how big is “Jurassic World,” from a historical sense? How big is it really?
In tickets sold, it’s No. 28.
More than 75 million tickets have been sold to showings of “Jurassic World” since its June 12 release, but that’s far short of the 200 million-plus tickets purchased over the last 75 years for “Gone With the Wind,” the No. 1 movie hit ever.
This past Friday, the twenty-three-year-old British singer Sam Smith, noting that he had been “dreaming of this moment for a long, long time,” released the song “Writing’s on the Wall,” which will play over the opening credits of the new James Bond movie, “Spectre,” due in November. Smith seems to have spent more time dreaming about the début than he did working on the song. In an interview with NPR, he said that he and his collaborator, Jimmy Napes, wrote it in less than half an hour, and that the demo he quickly recorded ended up in the final version (which was produced with help from the British house duo Disclosure).
War Room was the top “older” movie this weekend, earning another $7.4 million and dropping just 20% in weekend three even with the new 90 Minutes in Heaven making a whole $2.16 million this weekend on 878 screens. The faith-based drama from Sony has now earned $39.19m in ten days, putting it on the path to surpass the $60m domestic cume of God’s Not Dead and possibly (emphasis on “possibly”) making a run at the $90m cume of Heaven is For Real. The film passed the $33m/$34m cumes of Fireproof and Courageous this weekend and will end up among the very biggest explicitly Christian movies ever made, discounting the somewhat spiritual blockbusters (think The Chronicles of Narnia, Signs, or Noah).
The Weeknd earns a second week at No. 1 on the Billboard 200 albums chart as Beauty Behind the Madness continues to reign as the most popular album in the U.S. The set shifted another 145,000 equivalent album units in the week ending Sept. 10, according to Nielsen Music (down 65 percent). A week ago, the album bounded into the top slot with 411,000 units.
The Weeknd’s Entire New Album Has Charted on Hot R&B/Hip-Hop Songs
Opening to an estimated $20.1 million, Minions earned the biggest opening day for an animated film ever in China. As a result, its box office total is now at $1.08 billion worldwide, making Minions the 15th biggest film ever (not accounting for inflation). Not only that, but it’s officially surpassed Toy Story 3 to become the second-highest grossing animated film of all time. Frozen, which has made $1.27 billion globally, is the current record-holder for the biggest animated movie ever.