Boxoffice® Pro - February 2014

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FEBRUARY 2014 

MARCUS THEATRES 

LAUNCHES INDIE 

FOCUS 

NATO’S IN-THEATER 

MARKETING 

GUIDELINES TAKE 

EFFECT 

LAUDED BRAZILIAN 

FILMMAKER 

REBOOTS ROBOCOP 

WANNA WIN YOUR 

OFFICE OSCAR ® 

POOL? WE’VE GOT 

YOUR BALLOT AND 

OUR PICKS 

PROTECT YOUR 

BUSINESS FROM 

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THEFT 

AND 

GEORGE 

George Clooney on the 

set of his war drama 

The Monuments Men 

The Monument Man 

The Official Magazine of the National Association of Theatre Owners

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FEB. 

2014 

VOL. 150 NO. 2 

OSCAR WINNER JEAN DUJARDIN 

AS LT. JEAN-CLAUDE CLERMONT 

IN GEORGE CLOONEY’S 

THE MONUMENTS MEN 

OPENING FEBRUARY 7, 2014 

6 EXHIBITION BRIEFS 

The latest news from the exhibition industry 

10 EXECUTIVE SUITE 

Setting standards: NATO’s in-theater marketing guidelines take effect 

Bull’s-eye: How the Target data breach offers a reminder to protect 

your business from credit/debit card theft 

14 OSCAR ® BALLOT 

Make your picks and win your office pool 

16 REMAKES & REBOOTS 

RoboCop: An acclaimed foreign filmmaker ventures into Hollywood 

by taking on a project with a B-movie title and a big-studio budget 

20 BIG PICTURE: GEORGE CLOONEY 

The Monument Man: The Lexington, Kentucky–born nephew of 

beloved singer Rosemary Clooney sure has made a name for himself, 

hasn’t he? 

26 COMING THIS MONTH 

The Wind Rises A Fantastic Fear of Everything 

Alphaville 

Cavemen 

Nurse 3D 

The Lego Movie 

About Last Night Adult World 

Girl on a Bicycle Endless Love 

Jimmy P. 

Vampire Academy 

Winter’s Tale 

3 Days to Kill 

Barefoot 

Elaine Stritch: Shoot Me 

In Secret 

Pompeii 

Non-Stop 

Repentance 

Stalingrad 

The Lunchbox 

Two Lives 

Welcome to Yesterday 

32 BOOKING GUIDE 

40 CLASSIFIEDS 

BOXOFFICE ® MEDIA 

CHAIRMAN 

Peter Cane 

CEO 

Julien Marcel 

EXECUTIVE EDITOR / 

CREATIVE DIRECTOR 

Kenneth James Bacon 

BOXOFFICE ® PRO 

INDUSTRY CONTRIBUTORS 

Brigitte Buehlman 

David Binet 

John Fithian 

CONTRIBUTING EDITORS 

Daniel Garris 

Daniel Loria 

Shawn Robbins 

COPY EDITOR 

Laura Silver 

PRODUCTION ASSISTANT 

Ally Bacon 

BOXOFFICE.COM 

EDITOR 

Phil Contrino 

OVERSEAS EDITOR 

Daniel Loria 

FORUMS EDITOR 

Shawn Robbins 

NORTH AMERICAN GROSSES EDITOR 

Daniel Garris 

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2 BoxOffice ® Pro The Business of Movies FEBRUARY 2014

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BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 2, February 2014. BOXOFFICE PRO is published monthly 

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FEBRUARY 2014 BoxOffice ® Pro The Business of Movies 3

UPCOMING 3D MOVIES 


FEB 7 WARNER BROS. THE LEGO MOVIE 

FEB 21 SONY/TRISTAR POMPEII 

FEB 28 SONY/COLUMBIA STALINGRAD 

MAR 7 WARNER BROS. 300: RISE OF AN EMPIRE 

MAR 7 FOX/DREAMWORKS ANIMATION MR. PEABODY & SHERMAN 

APR 4 DISNEY CAPTAIN AMERICA: THE WINTER SOLDIER 

APR 4 WARNER BROS./IMAX ISLAND OF LEMURS: MADAGASCAR 

APR 11 FOX RIO 2 

MAY 2 SONY/COLUMBIA THE AMAZING SPIDER-MAN 2 

MAY 9 CLARIUS LEGENDS OF OZ: DOROTHY’S RETURN 

MAY 16 WARNER BROS. GODZILLA 

MAY 23 FOX X-MEN: DAYS OF FUTURE PAST 

MAY 30 DISNEY MALEFICENT 

JUN 6 WARNER BROS. EDGE OF TOMORROW 

JUN 13 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 2 

JUN 27 PARAMOUNT TRANSFORMERS: AGE OF EXTINCTION 

JUL 11 FOX DAWN OF THE PLANET OF THE APES 

JUL 18 WARNER BROS. JUPITER ASCENDING 

JUL 18 DISNEY PLANES: FIRE AND RESCUE 

JUL 25 LIONSGATE/SUMMIT STEP UP ALL IN 

AUG 1 DISNEY GUARDIANS OF THE GALAXY 

AUG 22 WEINSTEIN/DIMENSION SIN CITY: A DAME TO DIE FOR 

SEP 26 FOCUS THE BOXTROLLS 

NOV 7 DISNEY BIG HERO 6 

NOV 26 FOX/DREAMWORKS ANIMATION HOME 

DEC 17 WARNER BROS. THE HOBBIT: THERE AND BACK AGAIN 

2015 

JAN 16 LIONSGATE NORM OF THE NORTH 

FEB 6 UNIVERSAL SEVENTH SON 

MAR 27 FOX/DREAMWORKS ANIMATION THE PENGUINS OF MADAGASCAR 

MAY 15 WARNER BROS. MAD MAX: FURY ROAD 


JUN 5 FOX/DREAMWORKS ANIMATION B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS 

JUN 5 WARNER BROS./NEW LINE SAN ANDREAS 

JUN 12 UNIVERSAL JURASSIC WORLD 

JUN 19 DISNEY INSIDE OUT 

JUN 19 FOX THE FANTASTIC FOUR 

JUL 10 UNIVERSAL MINIONS 

JUL 17 WARNER BROS. PAN 

AUG 14 SONY/COLUMBIA THE SMURFS 3 

OCT 9 DISNEY THE JUNGLE BOOK 

NOV 6 FOX UNTITLED PEANUTS FILM 

NOV 25 DISNEY THE GOOD DINOSAUR 

DEC 18 DISNEY STAR WARS: EPISODE VII 

DEC 23 FOX/DREAMWORKS ANIMATION KUNG FU PANDA 3 

2016 

FEB 12 UNIVERSAL UNTITLED ILLUMINATION ENTERTAINMENT 2016 PROJECT 

MAR 4 DISNEY UNTITLED DISNEY ANIMATION FILM 1 

MAR 11 UNIVERSAL WARCRAFT 

MAR 18 FOX/DREAMWORKS ANIMATION MUMBAI MUSICAL 

MAY 27 DISNEY ALICE IN WONDERLAND 2 

JUN 17 DISNEY FINDING DORY 

JUN 17 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3 

JUL 1 SONY/COLUMBIA ANGRY BIRDS 

JUL 15 FOX ICE AGE 5 

NOV 4 FOX / DREAMWORKS ANIMATION TROLLS 

NOV 23 DISNEY UNTITLED DISNEY ANIMATION FILM 2 

2017 

APR 7 FOX FERDINAND 

JUN 16 DISNEY UNTITLED PIXAR ANIMATION FILM 1 

NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM 2 

2018 

MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 3 

MAR 23 FOX ANUBIS 

JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 3 

NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 4 


EXHIBITION 

BRIEFS 

RUMBLE AUDIO POST SUPPORTS 

NEW YORK INDIE FILMMAKERS 

WITH MEYER SOUND 

MONITORING SYSTEM 

n With a primary focus on serving New York 

City’s independent film production community, 

Rumble Audio Post has installed a Meyer 

Sound cinema monitoring system. The Brooklyn 

post facility is now one of three Meyer 

Sound–equipped post houses in the New York 

metro area. 

“My goal is to provide the highest-quality 

audio services at rates that fit the budgets of 

most independent films,” says Ryan Billia, 

engineer and owner of Rumble. “I was determined 

from the outset that I did not want to 

compromise on the console or monitoring.” 

The monitoring system for Rumble’s mixing 

stage includes three Acheron® Designer screen 

channel loudspeakers, two X-800C cinema 

subwoofers, six HMS-5 cinema surround 

loudspeakers, and a Galileo® loudspeaker 

management system with two Galileo 408 

processors for system drive and optimization. 

Alternate presets in the Galileo processors allow 

push-button setup for television series, advertising, 

or web-based content. The system was 

supplied by Sonic Circus of Townshend, Vt. 

Billia first learned of the Acheron Designer 

loudspeaker in news stories about the system 

installed in the screening room at Francis Ford 

Coppola’s American Zoetrope Studios. 

“The Designers looked to be the perfect 

fit,” says Billia. “I received very strong 

encouragement from Marti D. Humphrey at 

The Dub Stage in Hollywood, a veteran who 

is a mentor for many of us younger mixers. 

He had been mixing on a Meyer system for a 

couple of years, and he could not recommend 

them enough.” 

In his first months of operation, Billia 

mixed Pills, a music-laden short film directed 

by Craig Zobel, and two feature-length films, 

one of which was accepted to the Sundance 

Film Festival. 

“I had one filmmaker tell me that with the 

Meyer Sound system, it was almost like he’d 

never really heard a film before. The sound is 

so tight, so focused and controlled.” 

Rumble’s mixing stage includes an Avid 

ICON D-Control console, a complete Pro 

Tools HD system, a Panasonic PT-AE8000U 

projector, and a rack of high-end analog 

outboard processors for sound-design applications. 

Room acoustics were handled by Dave 

Ellis of Ellis Island Design. 

In addition to its main mixing stage, 

Rumble Audio Post offers a Foley stage and 

a recording booth for voice-overs, ADR, and 

narration. 

MARCUS THEATRES LAUNCHES 

INDIE FOCUS 

n In January, Marcus Theatres launched Indie 

Focus, a selection of art and independent films 

to be presented at 11 Marcus Theatres locations 

in six states. The premiere Indie Focus 

film was Her, Spike Jonze’s award-winning 

love story for the modern age. 

According to the company, an Indie Focus 

movie might be a first-run film from a major 

director or a debut outing from a novice 

auteur, the common denominators being 

a strong artistic, innovative, or risk-taking 

vision, and a focus on character development. 

“Marcus Theatres is committed to championing 

movies of all kinds and offering great 

entertainment to all of our different audiences,” 

says Rolando B. Rodriguez, Marcus Theatres 

president and CEO. “Our guests will appreciate 

being able to enjoy these films in the comfort 

of our state-of-the-art auditoriums.” 

Each week, participating theaters will run a 

new Indie Focus film for a full slate of shows, 


EXHIBITION BRIEFS 

including evenings and matinees. Regular 

theater pricing will apply, including special 

pricing such as $5 Tuesdays. 

Indie Focus is not the first Marcus Theatres 

program geared toward serving alternative 

audiences. In September, Marcus Theatres 

launched its successful Theatre Entertainment 

Network, which offers audiences a wide 

variety of alternative entertainment options 

including concerts, opera, comedy performances, 

and classic movies on the big screen. 

MALCO WRAPS UP ANOTHER 

RECORD EVENT FOR ST. JUDE 

n It was another successful fundraising event 

for Malco Theatres, with the wrap-up of the 

annual Wrapped with Love campaign, which 

benefits St. Jude Children’s Research Hospital. 

This program, in its 15th year, ran from 

Thanksgiving through Christmas at all Malco 

Theatres locations in Tennessee, Arkansas, 

Missouri, Kentucky, and Mississippi. This 

year, moviegoers purchased over 97,000 bows 

during the holiday campaign. 

The bows were handmade from actual film 

and available at theater box offices for one 

dollar each. The materials and volunteer production 

hours for the bows were donated, so 

there was no cost to Malco Theatres; the true 

beneficiary was St. Jude Children’s Research 

Hospital. 

Since 1999, Malco Theatres has raised over 

$675,000 for St. Jude through the annual 

Kids Summer Film Fest and Wrapped with 

Love campaigns. 

A formal check presentation at the hospital 

is being planned for early spring. 

©2012 ALSAC/St. Jude Children’s Research Hospital (10991) 

Angiel’s got stuff to do. 

QSC AUDIO PRODUCTS 

PROMOTES DANNY PICKETT 

n Danny Pickett joined QSC Cinema in 

2005 as key accounts manager and was 

tasked with selecting and setting up 

European cinema dealers for QSC 

Audio Products. In 2010, he was 

promoted to cinema sales manager, 

taking on management 

and support for domestic and 

international cinema dealers. 

As director, global cinema sales, 

Pickett will have overall responsibility 

for all domestic and 

international sales operations and 

customer technical support. 

“Danny has proven 

to be one of our 

strongest assets in 

cinema sales,” says 

Barry Ferrell, senior 

vice president 

and chief strategy 

officer for QSC Audio Products. “Since he became 

cinema sales manager, our global cinema 

sales have grown significantly, and a large percentage 

of that increase was directly related to 

the market development work that Danny has 

done with our international dealers. Danny 

is now empowered to further strengthen our 

global sales and distribution network, and to 

continue to provide the level of support that 

our customers have come to expect from QSC 

Cinema.” 

Pickett’s new position coincides with other 

staffing changes within the QSC cinema 

St. Jude patient Angiel: 

Big Dreamer 

But at this moment, 

she’s fighting cancer. 

That’s why St. Jude Children’s 

Research Hospital® spends every 

moment changing the way the world 

treats children – with pioneering 

research and exceptional care. And no 

family ever pays St. Jude for anything. 

Don’t wait. Join St. Jude in finding 

cures and saving children like Angiel. 

Because at this moment, she shouldn’t 

just be dreaming of trips to the beach 

and the park. She should be there. 

Help them live. Visit stjude.org. 

group. Ferrell says, “As my role within QSC 

has shifted to corporate strategic issues, dayto-day 

operations of the cinema group will be 

managed jointly by Danny and Mark Mayfield, 

cinema marketing manager. While 

Danny will handle sales issues, Mark 

will manage all marketing-related 

operations. I have full confidence 

in these two seasoned professionals 

to successfully grow our 

cinema business while I focus on 

strategy and product development.” 

Danny Pickett’s cinema 

sound background includes 

experience in both postproduction 

and exhibition. As a 

staff technician with 

AMC Theatres, 

Pickett supervised 

all studio screenings 

in the Los Angeles 

area and managed 

projection and 

sound for new theater construction projects 

in Southern California. With Lucasfilm THX, 

he conducted THX theater certifications and 

worked as an engineer for the THX Digital 

Mastering program. Prior to joining QSC in 

2005, Danny was a rerecording engineer and 

sound editor for 20th Century Fox Studios. 

XP-D AND XP-I DIGITAL CINEMA 

SERVERS IMPLEMENT NEW CINE- 

MA AUDIO FORMAT 

n Qube Cinema has been licensed to support 

Auro 11.1 by Barco playback in its flagship 

XP-D and XP-I digital cinema 

servers. Auro 11.1 by 

Barco provides moviegoers 

with the most natural 3D 

acoustics. Exhibitors now 

have the means to deploy 

this new sound system from 

Barco with Qube Cinema 

servers. 

Auro 11.1 by Barco 

incorporates height and 

overhead channels to the 

existing surround sound, 

allowing a more natural 

and immersive experience, 

enveloping the audience 

without being distracting. 

With three layers of sound, 

Auro 11.1 mimics natural 

acoustics. 

“Adding Auro 11.1 capabilities 

to Qube Cinema 

servers allows exhibitors to 

maximize their revenues by 

offering audiences a premium 

sound experience,” 

says Brian Claypool, senior 


director, Barco. “As it is compatible with existing 

standards and workflows, Auro 11.1 offers 

a cost-effective upgrade path to this immersive 

sound technology.” 

“Exhibitors need to engage their audiences, 

and offering Auro 11.1 sound is a good 

way to do that,” says Raja Enok, chief marketing 

officer, Qube Cinema. “The realistic 

sound experience offered by Auro 11.1 by 

Barco will make the Qube XP-D and XP-I 

servers that much more attractive. With just 

a server software update, exhibitors will be 

able to play back the new audio format and 

provide moviegoers with a superior sound 

experience.” 

MARCUS THEATRES ANNOUNCES 

STATE-OF-THE-ART CINEMA IN 

SUN PRAIRIE, WIS. 

n Marcus Theatres has announced new details 

about its planned cinema at the Prairie Lakes 

development in Sun Prairie, Wis. The company 

is under contract to purchase an 11.6-acre 

site for the new 12-screen theater, which is anticipated 

to open in time for the 2014 holiday 

movie season. 

The Marcus Cinema in Sun Prairie will 

have all reserved DreamLoungerSM recliner 

seating in every auditorium, two UltraScreen 

DLXTM auditoriums, four Big Screen Bistro 

auditoriums, a Zaffiro’s Express and a Take 

Five Lounge. 

“The new Marcus Cinema planned for Sun 

Prairie will be a true entertainment destination,” 

says Rolando B. Rodriguez, president 

and CEO of Marcus Theatres. “With 12 

screens to choose from, including two UltraScreen 

DLX auditoriums, and a wide 

and tempting variety of in-theater food and 

beverage options and the relaxing Take Five 

Lounge, guests can enjoy a complete night out 

all in one convenient location.” 

“Marcus Theatres’ proprietary UltraScreen 

DLX immersive cinematic experience combines 

the massive, 64-foot wide, three-story 

high UltraScreen®, amazing Dolby® Atmos 

audio, and incredibly comfortable Dream- 

Lounger electric recliners,” Rodriguez says. 

Food and beverage options will abound 

at the new Marcus Cinema in Sun Prairie. 

Guests will be able to relax over a beverage 

and appetizers in the Take Five Lounge, 

pick up hot food at Zaffiro’s Express in the 

lobby, or dine while watching a movie in one 

of the Big Screen Bistro auditoriums. Zaffiro’s 

THINCREDIBLE® handmade-to-order 

pizza will be available in the Take Five 

Lounge, from Zaffiro’s Express, or in the Big 

Screen Bistro. 

Big Screen Bistros are full-service in-theater 

dining auditoriums that boast an extensive 

menu of drinks, chef-prepared entrees, 

appetizers, salads, sandwiches, and desserts. 

Food and beverages are brought to guests 

while they relax in DreamLounger recliners 

fitted with unique swivel tables. 

Before or after a movie, guests can meet 

their friends at the Take Five Lounge for a 

handcrafted cocktail or locally brewed beer 

and sample some of the delectable food items 

on the Take Five dining menu. The Take 

Five will feature seating for 100, a 20-footwide, 

high-definition screen for entertainment 

content, and an outdoor patio with an 

inviting fireplace. 

“This will truly be an innovative cinema,” 

Rodriguez says. “We are introducing a strikingly 

new theater design in Sun Prairie. Dramatic 

modern lines, a towering glass atrium, 

and a sweeping entrance canopy, combined 

with stunning stone, tile, and metal finishes, 

will create a gorgeous environment. We are 

very happy to become part of the vibrant new 

Prairie Lakes development and would like 

to thank Sun Prairie city officials and Prairie 

Development Ltd. for working with us so 

diligently to bring this amazing new entertainment 

venue to Sun Prairie and the surrounding 

greater Madison, Wis., area.” 

FANDANGO-POWERED MOVIE 

TRAILERS EMBEDDED WITH 

TICKETING ARE UNVEILED AT 

2014 CES AS PART OF SAMSUNG 

SMART TVS 

n Fandango announced it will be launching 

a new service in the first quarter of 2014, 

offering movie trailers with fully embedded 

ticketing capabilities on Samsung Smart TVs 

for the first time. Consumers will be able to 

access and watch movie trailers right from the 

Movies & TV Shows panel and instantly purchase 

movie tickets for current and upcoming 

movies. The new functionality was unveiled 

in January at the 2014 Consumer Electronics 

Show in Las Vegas. 

“We are delighted to partner with Samsung 

as they continue to push the boundaries and 

benefits of the Smart TV experience,” says 

Paul Yanover, Fandango president. “Fandango 

will be aggregating high-definition movie 

trailers so that consumers can gain instant 

access to the content they love while offering 

a simple way to purchase movie tickets in 

advance.” 

In September 2013, Fandango’s show 

times, ticketing, movie trailers, and original 

movie preview show “Weekend Ticket” were 

integrated into Samsung’s GALAXY Note 3 

devices as part of Samsung’s innovative content 

recommendation service, Here and Now. 

The announcement comes on the heels of 

Fandango’s record-breaking 2013, the company’s 

best year in its history. The company’s 

success has been fueled by growth in ticket 

sales across new technology and mobile platforms, 

accounting for 42 percent of Fandango’s 

total ticket sales, as well as new products 

and services such as paperless mobile ticket 

scanning, reserved seating expansion, and new 

platform apps. 

HARKNESS SCREENS UNVEILS 

THE DIGITAL SCREEN 

CALCULATOR—A NEW APP 

FOR SCREEN LIFE CYCLE 

MANAGEMENT 

n Harkness Screens has released its third in 

a series of screen life cycle management apps 

designed to assist cinema operators with managing 

their screen portfolios. 

The Digital Screen Calculator is a free 

utility on iOS, Android, and the Harkness 

website, which allows engineers and exhibitors 

to ensure that digital-cinema investments are 

fully optimized. Quick and easy to use, the 

tool calculates the capabilities of equipment 

choices and provides recommendations on 

projector, lamp, and screen based on chosen 

screen size and light levels for 2D and 3D. 

It also calculates theoretical operating costs 

and shows how screen choice might reduce 

these dramatically. 

“In three years the Digital Screen Selector, 

which we’ve now retired, proved to be a massive 

success, gaining over a thousand registered 

users and increasing awareness of key brightness 

issues. The new Digital Screen Calculator 

is a direct replacement for that tool and builds 

on all of the useful features that our user 

base came to know and love, with some quite 

significant enhancements and cross-platform 

integration. We’ve kept the interface and 

operation very similar to our other iOS and 

Android apps so it’s an intuitive and familiar 

feeling from the get-go for our existing app 

user base,” says Richard Mitchell, worldwide 

marketing manager at Harkness Screens. 

One significant productivity gain is the 

Digital Screen Calculator’s bi-directional 

functionality, which allows information 

entered in to the Digital Screen Calculator to 

be exported rapidly to further simulate and 

evaluate equipment choices in the Digital 

Screen Modeller (Harkness’s 3D screen 

modeling app). Likewise models created in 

the Digital Screen Modeller can be exported 

to the Digital Screen Calculator to carry out 

operating cost comparisons. 

“These apps continue to change the way 

exhibitors think about issues such as light on 

screen, brightness uniformity, theater design, 

and screen management as a whole. In the 

relatively short time these apps have been 

available, they’ve started resolving real-world 

issues. With the Digital Screen Calculator, 

we’re able for the first time to properly 

identify potential operational cost savings that 

might be achievable through careful equipment 

specification and optimization, and 

we’re confident that the Calculator will prove 

a huge success,” Mitchell concludes. 


EXECUTIVE 

SUITE 

Setting standards 

NATO’S IN-THEATER 

MARKETING GUIDELINES 

TAKE EFFECT 

by John Fithian, 

President and CEO, NATO, 

and Brigitte Buehlman, 

Director of Industry Relations, NATO 

The Executive Board of Directors 

of the National Association 

of Theatre Owners (NATO) 

voted to adopt a guide that will 

standardize in-theater marketing 

materials with the goal of driving 

movie ticket sales and creating 

a better moviegoing experience. 

Announced in late January 2014, 

the voluntary guidelines went 

into effect immediately for any 

advertising campaigns being 

developed for movies scheduled 

for domestic release on or after 

October 1, 2014. (Advertisements 

already in cinemas for such 

movies at the time the final 

guidelines were announced will be 

grandfathered.) 

n The process of creating these guidelines 

was not an easy one. In April 2013, NATO’s 

executive board voted to move forward with 

creating industry-wide guidelines to encompass 

marketing lead time for in-theater marketing 

materials; trailer length and placement; guest 

engagement methods; and film checker/auditor 

conduct. NATO met with the largest seven studios 

later in 2013 to discuss the guidelines. After 

some very engaged conversations, NATO took 

the constructive feedback we received and made 

significant modifications to the draft guidelines. 

Specifically, NATO substantially lengthened the 

marketing lead time requirement; added two 

exemptions per distributor per year for both 

trailer length and marketing lead time; and made 

other changes. A copy of the revised and final 

guidelines as adopted by the NATO Executive 

Board of Directors accompanies this article. 

Highlights from NATO’s In-Theater 

Marketing Guidelines include: 

All in-theater marketing materials should include 

the targeted theatrical release date of the 

film/event once the release date has been set. 

Cinemas will advertise a wide-release movie 

no sooner than 150 days with trailers and 120 

days on all other marketing materials before 

its theatrical release date. The final guidelines 

permit two exemptions per year per distributor 

based on the theatrical release dates for 

two movies. 

Trailers shall not exceed two minutes in 

length. The final guidelines permit two 

exemptions per year per distributor, with a 

maximum length of three minutes. 

NATO members appreciate that their studio 

partners strive to make the best use of marketing 

dollars by developing and distributing effective 

advertising materials to sell their movies. For the 

cinema environment, though, some marketing 

materials can be distributed too early to be 

optimally effective, and some trailers can be 

too long. Given the limits of time and space in 

theaters, and the desire to maximize sales to all 

movies in a fair and competitive environment, 

exhibitors believe these new guidelines can help 

the entire industry sell more tickets. 

Movie distributors own their movies. Motion 

picture exhibitors own their theaters. Exhibitors 

license the right to play features. But the time 

on screen before the feature, and the available 

space throughout the cinema complex, are 

owned and managed by the exhibitor. NATO’s 

members do not exercise any control over movie 

advertisements in other media outside of the 

cinema environment. To maximize the industry’s 

marketing efforts and to best promote competition, 

however, exhibitors must set the parameters 

for advertisements in their own cinemas. 

NATO, on behalf of our executive board 

and general membership, emphasizes that these 

guidelines will evolve in response to technological 

innovations, marketing and advertising 

trends, competition in the marketplace, and consumer 

demands. Furthermore, the guidelines are 

completely voluntary and will be implemented 

through individual exhibition-company policies, 

which may vary. NATO will serve simply as an 

information clearinghouse where distributors 

may notify the industry of their desire to exercise 

an exemption under the guidelines. 

Questions regarding the guidelines can be 

directed to Brigitte Buehlman at bgb@natoca. 

com. 

NATO IN-THEATER 

MARKETING GUIDELINES 

MARKETING LEAD TIME 

All marketing materials (trailers, printed 

materials, standees, digital posters, 

clings, display cases, mobiles, and all 

other in-theater advertising) should 

include the targeted theatrical release 

date of the film/event once the release 

date has been set. 

Cinemas will advertise a wide-release 

film/event no sooner than 150 days 

with trailers and 120 days on all other 

marketing materials before its theatrical 

release date. 

• Two exemptions per year per distributor 

(exemptions are granted per title 

and not per marketing material), based 

on theatrical release date. 

• Advance notification of the intended 

use of an exemption must be given to 

NATO via exemption@natoca.com. 

IN-THEATER PROMOTIONS & 

EVENTS 

All film marketing promotions and 

events (including project pictures and 

special screenings) require exhibitor 

home office approval. Please refer to 

individual exhibitor policies regarding 

approval, insurance, participation, etc. 

PRINTED AND DIGITAL 

MATERIALS AND STANDEES 

Negotiations of marketing materials will 

be coordinated between the distributor 

and the exhibitor’s home office. 

Installation of marketing materials will be 

coordinated between the installer and 

theater management. 

TRAILERS 

Two-Minute Trailer Length Limit 

Trailers shall not exceed two minutes 

in length. Two exemptions per year per 

distributor, with a maximum length of 

three minutes, based on the theatrical 

release date of the film being advertised. 


BULL’S-EYE 

HOW THE TARGET DATA BREACH 

OFFERS A REMINDER TO PROTECT 

YOUR BUSINESS FROM CREDIT/ 

DEBIT CARD THEFT 

by David Binet, 

Director of Membership, NATO 

Advance notification of the intended use of an exemption must 

be given to NATO via exemption@natoca.com. 

Any on-screen marketing materials that are considered special 

content (behind-the-scenes footage, sizzle reels, extended 

looks, etc.) must be negotiated with individual exhibitors. 

Trailer Placement 

Exhibitors will only place trailers with content appropriate for 

the particular feature (expands on ratings match currently in 

place). NATO encourages its members to follow the MPAA 

trailer placement advisories and NATO coordinates with MPAA 

on a regular basis to communicate this information in a timely 

manner. 

No third party brands/endorsements (video games, television 

shows, etc.) are to be embedded. On-screen marketing materials 

should be thematic to the feature. 

Trailers, whether attached or not, are played in theaters at the 

discretion of each theater chain or individual theater owner. 

(See MPAA Marketing Administration guidelines.) 

Trailer Standards 

Industry standard trailer ID/naming convention is to be used 

by the distributor in order to facilitate programming/playlist 

assembly at the theater level. 

No direct response prompts (QR codes, text-to, sound recognition, 

etc.) other than URLs are to be placed in/on the trailer, as 

they encourage mobile phone use during the show. 

Distributors must make trailers available in both flat and scope 

so that exhibitors may match the trailer’s format to that of the 

feature. 

FILM CHECKERS & AUDITORS 

Required to check in with theater management when they 

arrive at the theater before starting their inspection. They must 

be professional in dress and demeanor, and be respectful of the 

management team’s time. Any information requested will be 

provided at the manager’s convenience once all guests have 

been handled. 

Required to wear proper identification and have an approved 

letter from the distributor, or they will be asked to 

purchase a ticket. 

May not in any way affect the guest experience, cannot 

take up a seat in the auditorium, and cannot interact with 

guests. Once their official duty has been completed, they 

must leave the auditorium (they may not watch the film/ 

event). 

Film checkers and auditors violating these rules will be 

asked to leave the complex. 

n The recent 19-day breach of Target’s card-processing network 

is among the largest recorded data security breaches in the United 

States. It was a worse display of protection than the Miami Dolphins’ 

offensive line. This incident exposed the credit and debit card information 

of more than 40 million people who paid with plastic at U.S. 

Target stores between November 27 and December 15, 2013—you 

know, the busiest shopping days of any and every year. The information 

was stolen from all types of credit and debit cards. It’s a big 

enough crime to even prompt the U.S. Secret Service to get involved 

[cut to a sneering Clint Eastwood from In the Line of Fire]. 

Just a few days before Christmas, as naive consumers reportedly 

increased holiday spending by 2.3 percent, Target announced to the 

world how this incident unfolded: thieves stole account information 

by installing malicious software on the retailer’s checkout terminals, 

and then captured magnetic-strip data from customers’ cards—a 

process known as “skimming.” The data was then rerouted through 

an intricate system for the thieves to collect. It was an enormous and 

well-executed plan, prompting one reporter to say it required military 

precision. In the ensuing commotion after news reports surfaced, 

some creditors quickly canceled cards that had been used at Target 

stores. That amounts to a massive disruption in customer spending 

confidence, as well as potential damages for business. While a huge 

retailer like Target may escape any significant loss of revenue, the 

same isn’t necessarily true of your cinema operation. 

Target’s wasn’t the only publicly disclosed data breach during the 

year. According to a CNBC report, there were almost six hundred 

such data breaches in 2013. As a cinema operator (aka merchant), 

you need to get an education in the potential risks of data theft, especially 

with the continued proliferation of card purchases. 

Look, this subject is a veritable Pandora’s Box of scary stuff, 

but our industry needs to awaken to the realities of potential data 

theft. We’re already acclimated to the rigors of the joint movie-theft 

program with the studios; cinema employees across the country are 

trained to seek out camcorders. Now the industry must protect the 

loyal customers who attend our cinemas by learning more about credit/debit 

card theft, a blunt reality already experienced by one of your 

fellow NATO members. 

George Rouman (Rouman Amusement Company, Rhinelander, 

Wisc.) endured an ordeal this past spring regarding his card-processing 

system. According to the forensic investigation—yeah, it got 

that serious—Rouman’s network was compromised, sending data to 

various IP addresses throughout Eastern Europe. The thieves somehow 

infiltrated the system and stole customer data, allowing them to 

make several online purchases in France. It was like a twisted version 

of Taken, only without Liam Neeson’s particular set of skills to hunt 

down the thieves [cut to Neeson staring intently into the camera]. 

Luckily for Rouman, he had recently switched over to Vantiv for 

card-processing services, and they provide a Breach Assist program to 

cover any losses. Most card-processing companies provide such a service, 

so make sure that your card processor offers something similar, 

or you may be stuck with a hefty bill after a data breach. 

In order to better protect your cinema operation from a potential 


EXECUTIVE SUITE 

UPCOMING EVENTS 

2014 UDITOA Annual General 

Membership Business Meeting & 

Convention 

Feb. 3–6 

CinemaCon 2014 Mar. 24–27 

National Assoc. of Broadcasters 

(NAB) Conf. & Exhibition 

Apr. 5–10 

NATO of Pennsylvania Apr. 23 

NATO of CA/NV Southern 

California Film Product Seminar 

Apr. 24 

North Central States NATO 2014 Apr. 29–30 

NATO of CA/NV Northern 

California Film Product Seminar 

TONE 2014 Future of Cinema 

Conference 

Mid-Atlantic NATO “Cinema Show 

& Tell” 

Apr. 29 

May 7 

May 13–14 

ShowCanada 2014 June 3–5 

Cine Europe 2014 June 16–29 

NAC Convention & Trade Show 


July 15–18 

ShowSouth 2014 Aug. 19–20 

Geneva Convention 2014 Sept. 9–11 

CineShow 2014 Sept. 16–17 

Kino Expo International 

Convention & Trade Show 2014 

NATO General Membershp and 

Board of Directors Meeting 

Sept. 22–26 

Sept. 30–Oct. 1 

Rocky Mountain NATO 2014 Oct. 7–9 

Australian International Movie 

Convention 2014 

Oct. 12–16 

ShowARama Oct. 14–16 

ShowEast 2014 Oct. 27–30 

CineAsia 2014 Dec. 9–11 

data breach, preparation and knowledge are your best allies. First, 

ask your current point-of-sale (POS) provider if it is PCI compliant. 

According to the website www.pcicomplianceguide.org, the Payment 

Card Industry Data Security Standard (PCI DSS) is a set of requirements 

designed to ensure that all companies that process, store, or 

transmit credit card information maintain a secure environment. 

This pertains to any merchant that has a Merchant ID (MID). The 

Payment Card Industry Security Standards Council (PCI SSC) was 

launched on September 7, 2006, to manage the ongoing evolution 

of the Payment Card Industry (PCI) security standards with a focus 

on improving payment account security throughout the transaction 

process. The PCI DSS is administered and managed by the PCI SSC 

(www.pcisecuritystandards.org), an independent body that was created 

by the major payment card brands (Visa, MasterCard, American 

Express, Discover, and JCB). 

What does all that mean? It essentially means that as a merchant 

accepting card purchases, you should be PCI compliant. Failure to 

meet such compliance can result in significant fines levied against 

your business. A great resource for advice already exists in one of your 

current business partners: your POS and card-processing providers. 

These people know more about this issue than you’ll ever want to 

know. If Jeopardy! only surveyed competitors about card processing, 

these folks would annihilate 74-time champion Ken Jennings. Or 

if you’re serenading Roxanne under the balcony with songs of data 

systems, then you want these people to be your Cyrano. You get the 

idea. 

Another resource is your local law enforcement. They are trained 

to detect and identify fraud and theft systems, especially at the 

small-business level. George Rouman knows his local sheriff very 

well, and he discovered there are many ways to steal a customer’s card 

information. It could happen through the aforementioned skimming 

technique, or simply by an employee taking a smart phone photo of 

a credit card. This is not to suggest that your loyal and adorable employees 

are potential criminals. It merely highlights the methods that 

thieves use to gain access to your system and customer information. 

The more you know, the better you can detect irregularities. 

A card technology system soon to be adopted in the United 

States may provide improved security for consumers and merchants. 

The smart card technology, used widely in Europe, is considered 

safer than magnetic-strip cards. You may know them by their more 

sexy title: EMV (Europay, MasterCard, and Visa—the three major 

companies developing the security technology). According to the 

Minneapolis Star Tribune—Target’s hometown newspaper, for those 

of you scoring at home—the retail superstore wanted to experiment 

with chip-based smart cards. Other retailers, however, didn’t follow 

suit with Target. Leave it to the Americans to thoroughly dismiss a 

European solution to the problem. These chip cards employ a feature 

called “dynamic data,” in which the system automatically alters the 

account information in a unique way each time a customer swipes 

his or her card. That would make the card unusable to anyone but 

the customer. Target installed readers at all its stores, but ultimately 

pulled the plug because competitors stuck to the old system (mostly 

because the technology made for slower checkout lines). I think 

there’s an apropos line to use here about all your friends jumping off 

the Brooklyn Bridge. 

Simply put, any theft against us proves a jarring situation, and 

data security breaches are no different. It leaves us feeling vulnerable 

and exposed to potential losses—funds, personal information, and 

more importantly, confidence. Our patrons place considerable trust 

in cinema operators to protect their information when they use cards. 

NATO encourages you to use the available resources and prepare your 

card-processing systems against potential theft. Credit/debit cards and 

wireless transactions multiply every day, so it’s incumbent upon us to 

adapt to these evolving risks. 


exhibition history at your fingertips 

at www.BoxOffice.com

FILM 

American Hustle 

Captain Phillips 

Dallas Buyers Club 

Gravity 

Her 

Nebraska 

Philomena 

12 Years a Slave 

The Wolf of Wall Street 

DIRECTOR 

David O. Russell 

Alfonso Cuarón 

Alexander Payne 

Steve McQueen 

Martin Scorsese 

CINEMATOGRAPHY 

Philippe Le Sourd 

Emmanuel Lubezki 

Bruno Delbonnel 

Phedon Papamichael 

Roger A. Deakins 


Gravity 

Nebraska 

EDITING 

Jay Cassidy/Crispin Struthers/Alan 

Baumgarten 

Christopher Rouse 

John Mac McMurphy/Martin Pensa 

Alfonso Cuarón and Mark Sanger 

Joe Walker 




The Grandmaster 

Gravity 

Inside Llewyn Davis 

Nebraska 

Prisoners 



Gravity 


ACTOR 

Christian Bale 

Bruce Dern 

Leonardo DiCaprio 

Chiwetel Ejiofor 

Matthew McConaughey 


Nebraska 




COSTUME DESIGN 

Michael Wilkinson 

William Chang Suk Ping 

Catherine Martin 

Michael O’Connor 

Patricia Norris 


The Grandmaster 

The Great Gatsby 

The Invisible Woman 


ACTRESS 

Amy Adams 

Cate Blanchett 

Sandra Bullock 

Judi Dench 

Meryl Streep 

SUPPORTING ACTOR 

Barkhad Abdi 

Bradley Cooper 

Michael Fassbender 

Jonah Hill 

Jared Leto 

SUPPORTING ACTRESS 

Sally Hawkins 

Jennifer Lawrence 

Lupita Nyong’o 

Julia Roberts 

June Squibb 


Blue Jasmine 

Gravity 

Philomena 

August: Osage County 






Blue Jasmine 



August: Osage County 

Nebraska 

MAKEUP AND HAIRSTYLING 

Adruitha Lee/Robin Mathews 

Stephen Prouty 

Joel Harlow/Gloria Pasqua-Casny 

ORIGINAL SCREENPLAY 

Eric Warren Singer/David O. Russell 

Woody Allen 

Craig Borten/Melisa Wallack 

Spike Jonze 

Bob Nelson 

ADAPTED SCREENPLAY 

Richard Linklater, Julie Delpy, 

Ethan Hawke 

Billy Ray 

Steve Coogan and Jeff Pope 

John Ridley 

Terence Winter 


Jackass Presents: 

Bad Grandpa 

The Lone Ranger 


Blue Jasmine 


Her 

Nebraska 

Before Midnight 


Philomena 




PRODUCTION DESIGN / SET DECORATION 


Gravity 

The Great Gatsby 

Her 


MUSIC 

John Williams 

Steven Price 

William Butler and Owen Pallett 

Alexandre Desplat 

Thomas Newman 

The Book Thief 

Gravity 

Her 

Philomena 

Saving Mr. Banks 

ANIMATED FEATURE 

The Croods 

Despicable Me 2 

Ernest & Celestine 

Frozen 

The Wind Rises 

ANIMATED SHORT 

Feral 

Get a Horse! 

Mr. Hublot 

Possessions 

Room on the Broom 

ORIGINAL SONG 

“Alone Yet Not Alone” Alone Yet Not Alone 

“Happy” Despicable Me 2 

“Let It Go” 

Frozen 

“The Moon Song” Her 

“Ordinary Love” Mandela: Long Walk to Freedopm 

VISUAL EFFECTS 

Gravity 

The Hobbit: The Desolation of Smaug 

Iron Man 3 

The Lone Ranger 

Star Trek Into Darkness 

SHORT FILM 

Aquel No Era Yo (That Wasn’t Me) 

Avant Que De Tout Perdre 

(Just Before Losing Everything) 

Helium 

Pitääkö Mun Kaikki Hoitaa? 

(Do I Have to Take Care of Everything?) 

The Voorman Problem 

FOREIGN LANGUAGE FILM 

The Broken Circle Breakdown 

The Great Beauty 

The Hunt 

The Missing Picture 

Omar 

DOCUMENTARY FEATURE 

The Act of Killing 

Cutie and the Boxer 

Dirty Wars 

The Square 

20 Feet from Stardom 

Belgium 

Italy 

Denmark 

Cambodia 

Palestine 

SOUND EDITING 

All Is Lost 


Gravity 


Lone Survivor 

SOUND MIXING 


Gravity 


Inside Llewyn Davis 

Lone Survivor 

The Academy Awards will be presented 

on Sunday, March 2. 

We’ve highlighted our prognostications. 

Mark your predictions on these pages 

and take them to your awards-night 

party! 

DOCUMENTARY SHORT SUBJECT 

CaveDigger 

Facing Fear 

Karama Has No Walls 

The Lady in Number 6: Music Saved My Life 

Prison Terminal: The Last Days of Private Jack Hall 


REMAKES & 

REBOOTS 

AN ACCLAIMED FOREIGN 

FILMMAKER VENTURES INTO 

HOLLYWOOD BY TAKING ON A 

PROJECT WITH A B-MOVIE TITLE 

AND A BIG-STUDIO BUDGET. SOUND 

FAMILIAR? BRAZILIAN DIRECTOR 

JOSÉ PADILHA FOLLOWS PAUL 

VERHOEVEN’S STEPS WHILE 

BLAZING HIS OWN PATH IN THE 

REMAKE OF THE 1987 SCIENCE- 

FICTION HIT. 

By Daniel Loria 

Swedish-American actor Joel 

Kinnaman steps into the boots 

first worn by Peter Weller in 

the 1987 original 

We should start with the 

title. It’s a great title. 

OK, so the title is a 

bit stupid, yes, but only 

in an endearingly obvious 

way. I don’t have to know anything about 

the movie beforehand; a title like RoboCop gives 

me all I need to convince me to see it or not. I 

know, for example, that it will involve a robot. 

I also know that the robot will be a cop. If I’m 

lucky, there will be a ghost in it. Turns out after 

seeing it, there are no ghosts in RoboCop. 

Despite this minor setback, I left my first 

screening of the 1987 film far from disappointed. 

I tend to prefer dumb movies with 

smart ideas over smart movies with dumb 

ideas. Oliver Stone’s Wall Street was 

released that same year. RoboCop 

offers the identical level of insight 

on Reagan-era excess with only half 

the talking and the added benefit of 

robots fighting each other. 

RoboCop tells the story of a 

Detroit in the year 2029 mired in 

deep corruption and financial ruin. 

A private company, Omni Consumer 

Products (OCP), offers to 

privatize the city’s struggling police 

department in exchange for the right 

to redevelop a large swath of the city 

into a gentrified haven for the upper 

class, a new, renovated community 

named Delta City. 

OCP intends to deploy its new 

product, a clunky armored 

robot known as the ED-209, 

in the crime-ridden streets of 

Detroit, in hopes that they 

can expand their business to 

cities across the country. The 

product is derailed, however, 

after it malfunctions and 

murders an executive in the middle of a 

board meeting. A compromise is reached by 

shelving the ED-209 model and instead 

placing an honest cop killed in action 

into a mechanical exoskeleton and 

bringing him back to life as a cyborg to 

police the streets of Detroit. RoboCop 

is programmed with clear directives 

meant to ensure the safety of Detroit’s 

citizens—and the protection of the 

corrupt business dealings of its parent 

company. The cyborg can’t seem to 

forget memories from his human life, 

however, and begins to unravel a web 

of corruption that leads back to his 

corporate overlords. RoboCop’s 

fight for justice in Detroit also 

becomes a personal quest to 

discover the human identity he 

left behind. 

RoboCop was Dutch director 

Paul Verhoeven’s first 


José Padilha on the set of 

the reboot of the 1987 classic 

Robocop. “Serve the public 

trust, protect the innocent, 

uphold the law.” 

foray into Hollywood. The filmmaker, already 

well known in his home country, quickly 

became a hot commodity after the film’s box 

office success. Verhoeven went on to build his 

reputation through cerebral popcorn flicks; 

dumb movies with smart ideas like Total Recall, 

Basic Instinct, and Starship Troopers. 

While it seems like it was just a matter of 

time before a RoboCop reboot hit screens, the 

upcoming RoboCop film languished in development 

hell for several years as MGM recovered 

from its own financial woes. Darren Aronofsky, 

who had already developed a reboot concept 

for Batman Begins before the appointment of 

Christopher Nolan, was initially attached to 

the project for a 2010 release. Development 

on the film stalled and Aronofsky dropped 

out in order to make Black Swan. The planned 

2010 release date came and went, leaving 

RoboCop without a director or a clear direction. 

RoboCop’s status was uncertain…until the 

emergence of another critically lauded foreign 

filmmaker looking to make his Hollywood 

debut. 

Brazilian director José Padilha broke into 

the film scene in 2002 with his debut documentary 

feature, Bus 174. The film explored a 

hostage crisis in downtown Rio de Janeiro from 

a sociological perspective, taking strong aim 

at the city’s deep class divide and the role of 

its police. His following project, Elite Squad, a 

fictional adaptation of a nonfiction book, took 

a closer look at Rio’s police corruption and 

interaction with the city’s favelas and its citizens. 

Elite Squad won the top prize at the 2008 

Berlin International Film Festival and became a 

box office hit in its home country. 

While the RoboCop reboot missed its 

initial release date in 2010, Padilha followed 

up his early success with a new documentary 

at the Sundance Film Festival (Secrets of the 

Tribe) and capped off the year by releasing the 

highest-grossing Brazilian film of all time, Elite 

Squad 2: The Enemy Within. Padilha finished 

the year as an intriguing studio prospect; a cerebral 

director whose work combines the mass 

appeal of a blockbuster while simultaneously 

engaging audiences with deeper underlying 

social themes. 

Padilha was named the new director of the 

RoboCop reboot by 2011. 

Padilha didn’t want to approach his first 

Hollywood film as a run-of-the-mill camerafor-hire 

director. The Brazilian scrapped the 

work Aronofsky left behind and sought to 

infuse his own personal style into the project. 

Padilha’s RoboCop repositions a narrative so 

closely associated with modern Detroit and expands 

it to the global stage in the midst of the 

drone era. The drone program has effectively 

turned a science-fiction concept into reality, 

and Padilha’s centers on this very notion: with 

robots fighting wars overseas, it’s just a matter 

of time before they police our own borders. 

In 1987 it was difficult to think that 

consumer technology, specifically computer 

products with artificial intelligence, would be 

so intricately woven into modern society. While 

Verhoeven’s tone in RoboCop is largely satirical, 

from fake commercials to the overly stylized 

graphic violence, James Cameron’s The Terminator, 

released in 1984, touches upon many of 

the same themes through the genre conventions 

of a classic horror movie, particularly the monster 

movies that brought Universal into prominence 

decades earlier. Boris Karloff’s Monster 

from Frankenstein is reimagined in Cameron’s 

film in the guise of Arnold Schwarzenegger’s 

T-1000—both creatures representing manmade 

monsters who turn against their creators. 

There is a certain anxiety in these films—a 

paranoia, really—that robotics would pose a 

threat to the essence of humanity itself. We 

aren’t talking about an alien robot waging war 

on Earth (The Day the Earth Stood Still, 1951) 

or a rebel computer refusing to open the damn 

pod doors (2001: A Space Odyssey, 1968). Terminator 

and RoboCop are films that characterize 

technology—in both films, consumer products 

sold by a large corporation—as a threat to 

both our autonomy and the essence of human 

nature. In The Terminator, that battle is literal; 

humanity must fight against robot oppressors 

from the future that can travel through time. 

RoboCop presents a more internal struggle: a 

man whose identity has been co-opted by a 


REMAKES & REBOOTS > ROBOCOP 

Wagner Moura as Squad 

Captain Roberto Nascimento 

in the 2007 Brazlian hit and 

Golden Bear winner Tropa de 

Elite (Elite Squad) directed by 

RoboCop’s José Padilha 

corporation and who must find his own true, 

authentic self through the nuts and bolts that 

make him tick. 

These films have, at their core, basic 

Christian themes that propel their respective 

narratives. The Terminator’s Sarah Connor is a 

mother who carries humankind’s savior without 

even knowing she’s pregnant. In RoboCop, Alex 

Murphy is violently killed only to be resurrected 

as the film’s title character and deliver 

Detroit’s citizens from (privatized) eternal 

damnation. The threat in both films comes 

from machines; what’s at stake isn’t only humanity 

but our very identity as human beings, 

independent of the technology that surrounds 

our daily lives. 

It is difficult to think of American society 

today without consumer technology. Our 

phones became personal computers in a matter 

of years, and companies are quickly expanding 

to claim fashion accessories as the next digital 

frontier, installing artificial intelligence in wristwatches 

and glasses. It’s as if we finally stopped 

worrying and learned to love robots instead. 

The cerebral science-fiction films of today 

predict a future where we embrace the artificial 

intelligence that frightened us so much in the 

’80s. Spike Jonze’s Her forgoes the physical 

allure of Scarlett Johansson in favor of an operating 

system that merely sounds like Scarlett 

Johansson. We no longer fight technology—we 

fall in love with it. 

A large part of the satirical elements in Verhoeven’s 

RoboCop exist in its ironic depiction 

of ’80s corporate culture. OCP’s ridiculously 

diverse business holdings in the film are a direct 

reflection of the film industry during that 

time. Major studios built by rogues and rebels 

became subsidiaries of multinational conglomerates 

with no discernible connection to the 

film business. In 1987 Columbia Pictures was 

owned by Coca-Cola, 20th Century Fox was 

the property of media magnate Rupert Murdoch’s 

News Corporation, and Paramount was 

part of the industrial conglomerate Gulf and 

Western. The film’s comedy stems from this ludicrous 

corporate expansion: the entire concept 

of a “RoboCop” sounds profoundly stupid— 

why would a megacorporation involved in a 

massive real estate and urban redevelopment 

plan ever get involved in privatizing a police 

department? It makes as much sense as a soda 

company running its own movie studio. 

Padilha’s RoboCop frames its corporate satire 

through a contemporary lens. The corporate 

overlords in the new RoboCop are a hybrid of 

Apple and Halliburton, equally concerned by 

their product’s deadliness and the aesthetics of 

its design. The reboot expands the story’s technological 

concerns into the era of consumer 

marketing—how exactly does one market a 

RoboCop? The Hollywood connection is rife 

with irony since that is precisely the challenge 

MGM has on its hands. 

Verhoeven’s film features an ageing white 

male corporate villain, played by Ronny Cox, 

who ruthlessly chases profits in his quest to lead 

the company. Padilha’s corporate villain, played 

by Michael Keaton, ditches the suit entirely, 

dressing instead in a Silicon Valley business-casual 

style, speaking with the relaxed confidence 

of someone who should be leading a focus 

group instead of a company. 

Marketing is more crucial to the film 

industry than ever before. Films today live and 

die by their marketing campaigns. Distribution 

and exhibition platforms might have evolved, 

but opening-weekend box office is still the 

golden metric that decides a film’s fate. Studios 

spend tens of millions of dollars in hopes of 

attracting enough paying customers on opening 

weekend. Movies used to have more time to 

find an audience when the release calendar 

wasn’t as crowded as it is now. A smaller film 

had a fighting chance to connect with viewers 

before being bumped out of screens by an endless 

stream of studio tent-poles. Releases that 

underperformed theatrically would be able to 

find new life (and revenue) through the home 

video market, helping movies like Fight Club 

and The Big Lebowski enjoy the sort of success 

that current VOD outlets simply can’t provide 

today. Padilha’s RoboCop essentially deals with 

the challenge of a company in convincing the 

American people that their product is worth 

paying for. The actual film’s producers share the 

same concern. 

Like any contemporary release with a large 

enough budget, RoboCop can’t settle for North 

American market share alone. The RoboCop 

brand joins the James Bond franchise and 

the Rocky series as one of the few MGM/UA 

properties that carry enough global pre-awareness 

to give it a significant earning potential. A 

February premiere avoids the high stakes and 


heavy traffic of a summer release but could also be a sign of the studio’s 

lack of faith in the picture. 

Similar reboots have flopped in recent years. Total Recall, Verhoeven’s 

first film after RoboCop, was remade in 2012 starring Colin Farrell. Like 

Padilha’s RoboCop, the Total Recall remake dropped Verhoeven’s overthe-top 

violence and the R rating that accompanied it in favor of a sleek, 

PG-13 reimagining of the story. The film opened to poor reviews and 

only mustered a lackluster $58.8 million in North America and $198.8 

million worldwide. Judge Dredd, an early inspiration for RoboCop, was 

made into an ill-advised film in 1995 starring Sylvester Stallone and 

Rob Schneider. Judge Dredd was a critical and box office bomb upon its 

release, poisoning the well for a far-superior remake (Dredd) that came 

in 2012. The Judge Dredd remake only grossed $13.4 million in North 

America and $41 million globally. 

The fate of Detroit has been intertwined with Paul Verhoeven’s original 

film in the years since its release. A Kickstarter campaign emerged 

in 2011 to erect a RoboCop statue in Detroit, despite the fact that the 

original film was shot in Dallas and Pittsburgh. The campaign quickly 

went viral, easily reaching its $50,000 target within a week. 

It all seemed a bit cynical from a distance; an ironic campaign to celebrate 

a kitsch pop-culture icon of a future foretold by a Paul Verhoeven 

film. Part man, part machine, all cop, the ten-foot-tall statue silently 

standing guard, looking over the city in a cast-bronze stoicism. 

The city of Detroit filed for bankruptcy in 2013, its overdue financial 

obligations well above the capacity of a Kickstarter campaign. 

José Padilha’s RoboCop opens in theaters 

across North America, including Detroit, on 

February 12, 2014. 

The original 

RoboCop (1987) 

grossed $53.4 

million, which adjusts 

to $111 million at 

today’s ticket 

prices. 


BIG 

PICTURE 

The Lexington, Kentucky–born nephew of beloved 

singer Rosemary Clooney sure has made a name for 

himself, hasn’t he? 

By Shawn Robbins 

GEORGE 



BIG PICTURE > THE MONUMENT MAN: GEORGE CLOONEY 

John Goodman and recent 

Oscar winner Jean Dujardin 

(The Artist) on the set of 

The Monuments Men with 

director/star George Clooney 

It wasn’t that long ago that George 

Clooney bowed to a star-making turn 

on television’s ER during the mid-1990s. 

His role as Doug Ross, M.D., netted 

him two Emmy nominations and three 

Golden Globe nods before the character’s run 

ended. 

The actor’s leap to the big 

screen put him in the hands of 

Robert Rodriguez and Quentin 

Tarantino with 1996’s From Dusk 

Till Dawn, followed by the romantic 

comedy One Fine Day. 

It was 1997, however, when 

we saw Clooney take on his first 

high-profile movie role as Bruce 

Wayne in Batman & Robin. The 

pic was a creative flop, ranking as 

the least successful modern Batman 

movie with its $107 million domestic 

and $238 million global earnings, but 

that didn’t stop Clooney’s rise to fame. To 

this day, the actor takes the failed superhero 

turn in good stride, joking that he 

“helped kill that franchise” before 

Christopher Nolan came along. 

(Your modesty is appreciated, 

sir, but the blame was hardly 

all on you). 

After the ill-fated Bat 

pic and The Peacemaker, 

Clooney wisely knew that 

his talents belonged in other 

genres. The actor found more critical success 

opposite Jennifer Lopez in Steven Soderbergh’s 

1998 crime-comedy, Out of Sight, followed by 

a legitimate box office hit in 1999’s Three Kings 

from David O. Russell. 

The turn of the 21st century would 

mark Clooney’s ascension to full-on 

stardom when The Perfect Storm became 

one of summer 2000’s biggest 

hits, banking $182.6 million in 

North America and $329 million 

overall at the box office. That 

same year, he starred in Ethan 

and Joel Coen’s O Brother, 

Where Art Thou?—a comedy 

that has become a staple of 

their filmography, and one 

that has built a devoted 

fan base throughout the 

years. 

…and yes, let’s not forget— 

or maybe we should since 

he’d like to—Clooney as 

the Caped Crusader 

Clooney’s blockbuster stature returned in 

2001 as he reteamed with Soderbergh for the 

now-classic revamp of Ocean’s Eleven. Clooney 

led an all-star cast for the ages in a film 

that played remarkably well through Christmas 

to the tune of $183.4 million stateside 

and just under $451 million worldwide. To 

this day, Ocean’s Eleven remains Clooney’s 

highest earner among films in which he 

played the lead character. 

He would team up with Soderbergh again 

for the commercially disappointing Solaris 

in 2002, the same year his directorial debut, 

Confessions of a Dangerous Mind, was released. 

Neither did much at the box office, but the 

latter announced Clooney’s creative potential 

from behind the camera. 

After a box office miss in the Coens’ 

Intolerable Cruelty and the success of (but 

underwhelming response to) Ocean’s Twelve, 

we got another glimpse of Clooney as jackof-all-trades 

when he directed, cowrote, and 

costarred in 2005’s Good Night, and Good 

Luck. The black-and-white drama chronicling 

Edward R. Murrow’s bid to take down 

Senator Joseph McCarthy earned Clooney 

two of his first Oscar nominations (directing 

and original screenplay, the latter shared 

with long-time collaborator Grant Heslov). 

However, it was his third Oscar nomination 

that same year that put the man on stage to 

accept the golden statue for his supporting 

role in Syriana. 


George Clooney battles 

the vacuum of space in his 

biggest hit to date, Gravity 

Gilroy’s directorial debut, Michael Clayton— 

another modest box office performer, but one 

Clooney went back to his only franchise 

(if you exclude Batman) with Ocean’s Thirteen 

in summer 2007. Although it ended up 

grossing the least in the series, audiences were 

more receptive to the finale of Soderbergh’s 

trilogy as it brought back the Vegas setting 

and general fun of the original retelling. A 

few months later, Clooney headlined Tony 

that gave the star actor his first Oscar nod in 

a leading role. 

Clooney’s third directing effort, Leatherheads, 

failed to connect with critics or 

audiences in early 2008. As he has, the thespian 

rebounded with lauded comedic turns in 

the Coens’ Burn After Reading that same year 

before going under the radar in off-beat com- 

Oscar nomination. 

Harkness_Android_iPad_Ad_half 7.25x4.75" (Box_Office_USA):Layout 1 02/10/2013 10:34 Page 1 

edies The Men Who Stare at Goats and Wes 

Anderson’s Fantastic Mr. Fox, both in 2009. 

In December of that year, director Jason Reitman 

helped give Clooney his highest-grossing 

nonfranchise movie in ten years with Up 

in the Air. The dramedy took in nearly $84 

million domestically as strong word of mouth 

carried it through a busy holiday season, 

ultimately taking him to his second leading 

The American was a commercial bust in 

2010 with its modest critical approval, but 

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FEBRUARY 2013 BoxOffice ® Pro The Business of Movies 23

BIG PICTURE > THE MONUMENT MAN: GEORGE CLOONEY 

FROM THE RIDICULOUS TO THE SUBLIME 

THE CLOONEY SCORECARD 

The Thin 

Red Line 

$36,400,491 

Return to Horror 

High 

$1,189,709 

Three Kings $60,652,036 

Return of the Killer 

Tomatoes 

unavailable 

The Perfect Storm $182,618,434 

From Dusk 

Till Dawn 

$25,836,616 

O Brother, Where 

Art Thou? 

$45,512,588 

One Fine Day $46,151,454 

Ocean’s Eleven $183,417,150 

Batman 

and Robin 

$107,325,195 

Solaris $14,973,382 

The 

Peacemaker 

$41,263,140 

Confessions of a 

Dangerous Mind 

$16,007,718 

Out of Sight $37,562,568 

Intolerable Cruelty $35,327,628 

2011’s The Ides of March again reinforced 

Clooney’s range of skills. He starred opposite 

Ryan Gosling, cowrote, and directed the political 

thriller which garnered strong reviews 

and positive word of mouth. The film’s $41 

million domestic earnings look modest, but 

for its genre, the pic was a welcome success 

and gave the director Clooney his top grosser 

thus far. Clooney shared his second Oscar 

nod for writing with Heslov. 

2011’s more standout success, The Descendants, 

came from writer-director Alexander 

Payne (Sideways, About Schmidt). Critics and 

audiences adored Clooney’s performance as 

a man coping with his wife’s inevitable death 

amid the discovery that she had been having 

an affair. The role earned Clooney another 

Oscar nomination as leading man, while 

giving him his first win in the same category 

at the Golden Globes. 

One year later, Clooney was back on 

Oscar’s stage. This time, he was winning 

as a producer for Argo, sharing the Best 

Picture trophy with Heslov and director Ben 

Affleck. Clooney was instrumental in Affleck’s 

selection as the film’s director despite initial 

reports that had him set to make it his fifth 

directorial feature. 

As we write, another film involving our 

profiled actor is gearing up for what promises 

to be a host of nominations from the Academy 

in January: Alfonso Cuarón’s Gravity. 

The blockbuster sci-fi film just wrapped up 

a stellar run, netting almost $256 million in 

North America and another $408 million 

overseas. Clooney’s limited screen time means 

he’s unlikely to get any Oscar attention this 

year, but nevertheless, the film is easily the 

top box office earner on his résumé—even 

if he’s merely the supporting character to 

Sandra Bullock’s widely praised lead. 

That brings us to February 7’s The Monuments 

Men, and movie fans are again anticipating 

an all-star collaboration, this time featuring 

the man himself, Matt Damon, Cate Blanchett, 

Bill Murray, and John Goodman. Clooney 

shares producing and writing credits with Grant 

Heslov, and for the fifth time in his career, 

Clooney calls the shots behind the camera. 

The Monuments Men had originally been 

slated for a December 2013 release until a 

late-autumn delay pushed the film out of 

awards season and into a potentially less competitive 

winter slot—similar to what happened 

with Martin Scorsese’s Shutter Island a few years 

ago. The film is adapted from the Robert M. 

Edsel book of the same name, which chronicles 

a World War II platoon’s attempt to rescue 

cherished works of art from the hands of the 

Nazis before they’re lost forever. 

Trailers pitch Monuments as something 

of a mash-up between Saving Private Ryan, 

Inglourious Basterds, and Ocean’s Eleven itself. 

That potentially winning combination will 

very easily help it to become Clooney’s highest-grossing 

directorial effort yet. At publication 

time, BoxOffice’s official forecast is for 

$78 million from the domestic market alone. 

Strong word of mouth could send that figure 

even higher as adults have very few options 

to choose from in theaters toward the end of 

winter and early spring. 

Clooney won’t have much lined up on the 

directing, writing, or producing sides again 

until after he’s completed work on Monuments 

Men, but he’ll venture into another blockbuster-hopeful 

in 2015 when he headlines 

Brad Bird’s Tomorrowland. The Disney flick 

opens three weeks after the studio’s own 

Avengers sequel. 

When looking back on George Clooney’s 

box office résumé, some will mistakenly interpret 

the disappointing commercial performances 

as having weighed down an otherwise 

successful career. That’s unfair, though. Clooney’s 

talent as an actor and filmmaker has 

contributed heavily to the successes he’s been 

a part of, and that’s one reason he commands 

consistent respect among his peers. More 

notably, his contributions outside the world 

of film through philanthropic endeavors are 

further examples of how Clooney has avoided 

a stuck-up reputation and other pitfalls of 

celebrity. That’s something to be celebrated, 

as is the impressive body of work he’s awarded 

his fans with so far. 


Ocean’s Twelve $125,544,280 

The Men Who 

Stare at Goats 

$32,428,195 

Good Night, 

and Good Luck 

$31,558,003 

Fantastic 

Mr. Fox 

$21,002,919 

Syriana $50,824,620 

Up in the Air $83,823,381 

The Good German $1,308,696 

The American $35,606,376 

Ocean’s Thirteen $117,154,724 

The Ides of March $40,962,534 

Michael Clayton $49,033,882 

The Descendants $82,584,160 

Leatherheads $31,373,938 

Gravity $256,224,796 

Burn After Reading $60,355,347 

The 

Monuments Men 

$25,836,616* 

SOURCE: BOXOFFICE.COM 

* PROJECTED 


COMING 

THIS MONTH 

WIDE 

THE WIND RISES 

n Japan’s master of anime, Hayao Miyazaki 

(Spirited Away), brings the fictionalized story 

of aeronautics engineer Jiro Horikoshi to 

the screen in this adaptation of the director’s 

manga, or graphic novel. The highest-grossing 

film in Japan last year, The Wind Rises is 

not without its controversy—Jiro Horikoshi 

was the chief designer of the famed Mitsubishi 

A6M Zero used in the attack on 

Pearl Harbor in 1941. The film has been 

Oscar nominated this year for best animated 

feature. 

DISTRIBUTOR Disney ENGLISH-LANGUAGE VOICE 

CAST Joseph Gordon-Levitt, Emily Blunt, John 

Krasinski, Martin Short, Stanley Tucci, William 

H. Macy DIRECTOR/SCREENWRITER Hayao 

Miyazaki GENRE Biography | Drama | History 

| Romance | War RATING PG-13 for some disturbing 

images and smoking RUNNING TIME 126 

min. RELEASE DATE February 21 

LTD. 

A FANTASTIC FEAR OF 

EVERYTHING 

n Simon Pegg (Star Trek, Shaun of the Dead) 

stars—unfortunately without his Paul costar 

Nick Frost—in this low-budget comedy about 

a struggling children’s book author obsessed 

with and paranoid about serial killers, particularly 

one named Hanoi Handshake Killer, 

known for cutting off eight fingers of his 

victims. This is the first feature from codirectors 

Chris Hopewell and musician Crispian Mills 

(son of former Disney teen star Hayley Mills). 

DISTRIBUTOR Universal CAST Simon Pegg, 

Clare Higgins, Amara Karan DIRECTORS 

Chris Hopewell, Crispian Mills SCREENWRITER 

Crispian Mills GENRE Comedy RATING R for 

language RUNNING TIME 100 min. RELEASE 

DATE February 7 

LTD. 

ALPHAVILLE 

n Subtitled A Strange Adventure of Lemmy 

Caution, this 1965 French classic from Jean- 

Luc Godard is being rereleased on limited 

screens this winter and spring. Shot in the 

style of a film noir, but set in the future, the 

film is reminescent of 1984 as the citizens of 

Alphaville are banned from showing emotion, 

love, or anything deemed by the all-controlling 

computer Alpha 60 as “illogical.” American 

ex-pat Eddie Constantine plays the gun-toting 

gumshoe Lemmy Caution. 

DISTRIBUTOR Rialto Pictures CAST Eddie 

Constantine, Anna Karina, Akim Tamiroff, 

Howard Vernon DIRECTOR/SCREENWRITER 

Jean-Luc Godard GENRE Drama | Mystery | 

Sci-Fi | Thriller RATING unrated RUNNING TIME 

99 min. RELEASE DATE February 7 

LTD. 

CAVEMEN 

n Cavemen follows LA playboy Dean (Skylar 

Astin), who is fed up with one-night stands and 

empty relationships and realizes that he wants 

something more out of life than just a party. 

With a little inspiration from his nine-year-old 

nephew and his best friend Tess (Camilla Belle), 

Dean decides to try his hand at finding true love 

for the first time—which proves to be much 

more difficult than he thought in modern-day 

Los Angeles. The title comes from the windowless 

apartment Dean and his friends live in. 

DISTRIBUTOR Well Go Entertainment CAST 

Skylar Astin, Camilla Belle, Chad Michael 

Murray DIRECTOR/SCREENWRITER Herschel 

Faber GENRE Comedy | Romance RATING 

TBD RUNNING TIME 88 min. RELEASE DATE 

February 7 


LTD. 

NURSE 3D 

n The dazzling key art for this film—shot by Lionsgate marketing whiz 

Tim Palen—is almost all you need to know about Nurse 3D. Tagged 

“Your Pain Is Her Pleasure,” the film stars Boardwalk Empire’s Paz de la 

Huerta as murderous nurse Abby Russell who specializes in dispatching 

adulterous men. 30 Rock’s Cerie (Katrina Bowden) plays a rival nurse 

who suspects foul play. 

DISTRIBUTOR Lionsgate CAST Paz de la Huerta, Katrina Bowden, 

Corbin Bleu, Neal McDonough, Niecy Nash, Nicholas Turturro DIREC- 

TOR Doug Aarniokoski SCREENWRITER David Loughery GENRE Thriller 

RATING R for bloody violence, strong sexual content, language and 

some graphic nudity RUNNING TIME 99 min. RELEASE DATE February 7 

WIDE 

THE LEGO MOVIE 

n The Cloudy With a Chance of Meatballs directing team pick the Legos 

up off the floor (where you won’t step on them in the middle of the 

night) and assemble them up on the big screen with a big cast including 

the Justice League itself: Superman (Channing Tatum), Batman (Will 

Arnett), Green Lantern (Jonah Hill), and Wonder Woman (Cobie 

Smulders). 

DISTRIBUTOR Warner Bros. VOICE CAST Chris Pratt, Will Ferrell, Elizabeth 

Banks, Will Arnett DIRECTORS/SCREENWRITERS Phil Lord, Chris 

Miller GENRE Animation | Action | Comedy | Family RATING PG for 

mild action and rude humor RUNNING TIME TBD RELEASE DATE February 

7 

WIDE 

ABOUT LAST NIGHT 

n David Mamet’s 1974 play Sexual Perversity in Chicago returns to the 

screen a second time, the first being 1986’s About Last Night with Demi 

Moore (which Mamet despised and disowned). The original’s Chicago 

setting has been shifted to Los Angeles with Kevin Hart (Grudge Match) 

and Michael Ealy (Think Like a Man) in the roles originated by Jim 

Belushi and Rob Lowe. Steve Pink, who helmed Hot Tub Time Machine, 

directs. 

DISTRIBUTOR Screen Gems CAST Kevin Hart, Michael Ealy, Regina 

Hall, Joy Bryant, Paula Patton, Christopher McDonald, Bryan 

Callen DIRECTOR Steve Pink SCREENWRITER Leslye Headland GENRE 

Comedy | Romance RATING TBD RUNNING TIME TBD RELEASE DATE 


LTD. 

ADULT WORLD 

n The Adult World of the title is a sleazy adult bookstore where Emma 

Roberts (niece of Julia) toils away with dreams of being a successful poet. 

She meets one of her favorite writers, Rat Billings (John Cusack), and 

pesters him into mentoring her. A Tribeca Film Festival fav, Adult World 

also features a breakout performance by Armando Riesco as a RuPaul-like 

cross-dresser who dishes out harsh truths. Director Scott Coffey, a former 

teen actor (Ferris Bueller’s Day Off), appears as the bookshop’s owner. 

DISTRIBUTOR IFC Films CAST John Cusack, Emma Roberts, Armando 

Riesco, Shannon Woodward, Chris Riggi DIRECTOR Scott Coffey 

SCREENWRITER Andy Cochran GENRE Comedy | Drama RATING R for 

sexual content and some drug use RUNNING TIME 97 min. RELEASE 



COMING THIS MONTH 

LTD. 

GIRL ON A BICYCLE 

n Paolo (Vincenzo Amato), an Italian who drives a Paris tour bus, has 

just proposed to his true love, the German flight attendant Greta (Nora 

Tschirner), when the young French beauty, Cécile (Louise Monot) pulls 

up beside his bus on her bicycle—and, Paolo, following some very bad 

advice from his friend Derek (Paddy Considine), finds himself with a 

German fiancée, a French “wife,” two Australian children who call him 

“Papa,” and his life upside down. 

DISTRIBUTOR Monterey Media CAST Nora Tschirner, Vincenzo Amato, 

Paddy Considine, Louise Monot DIRECTOR/SCREENWRITER Jeremy 

Leven GENRE Action | Comedy RATING R for some sexuality, nudity, 

and language RUNNING TIME 101 min. RELEASE DATE February 14 

WIDE 

ENDLESS LOVE 

n One hopes that this version of Scott Spencer’s acclaimed novel doesn’t 

receive as many Razzie nominaitons (six!) as the 1981 original that 

starred Brooke Shields (and gave us Tom Cruise). For those that have 

forgotten—or weren’t born yet—Jade and David are teenagers with vastly 

different family backgrounds (sound familiar?) who fall, apparently, endlessly 

in love. They are torn apart by fate and an accident that threatens 

to destroy their future together. 

DISTRIBUTOR Universal CAST Gabriella Wilde, Alex Pettyfer, Bruce 

Greenwood DIRECTOR Shana Feste SCREENWRITERS Shana Feste, 

Joshua Safran GENRE Drama | Romance RATING TBD RUNNING TIME 

TBD RELEASE DATE February 14 

LTD. 

JIMMY P. 

n Based on the work of psychotherapist George Devereux, Jimmy 

P. (subtitled Psychotherapy of a Plains Indian) is an English-language 

French film shot in Michigan and Montana. Oscar-winner Benicio Del 

Toro stars as Jimmy Picard, a member of the Blackfoot nation, who has 

returned from the Second World War with serious mental issues that 

could be a brain injury or something much deeper. Bond villain Mathieu 

Amalric (Quantum of Solace and the upcoming The Grand Budapest 

Hotel) plays the real-life Devereux. 

DISTRIBUTOR IFC Films CAST Benicio Del Toro, Mathieu Amalric, Gina 

McKee DIRECTOR Arnaud Desplechin SCREENWRITERS Arnaud Desplechin, 

Kent Jones, Julie Peyr GENRE Drama RATING Unrated RUNNING 

TIME 117 min. RELEASE DATE February 14 

WIDE 

VAMPIRE ACADEMY 

n Based on the popular series of young adult novels by Richelle Mead, 

Vampire Academy stars Zoey Deutch as a half-human, half-vampire teen 

who attends the Hogwarts of vampiredom, St. Vladimir’s Academy, with 

her friend Lissa, a Moroi (mortal vampire). The two young women soon 

discover that their world is under threat by Strigoi, the bloodthirsty, 

undead vampires. Director Mark Waters has expertise in the young adult 

world, having directed Freaky Friday and Mean Girls. Clearly a franchise 

waiting to be born. 

DISTRIBUTOR Weinstein Company CAST Zoey Deutch, Lucy Fry, Danila 

Kozlovsky DIRECTOR Mark Waters SCREENWRITER Daniel Waters GENRE 

Action | Comedy | Fantasy RATING TBD RUNNING TIME TBD RELEASE 



WIDE 

WINTER’S TALE 

n Based on the novel of the same name, the film stars Colin Farrell as 

burgler Peter Lake in a fantasy New York City of the 1900s. Breaking 

into a home he meets Beverly Penn, a girl dying from consumption, and 

falls in love. Having displeased the leader of his thieving gang, Pearly 

Soames (Russell Crowe), Lake is constantly on the run. About to be 

caught, a majestic horse, Athansor, descends from the skies to act as his 

guardian angel. 

DISTRIBUTOR Warner Bros. CAST Colin Farrell, Russell Crowe, Jessica 

Brown Findlay DIRECTOR/SCREENWRITER Akiva Goldsman GENRE 

Drama | Fantasy | Mystery | Romance RATING PG-13 for violence and 

some sensuality RUNNING TIME 129 min. RELEASE DATE February 14 

WIDE 

3 DAYS TO KILL 

n Shot at the new Cité du Cinéma complex in Paris, 3 Days to Kill stars 

Kevin Costner as a dying Secret Service agent who accepts one last mission 

in hopes of reconnecting with his daughter (Hailee Steinfeld) and 

receiving treatment with an experimental drug as payment. His mission: 

kill the world’s most infamous terrorist while juggling the needs of his 

teen daughter. Amber Heard plays a sultry agent who has the key, as in 

hypodermic needle, to Costner’s health. 

DISTRIBUTOR Relativity Media CAST Kevin Costner, Amber Heard, 

Hailee Steinfeld, Connie Nielsen DIRECTOR McG SCREENWRITER Luc 

Besson, Adi Hasak GENRE Action | Drama | Thriller RATING TBD RUN- 

NING TIME TBD RELEASE DATE February 21 

LTD. 

BAREFOOT 

n Television comedy director Andrew Fleming gives the big screen a another 

shot after 2008’s well-regarded Hamlet 2. Scott Speedman plays an 

employee of a mental hospital who owes a lot of money to some very bad 

people. Hoping to hit up his relatives for some easy cash at an upcoming 

wedding, he decides to take a date to demonstrate his newfound sense of 

responsibility. His date? A patient from his ward. 

DISTRIBUTOR Roadside Attractions CAST Evan Rachel Wood, Scott 

Speedman, J.K. Simmons, Treat Williams, Kate Burton DIRECTOR 

Andrew Fleming SCREENWRITER Stephen Zotnowski GENRE Comedy 

| Drama | Romance RATING PG-13 for some sexual content including 

references, partial nudity, brief strong language, and a scene of 

violence RUNNING TIME TBD RELEASE DATE February 21 

LTD. 

ELAINE STRITCH: SHOOT ME 

n Fans of Broadway will instantly know the name Elaine Stritch. The 

Tony Award–winning performer has been a theater-district fixture for 

over 50 years. (Her first nomination, for William Inge’s classic Bus Stop, 

was in 1956.) Fans of 30 Rock will recognize her as Jack Donaghy’s 

brassy mother, Colleen. This documentary combines archival footage 

with new material including interviews and remembrances from her 

high-profile pals including Nathan Lane, James Gandolfini, and John 

Turturro. In candid moments, Stritch talks about her bouts with diabetes, 

alcoholism, and aging. 

DISTRIBUTOR IFC Films CAST Alec Baldwin, Rob Bowman, Tina Fey 

DIRECTOR Chiemi Karasawa GENRE Documentary RATING TBD RUNNING 

TIME TBD RELEASE DATE February 21 


COMING THIS MONTH 

LTD. 

IN SECRET 

n Set in the lower echelons of 1860s Paris, In Secret tells the story of Theese 

Raquin, a sexually repressed beautiful young woman trapped into a 

loveless marriage to her sickly cousin, Camille, by her domineering aunt, 

Madame Raquin. Therese spends her days confined behind the counter 

of a small shop and her evenings watching Madame play dominoes with 

an eclectic group. After she meets her husband’s alluring friend, Laurent, 

she embarks on an illicit affair that leads to tragic consequences. 

DISTRIBUTOR Roadside Attractions CAST Elizabeth Olsen, Tom Felton, 

Jessica Lange DIRECTOR/SCREENWRITER Charlie Stratton GENRE Crime 

| Drama | Thriller RATING R for sexual content and brief violent images 

RUNNING TIME 101 min. RELEASE DATE February 21 

WIDE 

POMPEII 

n Set in 79 A.D., Pompeii tells the story of Milo (Kit Harington), a slave 

turned invincible gladiator who finds himself in a race against time to 

save his true love, Cassia (Emily Browning), the beautiful daughter of 

a wealthy merchant who has been unwillingly betrothed to a corrupt 

Roman senator. Oh, and Mount Vesuvius blows its stack. 

DISTRIBUTOR Sony/TriStar CAST Kit Harington, Carrie-Anne Moss, 

Emily Browning DIRECTOR Paul W.S. Anderson SCREENWRITERS Janet 

Scott Batchler, Lee Batchler, Michael Robert Johnson GENRE Action 

| Adventure | Drama | History | Romance RATING PG-13 for intense 

battle sequences, disaster-related action, and brief sexual content 


WIDE 

NON-STOP 

n Liam Neeson takes his particular set of skills to the air in Non-Stop, a 

thriller that casts him as Bill Marks, a U.S. air marshal on an international 

flight. He receives threatening text messages stating that a passenger 

will be killed every 20 minutes unless $150 million is transferred to a 

Swiss account. When the account is discovered to be under Marks’s name 

and a bomb is found on the plane, he must race to clear his name and 

save the passengers. 

DISTRIBUTOR Universal CAST Liam Neeson, Julianne Moore DIREC- 

TOR Jaume Collet-Serra SCREENWRITERS John W. Richardson, Chris 

Roach, Ryan Engle GENRE Action | Mystery | Thriller RATING PG-13 for 

intense sequences of action and violence, some language, sensuality, 

and drug references RUNNING TIME TBD RELEASE DATE February 28 

LTD. 

REPENTANCE 

n Originally titled Vipāka (a Buddhist term), Repentance concerns an 

earnest life-coach/author, Thomas Carter (Anthony Mackie), who is 

mysteriously abducted by a deranged client, Angel Sanchez (Forest Whitaker), 

who delves into Thomas’s teachings and uses his spiritual messages 

of Karma against him to terrorize him and his family for their past sins. 

Director Philippe Caland wrote the infamous Boxing Helena (google it) 

while Whitaker produced the film. 

DISTRIBUTOR Lionsgate CAST Forest Whitaker, Anthony Mackie, 

Sanaa Lathan, Nicole Ari Parker, Mike Epps DIRECTOR Philippe Caland 

SCREENWRITER Shintaro Shimosawa GENRE Horror | Thriller RATING R 

for violence including torture and language RUNNING TIME TBD RE- 

LEASE DATE February 28 


LTD. 

STALINGRAD 

n The first Russian film to utilize IMAX 3D technology, Stalingrad 

also became the most popular Russian film of 2013. Though the film 

has earned kudos for its sumptuous visuals, music, and sound design, 

Stalingrad’s focus is a love story between a German soldier and a Russian 

woman who is holed up in a building that’s occupied by Russian troops 

preparing to join a larger force against the German army. 

DISTRIBUTOR Sony CAST Thomas Kretschmann, Yanina Studilina, 

Philippe Reinhardt DIRECTOR Fedor Bondarchuk SCREENWRITERS 

Sergey Snezhkin, Ilya Tilkin GENRE Action | War RATING R for sequences 

of war violence RUNNING TIME 131 min. RELEASE DATE February 

28 

LTD. 

THE LUNCHBOX 

n From India, The Lunchbox has received high critical acclaim throughout 

its home country so it came as a shock to the filmmaking community 

when another film, The Good Road, was selected to be India’s official 

selection for the Academy Awards for best foreign film. The film’s simple 

love story involves two people who have never met but send notes to one 

another via the dabbawala, the people in Mumbai who deliver lunches in 

tin cans throughout the city. 

DISTRIBUTOR Sony Pictures Classics CAST Irrfan Khan, Nimrat Kaur, 

Nawazuddin Siddiqui DIRECTOR/SCREENWRITER Ritesh Batra GENRE 

Drama | Romance RATING PG for thematic material and smoking 


LTD. 

TWO LIVES ZWEI LEBEN 

n This film was Germany’s official selection to the 2014 Academy 

Awards and stars Norwegian acting icon Liv Ullmann as a woman, Ase, 

whose daughter was fathered by a German soldier and taken away during 

the Second World War. Decades later, after the fall of the Berlin Wall, 

Ase and her daughter, who returned after the war, are visited by a lawyer 

who wants them to testify in a case that aims to gain reparations for the 

family separations that occurred during the war. 

DISTRIBUTOR IFC Films CAST Juliane Köhler, Liv Ullmann, Sven Nordin 

DIRECTORS Georg Maas, Judith Kaufmann SCREENWRITERS Georg 

Maas, Christoph Tölle, Ståle Stein Berg , Judith Kaufmann GENRE 

Drama | Thriller RATING Unrated RUNNING TIME 97 min. RELEASE DATE 


WIDE 

WELCOME TO YESTERDAY 

n And the found-footage genre marches on with Welcome to Yesterday, 

about a group of friends who find plans for a time machine in the basement 

and decide to build it for themselves. As kids will do, they go back 

in time to win the lottery, kiss the girls they always wanted to kiss, and 

master high school chemistry. However, the fun and games quickly sour 

when they realize their shenanigans are altering the past and the future. 

Transformers director Michael Bay produces for first-time director Dean 

Israelite. 

DISTRIBUTOR Paramount CAST Ginny Gardner, Sofia Black-D’Elia, Amy 

Landecker DIRECTOR Dean Israelite SCREENWRITERS Jason Pagan, 

Andrew Stark GENRE Sci-Fi | Thriller RATING TBD RUNNING TIME TBD 

RELEASE DATE February 28 


BOOKING 

GUIDE 

compiled by Daniel Garris 

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS 

DISNEY 818-560-1000 / Ask for Distribution 

THE WIND RISES Fri, 2/21/14 LTD. Joseph Gordon-Levitt, Emily Blunt Hayao Miyazaki PG-13 Ani/Dra Dolby Dig 

NEED FOR SPEED Fri, 3/14/14 WIDE Aaron Paul, Dominic Cooper Scott Waugh NR Act Dolby Atmos/Quad 

MUPPETS MOST WANTED Fri, 3/21/14 WIDE Ricky Gervais, Tina Fey James Bobin PG Adv/Com/Fam Dolby Dig 

CAPTAIN AMERICA: 

THE WINTER SOLDIER 

Fri, 4/4/14 WIDE 

BEARS Fri, 4/18/14 WIDE John C. Reilly 

Chris Evans, Scarlett Johansson 

Anthony Russo, Joe 

Russo 

Alastair Fothergill, Keith 

Scholey 

NR Act/Adv 3D 

NR Doc Dolby Dig 

MILLION DOLLAR ARM Fri, 5/16/14 WIDE Jon Hamm, Aasif Mandvi Craig Gillespie PG Dra/Sport Dolby Dig 

MALEFICENT Fri, 5/30/14 WIDE Angelina Jolie, Elle Fanning Robert Stromberg NR Adv/Fan 3D/Dolby Dig 

PLANES: FIRE & RESCUE Fri, 7/18/14 WIDE Dane Cook Bobs Gannaway NR Ani/Adv/Fam 3D/Dolby Dig 

GUARDIANS OF THE GALAXY Fri, 8/1/14 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D 

THE HUNDRED-FOOT JOURNEY Fri, 8/8/14 WIDE Helen Mirren, Manish Dayal Lasse Hallström NR Dra 

ALEXANDER & THE TERRIBLE, 

HORRIBLE, NO GOOD, VERY BAD DAY 

Fri, 10/10/14 WIDE Ed Oxenbould, Steve Carell Miguel Arteta NR Com/Fam 

BIG HERO 6 Fri, 11/7/14 WIDE Don Hall, Chris Williams NR Ani/Act/Adv 3D 

MCFARLAND Fri, 11/21/14 WIDE Kevin Costner, Maria Bello Niki Caro NR Dra/Sport 

INTO THE WOODS Thu, 12/25/14 WIDE Meryl Streep, Johnny Depp Rob Marshall NR Mus/Fan 

FOCUS FEATURES Mingun Kim / 818-777-3071 

BAD WORDS Fri, 3/14/14 LTD. Jason Bateman, Kathryn Hahn Jason Bateman R Com 

THE BOXTROLLS Fri, 9/26/14 WIDE Ben Kingsley, Isaac Hempstead Wright 

Graham Annable, 

Anthony Stacchi 

NR Ani/Adv/Fam 3D/Dolby Dig 

SELFLESS Fri, 2/27/15 WIDE Ryan Reynolds, Natalie Martinez Tarsem Singh NR SF/Thr 

FOX 310-369-1000 / 212-556-2400 

SON OF GOD Fri, 2/28/14 WIDE Diogo Morgado, Roma Downey Christopher Spencer PG-13 Dra 

32 BoxOffice ® Pro The Business of Movies FEBRUARY 2013

BOOKING GUIDE 


MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff PG-13 Ani/Com/Fam 3D/Dolby Atmos 

RIO 2 Fri, 4/11/14 WIDE Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/Adv/Fam 3D/Dolby Atmos 

THE OTHER WOMAN Fri, 4/25/14 WIDE Cameron Diaz, Leslie Mann Nick Cassavetes NR Com Dolby Dig 

X-MEN: DAYS OF FUTURE PAST Fri, 5/23/14 WIDE Hugh Jackman, James McAvoy Bryan Singer NR Act/Adv 3D/Dolby Atmos 

THE FAULT IN OUR STARS Fri, 6/6/14 WIDE Shailene Woodley, Ansel Elgort Josh Boone NR Dra/Rom Dolby Dig 

HOW TO TRAIN YOUR DRAGON 2 Fri, 6/13/14 WIDE Jay Baruchel, Gerard Butler Dean DeBlois NR Ani/Adv/Fam 3D 

DAWN OF THE PLANET OF THE APES Fri, 7/11/14 WIDE Andy Serkis, Gary Oldman Matt Reeves NR Act/SF 3D/Dolby Atmos 

THE MAZE RUNNER Fri, 9/19/14 WIDE Dylan O’Brien, Will Poulter Wes Ball NR SF/Thr 

GONE GIRL Fri, 10/3/14 WIDE Ben Affleck, Rosamund Pike David Fincher NR Dra/Thr 

BOOK OF LIFE Fri, 10/17/14 WIDE Channing Tatum, Zoe Saldana Jorge R. Gutierrez NR Ani/Adv 

UNTITLED VINCE VAUGHN MOVIE Fri, 10/24/14 WIDE Vince Vaughn, Tom Wilkinson Ken Scott NR Com 

HOME Wed, 11/26/14 WIDE Jim Parsons, Rihanna Tim Johnson NR Ani/Adv/SF 3D 

EXODUS Fri, 12/12/14 WIDE Christian Bale, Joel Edgerton Ridley Scott NR Dra 

NIGHT AT THE MUSEUM 3 Thu, 12/19/14 WIDE Ben Stiller, Robin Williams Shawn Levy NR Adv/Com/Fam 

FRANKENSTEIN Fri, 1/16/15 WIDE Daniel Radcliffe, James McAvoy Paul McGuigan NR Hor/SF 

POLTERGEIST Fri, 2/13/15 WIDE Sam Rockwell, Rosemarie DeWitt Gil Kenan NR Hor/Thr 

FOX SEARCHLIGHT 212-556-2400 

THE GRAND BUDAPEST HOTEL Fri, 3/7/14 LTD. Ralph Fiennes, Tony Revolori Wes Anderson R Com/Dra 

DOM HEMINGWAY Fri, 4/4/14 LTD. Jude Law, Richard E. Grant Richard Shepard R Com/Cri/Dra 

BELLE Fri, 5/2/14 LTD. Gugu Mbatha-Raw, Tom Wilkinson Amma Asante PG Dra Dolby Dig 

LIONSGATE / 310-309-8400 

NURSE 3D Fri, 2/7/14 LTD. Paz de la Huerta, Katrina Bowden Doug Aarniokoski R Hor/Thr 3D 

REPENTANCE Fri, 2/28/14 LTD. Forest Whitaker, Anthony Mackie Philippe Caland R Thr 

THE SINGLE MOMS CLUB Fri, 3/14/14 WIDE Nia Long, Wendi McLendon-Covey Tyler Perry PG-13 Com/Dra 

DIVERGENT Fri, 3/21/14 WIDE Shailene Woodley, Theo James Neil Burger NR Act/Adv/SF IMAX/Dolby Dig 

CESAR CHAVEZ Fri, 3/28/14 MOD. Michael Peña, America Ferrera Diego Luna PG-13 Dra 

DRAFT DAY Fri, 4/11/14 WIDE Kevin Costner, Jennifer Garner Ivan Reitman PG-13 Dra/Sport 

THE QUIET ONES Fri, 4/25/14 WIDE Jared Harris, Sam Claflin John Pogue PG-13 Hor 


BOOKING GUIDE 


STEP UP ALL IN Fri, 7/25/14 WIDE Ryan Guzman, Briana Evigan Trish Sie NR Dra/Rom 3D 

THE EXPENDABLES 3 Fri, 8/15/14 WIDE Sylvester Stallone, Jason Statham Patrick Hughes NR Act/Adv 

JESSABELLE Fri, 8/29/14 WIDE Sarah Snook, Mark Webber Kevin Greutert PG-13 Hor/Thr 

ADDICTED Fri, 9/5/14 WIDE Sharon Leal, Boris Kodjoe Bille Woodruff NR Dra 

THE HUNGER GAMES: 

MOCKING JAY - PART 1 

Fri, 11/21/14 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX 

NORM OF THE NORTH Fri, 1/16/15 WIDE Rob Schneider, Ken Jeong Anthony Bell NR Ani/Com/Fam 3D 

LAZARUS Fri, 1/30/15 WIDE Olivia Wilde, Mark Duplass David Gelb NR Hor/Thr 

OPEN ROAD FILMS 310-696-7504 

A HAUNTED HOUSE 2 Fri, 3/28/14 WIDE Marlon Wayans, Jaime Pressly Michael Tiddes NR Com/Hor 

SABOTAGE 

Fri, 4/11/14 WIDE 

Arnold Schwarzenegger, Sam Worthington 

David Ayer NR Act/Cri/Thr Dolby Dig 

CHEF Fri, 5/9/14 WIDE Jon Favreau, Sofía Vergara Jon Favreau NR Com 

THE GREEN INFERNO Fri, 9/5/14 WIDE Lorenza Izzo, Ariel Levy Eli Roth R Hor/Thr 

PARAMOUNT 323-956-5000 

WELCOME TO YESTERDAY Fri, 2/28/14 WIDE Jonny Weston, Sofia Black-D’Elia Dean Israelite NR SF/Thr 

NOAH Fri, 3/28/14 WIDE Russell Crowe, Jennifer Connelly Darren Aronofsky NR Adv/Dra IMAX 

TRANSFORMERS: 

AGE OF EXTINCTION 

Fri, 6/27/14 WIDE Mark Wahlberg, Nicola Peltz Michael Bay NR Act/Adv/SF 

3D/IMAX/Dolby 

Atmos 

HERCULES Fri, 7/25/14 WIDE Dwayne Johnson, Rufus Sewell Brett Ratner NR Act/Adv Quad 

TEENAGE MUTANT NINJA TURTLES Fri, 8/8/14 WIDE Megan Fox, William Fichtner Jonathan Liebesman NR Act/Adv 

PARANORMAL ACTIVITY 5 Fri, 10/24/14 WIDE Gregory Plotkin NR Hor 

INTERSTELLAR 

Fri, 11/7/14 WIDE 

Matthew McConaughey, Anne 

Hathaway 

Christopher Nolan NR SF IMAX 

SPONGEBOB SQUAREPANTS 2 Fri, 2/13/15 WIDE Tom Kenny, Bill Fagerbakke Paul Tibbitt NR Ani/Com/Fam 

RELATIVITY Mara Buxbaum / 323-822-4800 / relativity@id-pr.com 

3 DAYS TO KILL Fri, 2/21/14 WIDE Kevin Costner, Amber Heard McG NR Act/Thr 

OCULUS Fri, 4/11/14 WIDE Karen Gillan, Brenton Thwaites Mike Flanagan R Hor 

EARTH TO ECHO Fri, 4/25/14 WIDE Teo Halm, Astro Dave Green PG Adv/Fam 

The Sweet Sound of Saving Money... 

Average Savings of More Than 50% 

on Entire Sound System 

3 year warranty. 100% Satisfaction Guaranteed 

$ 

$ $ 

$ $ $ 

$ 

$ $ $ $ 

$ $ $ 

Stetson Snell 

stetsonsnell@enparaudio.com 

505-615-2913 

Audio 


BOOKING GUIDE 


JANE GOT A GUN Fri, 8/29/14 WIDE Natalie Portman, Ewan McGregor Gavin O’Connor NR Wes/Act 

THE BEST OF ME Fri, 10/17/14 WIDE Michelle Monaghan Michael Hoffman NR Dra/Rom 

BLACKBIRD Fri, 11/14/14 WIDE Gugu Mbatha-Raw, Nate Parker Gina Prince-Bythewood NR Dra 

SONY 212-833-8500 

THE MONUMENTS MEN Fri, 2/7/14 WIDE George Clooney, Matt Damon George Clooney PG-13 Adv/Com/Dra Quad 

ROBOCOP Wed, 2/12/14 WIDE Joel Kinnaman, Gary Oldman José Padilha PG-13 Act/Cri/SF IMAX/Quad 

ABOUT LAST NIGHT Fri, 2/14/14 WIDE Kevin Hart, Michael Ealy Steve Pink NR Com/Dra/Rom 

POMPEII Fri, 2/21/14 WIDE Kit Harington, Emily Browning Paul W.S. Anderson PG-13 Act/Adv/Dra 3D/Quad 

STALINGRAD Fri, 2/28/14 LTD Thomas Kretschmann, Petr Fedorov Fedor Bondarchuk R Act/War 3D/IMAX 

HEAVEN IS FOR REAL Wed, 4/16/14 WIDE Greg Kinnear, Kelly Reilly Randall Wallace PG Dra/Fam 

THE AMAZING SPIDER-MAN 2 Fri, 5/2/14 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D/IMAX/Quad 

22 JUMP STREET Fri, 6/13/14 WIDE Channing Tatum, Jonah Hill Phil Lord, Chris Miller NR Act/Com Quad 

THINK LIKE A MAN TOO Fri, 6/20/14 WIDE Kevin Hart, Michael Ealy Tim Story NR Rom/Com 

DELIVER US FROM EVIL Wed, 7/2/14 WIDE Eric Bana, Olivia Munn Scott Derrickson NR Hor/Thr 

SEX TAPE Fri, 7/25/14 WIDE Cameron Diaz, Jason Segel Jake Kasdan NR Com 

WHEN THE GAME STANDS TALL Fri, 8/22/14 WIDE Jim Caviezel, Laura Dern Thomas Carter NR Dra/Sport 

NO GOOD DEED Fri, 9/12/14 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr 

THE EQUALIZER Fri, 9/26/14 WIDE Denzel Washington, Chloë Grace Moretz Antoine Fuqua NR Act/Thr 

THE INTERVIEW Fri, 10/10/14 WIDE Seth Rogen, James Franco 

Seth Rogen, Evan 

Goldberg 

NR Com 

FURY Fri, 11/14/14 WIDE Brad Pitt, Shia LaBeouf David Ayer NR Act/Dra/War 

ANNIE Fri, 12/19/14 WIDE Quvenzhané Wallis, Jamie Foxx Will Gluck NR Mus/Fam 

KITCHEN SINK Fri, 1/9/15 WIDE Nicholas Braun, Mackenzie Davis Robbie Pickering NR Com/Hor 

THE WEDDING RINGER Fri, 2/6/15 WIDE Kevin Hart, Josh Gad Jeremy Garelick NR Com 

SONY PICTURES CLASSICS Tom Prassis / 212-833-4981 

THE LUNCHBOX Fri, 2/28/14 EXCL NY/LA Irrfan Khan, Nimrat Kaur Ritesh Batra PG Dra/Rom 

JODOROWSKY’S DUNE Fri, 3/21/14 EXCL NY/LA Alejandro Jodorowsky Frank Pavich PG-13 Doc 

ONLY LOVERS LEFT ALIVE Fri, 4/11/14 EXCL NY/LA Tom Hiddleston, Tilda Swinton Jim Jarmusch R Dra/Rom Dolby Dig 


BOOKING GUIDE 


FOR NO GOOD REASON Fri, 4/25/14 EXCL NY/LA Johnny Depp, Ralph Steadman Charlie Paul R Doc 

UNIVERSAL 818-777-1000 

ENDLESS LOVE Fri, 2/14/14 WIDE Alex Pettyfer, Gabriella Wilde Shana Feste NR Dra/Rom Quad 

NON-STOP Fri, 2/28/14 WIDE Liam Neeson, Julianne Moore Jaume Collet-Serra PG-13 Act/Thr Quad 

STRETCH Fri, 3/21/14 WIDE Patrick Wilson, Ed Helms Joe Carnahan R Act/Com 

NEIGHBORS Fri, 5/9/14 WIDE Seth Rogen, Zac Efron Nicholas Stoller R Com Quad 

A MILLION WAYS TO DIE IN THE WEST Fri, 5/30/14 WIDE Seth MacFarlane, Charlize Theron Seth MacFarlane NR Com/Wes 

THE PURGE 2 Fri, 6/20/14 WIDE Frank Grillo, Michael K. Williams James DeMonaco NR Hor/Thr/SF 

GET ON UP Fri, 8/1/14 WIDE Chadwick Boseman, Octavia Spencer Tate Taylor NR Dra 

LUCY Fri, 8/8/14 WIDE Scarlett Johansson, Morgan Freeman Luc Besson NR Act/Thr 

THE LOFT Fri, 8/29/14 WIDE Karl Urban, James Marsden Erik Van Looy R Thr 

SEARCH PARTY Fri, 9/12/14 WIDE Thomas Middleditch, T.J. Miller Scot Armstrong NR Com 

DRACULA UNTOLD Fri, 10/17/14 WIDE Luke Evans, Dominic Cooper Gary Shore NR Act/Hor 

DUMB AND DUMBER TO Fri, 11/14/14 WIDE Jim Carrey, Jeff Daniels 

Bobby Farrelly, Peter 

Farrelly 

NR Com 

UNBROKEN Thu, 12/25/14 WIDE Jack O’Connell, Domhnall Gleeson Angelina Jolie NR Dra/War 

UNTITLED MICHAEL MANN PROJECT Fri, 1/16/15 WIDE Chris Hemsworth, Viola Davis Michael Mann NR Cri/Thr 

THE BOY NEXT DOOR Fri, 1/23/15 WIDE Jennifer Lopez, Ryan Guzman Rob Cohen NR Thr 

SEVENTH SON Fri, 2/6/15 WIDE Jeff Bridges, Ben Barnes Sergey Bodrov PG-13 Adv/Fan 3D/IMAX/Quad 

FIFTY SHADES OF GREY Fri, 2/13/15 WIDE Dakota Johnson, Jamie Dornan Sam Taylor-Johnson NR Dra/Rom 

WARNER BROS. 818-977-1850 

THE LEGO MOVIE Fri, 2/7/14 WIDE Chris Pratt, Will Ferrell Phil Lord, Chris Miller PG Ani/Adv/Fam 3D/Quad 

WINTER’S TALE Fri, 2/14/14 WIDE Colin Farrell, Jessica Brown Findlay Akiva Goldsman PG-13 Dra/Fan/Rom Quad 

300: RISE OF AN EMPIRE Fri, 3/7/14 WIDE Sullivan Stapleton, Eva Green Noam Murro R Act 

3D/IMAX/Dolby 

Atmos/Quad 

VERONICA MARS Fri, 3/14/14 LTD. Kristen Bell, Jason Dohring Rob Thomas NR Com/Cri Quad 

ISLAND OF LEMURS: MADAGASCAR Fri, 4/4/14 LTD. Morgan Freeman David Douglas G Doc 3D/IMAX 

ONLINE FORUM COMMENTS AND COUNTING 

CONGRATULATIONS TO BOXOFFICE.COM FORUMS EDITOR 

SHAWN ROBBINS FOR HEADING UP THE MOST VIBRANT ONLINE 

MOVIE COMMUNITY IN THE EXHIBITION INDUSTRY 

Online Engagement Twitter Followers Facebook Likes Forum Members 

BoxOffice ® 13,031 15,363 22,837 

as of January 19, 2014 

JOIN THE CONVERSATION AT FORUMS.BOXOFFICE.COM 


BOOKING GUIDE 


TRANSCENDENCE Fri, 4/17/14 WIDE Johnny Depp, Paul Bettany Wally Pfister NR Act/SF 

GODZILLA Fri, 5/16/14 WIDE Aaron Taylor-Johnson, Ken Watanabe Gareth Edwards NR Act/Adv/SF 

3D/IMAX/Dolby 

Atmos/Quad 

BLENDED Fri, 5/23/14 WIDE Adam Sandler, Drew Barrymore Frank Coraci NR Rom/Com Quad 

EDGE OF TOMORROW Fri, 6/6/14 WIDE Tom Cruise, Emily Blunt Doug Liman NR Act/SF 3D/IMAX/Quad 

JERSEY BOYS Fri, 6/20/14 WIDE John Lloyd Young, Christopher Walken Clint Eastwood NR Mus/Dra 

TAMMY Wed, 7/2/14 WIDE Melissa McCarthy, Susan Sarandon Ben Falcone NR Com 

JUPITER ASCENDING Fri, 7/18/14 WIDE Channing Tatum, Mila Kunis 

Andy Wachowski, Lana 

Wachowski 

INTO THE STORM Fri, 8/8/14 WIDE Richard Armitage, Sarah Wayne Callies Steven Quale NR Act/Thr 

THIS IS WHERE I LEAVE YOU Fri, 9/12/14 WIDE Jason Bateman, Tina Fey Shawn Levy R Com/Dra 

DOLPHIN TALE 2 Fri, 9/19/14 WIDE Nathan Gamble, Harry Connick Jr. Charles Martin Smith NR Dra/Fam 

THE JUDGE Fri, 10/10/14 WIDE Robert Downey Jr., Robert Duvall David Dobkin NR Dra 

HORRIBLE BOSSES 2 Wed, 11/26/14 WIDE Jason Bateman, Jason Sudeikis Sean Anders NR Com 

NR Act/Adv/SF 3D/Quad 

THE HOBBIT: THERE AND BACK AGAIN Wed, 12/17/14 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX 

WEINSTEIN CO./DIMENSION 646-862-3400 

ONE CHANCE Fri, 2/7/14 LTD. James Corden, Alexandra Roach David Frankel PG-13 Mus/Com Dolby Dig 

VAMPIRE ACADEMY Fri, 2/14/14 WIDE Zoey Deutch, Lucy Fry Mark Waters NR Fan/Rom Dolby Dig 

GRACE OF MONACO Fri, 3/14/14 WIDE Nicole Kidman, Tim Roth Olivier Dahan NR Dra Dolby Dig 

ST. VINCENT Fri, 4/11/14 WIDE Bill Murray, Naomi Watts Theodore Melfi NR Com 

THE GIVER Fri, 8/15/14 WIDE Jeff Bridges, Meryl Streep Phillip Noyce NR Dra/Fan 

SIN CITY: A DAME TO KILL FOR Fri, 8/22/14 WIDE Josh Brolin, Eva Green Frank Miller, Robert Rodriguez NR Act/Cri/Thr 3D 

PADDINGTON Fri, 12/12/14 WIDE Nicole Kidman, Colin Firth Paul King NR Ani/Com/Fam 

AMITYVILLE Fri, 1/2/15 WIDE Franck Khalfoun NR Hor/Thr 


AD INDEX 

CARDINAL SOUND & MOTION PICTURE 

SYSTEMS 

6330 Howard Ln. 

Elkridge, MD 21075 

cardinal@cardinalsound.com 

www.cardinalsound.com 

PG 40 

CHRISTIE DIGITAL SYSTEMS 

10550 Camden Dr. 

Cypress, CA 90630 

www.christiedigital.com 

INSIDE FRONT COVER 

DOLBY LABORATORIES 

100 Potrero Ave. 

San Francisco, CA 94103 

Christie Ventura / 415-558-2200 

cah@dolby.com 

www.dolby.com 

INSIDE BACK COVER 

DOLPHIN SEATING 

313 Remuda St. 

Clovis, NM 88101 

575-762-6468 

www.dolphinseating.com 

PG 32 

ENPAR AUDIO 

Stetson Snell 

505-807-2154 / 505-615-2913 

stetsonsnell@enparaudio.com 

PG 34 

HARKNESS SCREENS 

Unit A, Norton Rd. 

Stevenage, Herts 

SG1 2BB UK 

+44 1438 725200 

www.harkness-screens.com 

PG 23, 25 

MAROEVICH, O’SHEA & COUGHLAN 

44 Montgomery St., 17th Fl. 

San Francisco, CA 94104 

Steve Elkins 

800-951-0600 

selkins@maroevich.com 

www.mocins.com 

PG 3 

QSC AUDIO PRODUCTS, LLC 

1675 MacArthur Blvd. 

Costa Mesa, CA 92626 

800-854-4079 

www.qsc.com 

PG 1 

READY THEATRE SYSTEMS 

4 Hartford Blvd. 

Hartford, MI 49057 

Mary Snyder 

865-212-9703x114 

sales@rts-solutions.com 

www.rts-solutions.com.com 

PG 35 

REALD 

100 North Crescent Dr., Ste. 200 

Beverly Hills, CA 90210 

310-385-4000 

realdglasses@reald.com 

www.reald.com 

PG 4-5 

RETRIEVER SOFTWARE 

7040 Avenida Encinas 

Ste. 104-363 

Carlsbad, CA 92011 

760-929-2101 

www.retrieversoftware.com 

PG 35 

SCRABBLE VENTURES 

10550 Camden Dr. 


855-503-7322 

www.scrabbleventures.com 

PG 7 

SCREENVISION 

1411 Broadway 33rd Fl. 

New York, NY 10018 

Darryl Schaffer 

212-497-0480 

www.screenvision.com 

BACK COVER 

SENSIBLE CINEMA SOFTWARE 

7216 Sutton Pl. 

Fairview, TN 37062 

Rusty Gordon 

615-799-6366 

rusty@sensiblecinema.com 

www.sensiblecinema.com 

PG 40 

USHIO AMERICA, INC. 

5440 Cerritos Ave. 


800-838-7446 

www.ushio.com 

PG 19 

VANTIV 

8500 Governors Hill Dr. 

Symmes Township, OH 45249 

866-622-2880 

www.vantiv.com 

PG 45 

The Al Lapidus/Variety Boys & Girls Club Scholarship Golf 

Classic will be held at the Anthem Country Club on Monday, 

March 24th, 2014. Don’t delay. Sign up for this great annual 

event today. Please contact Skip Stefansen at 818-324-1510 

or skip2745@aol.com with any questions you might have. 

www.cinemacon.com 


BUYING & SELLING 

MARQUEE LETTERS. Buying and selling. New 

and Used marquee letters all types. We buy old. 

We sell new. All styles. Trade in your old letters 

and get new letters. Turn those old letters into 

cash. Your source for new Pronto, Zip-Change, 

Snap Lok, Slotted. mike@pilut.com 800-545- 

8956 

DRIVE-IN CONSTRUCTION 

DRIVE-IN SCREEN TOWERS since 1945. Selby 

Products Inc., P.O. Box 267, Richfield, OH 

44286. Phone: 330-659-6631. 

EQUIPMENT WANTED 

ASTER AUDITORIUM SEATING & AUDIO. We 

offer the best pricing on good used projection 

and sound equipment. Large quantities available. 

Please visit our website, www.asterseating. 

com, or call 888-409-1414. 

AMERICAN ENTERTAINMENT PRODUCTS 

LLC is buying projectors, processors, amplifiers, 

speakers, seating, platters. If you are closing, 

remodeling or have excess equipment in 

your warehouse and want to turn equipment 

into cash, please call 866-653-2834 or email 

aep30@comcast.net. Need to move quickly to 

close a location and dismantle equipment? We 

come to you with trucks, crew and equipment, 

no job too small or too large. Call today for a 

quotation: 866-653-2834. Vintage equipment 

wanted also! Old speakers like Western Electric 

and Altec, horns, cabinets, woofers, etc., 

and any tube audio equipment. Call or email: 

aep30@comcast.net. 

COLLECTOR WANTS TO BUY: We pay top 

money for any 1920-1980 theater equipment. 

We’ll buy all theater-related equipment, working 

or dead. We remove and pick up anywhere in 

the U.S. or Canada. Amplifiers, speakers, horns, 

drivers, woofers, tubes, transformers; Western 

Electric, RCA, Altec, JBL, Jensen, Simplex and 

more. We’ll remove installed equipment if it’s 

in a closing location. We buy projection and 

equipment too. Call today: 773-339-9035; cinema-tech.com; 

email ILG821@aol.com. 

FOR SALE 

TWO USED BARCO 20C DIGITAL PROJEC- 

TORS WITH GDC SERVERS. Located in Roswell, 

NM. Purchased new and installed July 

2012. This 10 plex cinema opened September 

2012 with 2 Digital and ten 35 Film projectors, 2 

digital and 2 35 Film were installed side by side. 

Cinema converted February 2013 to 10 Sony 515 

digital projector VPF deal. The Barco’s for sale 

are still installed side by side with Sony’s. They 

can be run showing movies showing that they 

work perfectly. Also for sale installed with these 

Barco’s are 2 Master Image 3-D units, they also 

work very well. Each Barco-GDC-Master Image 

set cost $79,000.00 New. Please call Stetson 

Snell cell 505-615-2913 to to make an offer or to 

arrange to see the equipment operating. Sellers 

are MOTIVATED to sell, they understand this 

is now used equipment, all offers will be considered. 

Don’t miss out on this opportunity to 

purchase “working like new” these 2 used sets. 

BARCO 3D/DIGITAL EQUIPMENT FOR SALE: 

Purchase for $55K. Equipment list provided 

upon request. Contact seller at mschwartz@ 

pennprolaw.com. 

PREFERRED SEATING COMPANY, your 

source for new, used and refurbished theater 

and stadium seating. Buying and selling 

used seating is our specialty. Call toll-free 

866-922-0226 or visit our website www. 

preferred-seating.com. 

12 PLEX THEATER FOR SALE with stadium 

seating. 6 acres of Land. Selling at below land 

value. $2,000,000. Located in Huntsville AL, at 

the University Mall. Please call 407-948-6751. 

TWO CHRISTIE DIGITAL PROJECTORS 

CP2000SB, Two Dolby DSS100, Two Dolby 

Show Player, Two Christie Series 1 ACT & Four 

Dolby Filter Wheel and Projector Assembly. All 

in very good condition. Call 360-993-0010. 

HELP WANTED 

THEATRE MANAGEMENT POSITIONS AVAIL- 

ABLE Pacific Northwest Theatre Company. Previous 

management experience required. Work 

WE CLEAN THEATERS 

EXCLUSIVELY! 

From coast to coast for 35 YEARS. 

Let us give you our references. 

www.maintenancecooperative.com 

or call 770-503-1102 

weekends, evenings and holidays. Send resume 

and salary history to movietheatrejobs@gmail. 

com 

SERVICES 

DULL FLAT PICTURE? RESTORE YOUR XENON 

REFLECTORS! Ultraflat repolishes and recoats 

xenon reflectors. Many reflectors available for 

immediate exchange. (ORC, Strong, Christie, 

Xetron, others!) Ultraflat, 20306 Sherman Way, 

Winnetka, CA 91306; 818-884-0184. 

ALLSTATE SEATING specializes in refurbishing, 

complete painting, molded foam, tailor-made 

seat covers, installations and removals. Please 

call for pricing and spare parts for all types of 

theater seating. Boston, Mass.; 617-770-1112; fax: 

617-770-1140. 

CONSOLIDATED THEATRE SERVICES, LLC 

has a wide variety of theatre sound equipment 

available at competitive prices. Our extensive 

inventory includes amplifiers, processors, 

speakers and sound racks from makers such 

as JBL, Dolby, Ashly, Klipsch, Crown and more. 

You are welcome to call us at 305-908-1613 for 

further information. 

THEATER SPACE FOR LEASE 

AN 8,400 SQ. FT. SPACE containing two movie 

theaters is available for lease in Frankfort, KY, at 

a very reasonable lease rate. It would be perfect 

for the new concept of eating in the theater. 

The theaters are located in the middle of a major 

shopping center. The center owners would 

prefer an operating movie theater rather than 

convert the space into retail use. Contact Alexa 

at 859-221-9921 or email her at alexarkelley@ 

gmail.com for more information. 

THE APRIL ISSUE 

RESERVE BY MARCH 3 / MATERIALS BY MARCH 5 / ON SALE MARCH 17 

SUSAN UHRLASS / VP ADVERTISING / 310.876.9090 / SUSAN@BOXOFFICE.COM 


AVAILABLE 

NOW!

Boxoffice® Pro - February 2014

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