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JANUARY 2014

IS A

‘DO-NOTHING

CONGRESS’ A

DANGER TO

EXHIBITION?

MEET OUR

EXHIBITOR

OF THE YEAR

A LOOK AT THE HITS

OF SUNDANCE—

AND THE MISSES

WORLD BOX OFFICE

2013: THE COMPLETE

BREAKDOWN

PLUS

THE 2014

CAN CHRIS PINE

JUMP-START

A DORMANT

FRANCHISE?

THE PROSPECTS OF

JACK RYAN:

SHADOW RECRUIT

SUPERNATURAL

PROFITS

PARANORMAL

ACTIVITY

The Official Magazine of the National Association of Theatre Owners


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© 2013 Christie Digital Systems USA, Inc. All rights reserved.


JAN.

2014

VOL. 150 NO. 1

chris pine and kevin

costner in jack ryan:

shadow recruit

BOXOFFICE ® MEDIA

CHAIRMAN

Peter Cane

CEO

Julien Marcel

EXECUTIVE EDITOR /

CREATIVE DIRECTOR

Kenneth James Bacon

12 BOX OFFICE REPORT

THE GLOBAL TOP 25 BoxOffice looks at the biggest films

worldwide for 2013

16 FESTIVAL CIRCUIT

SUNDANCE BY THE NUMBERS As preparations mount for the latest

edition of the Sundance Film Festival, BoxOffice looks back at its

economic impact

18 GIANTS OF EXHIBITION

THE TOP 50 CIRCUITS Our annual listing of the exhibitors based on

screen count—who’s number one?

28 BIG PICTURE

SUPERNATURAL PROFITS Paramount unleashes two new Paranormal

Activity sequels in 2014, but is the record-breaking horror franchise a

ghost of its former self?

32 EXHIBITOR OF THE YEAR

MEET BILL CAMPBELL President, Orpheum Theatres

34 FILM FRANCHISE

THE SUM OF ALL FILMS Is it too late for Paramount to revive the Jack

Ryan franchise?

6 EXHIBITION BRIEFS

The latest news from the exhibition industry

10 EXECUTIVE SUITE

A “Do-Nothing Congress”: Good for exhibition now—but a danger in

the long term

36 COMING IN JANUARY

A summary of 12 films coming your way this month

40 BOOKING GUIDE

48 CLASSIFIEDS

BOXOFFICE ® PRO

INDUSTRY CONTRIBUTOR

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

ADVERTISING

VP OF ADVERTISING

Susan Uhrlass

9107 Wilshire Blvd., Ste. 450

Beverly Hills, CA 90210

susan@boxoffice.com

310-876-9090

CORPORATE

230 Park Ave., Ste. 1000

New York, NY 10169

212-922-9800 tel

866-902-7750 fax

2 BoxOffice ® Pro The Business of Movies JANUARY 2014


BoxOffice ® Crosses the Atlantic

n We’re starting off 2014 with some big news here at BoxOffice. Our parent company,

BoxOffice Media, LLC, has entered into a strategic partnership with CCG (Côte Ciné Group).

Based in Paris, CCG publishes Côté Cinéma®, France’s leading exhibition trade magazine, and

provides business information and other services to the French film industry.

CCG’s cofounder and CEO, Julien Marcel, will be taking over as CEO of BoxOffice Media

from our new headquarters in Los Angeles. In addition to his experience and success to date, Julien

has a great vision for the future of BoxOffice. I’m pleased and proud to be handing over the reins

to him.

I’ll remain chairman of the company based in our New York office, and I look forward to continuing

to work and play with my friends and colleagues in the film industry.

Our new partnership comes as BoxOffice begins its 94th year of continuous service to the

exhibition industry. We’ve kept you covered from talkies to digital, and the addition of Julien’s

leadership to our current U.S.-based team bodes very well indeed for the next 94 years.

BOXOFFICE.COM

Peter Cane

peter@boxoffice.com

A Message from NATO

n NATO has been engaged in thorough discussions with both Julien Marcel and Peter Cane

and we fully support the new ownership and management team at BoxOffice Media. With his

background in exhibition trade publishing in Europe, and his keen interest in the global unity

of the exhibition industry, Julien brings exciting energy and expertise to the enterprise. We have

valued tremendously our partnership with Peter and his current team, and are delighted that they

will remain involved going forward. Given all of those factors, NATO’s executive board of directors

voted unanimously to continue our sponsorship of BoxOffice® Pro as NATO’s official magazine.

We look forward to our expanded partnership as we bring vital information to the global exhibition

industry.

John Fithian

jf@natodc.com

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BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 1, January 2014. BOXOFFICE PRO is published monthly

by BoxOffice Media, LLC, 9107 Wilshire Blvd., Suite 450, Beverly Hills, CA 90210, USA, Phone (212) 922-9800, Fax

(866) 902-7750, www.boxoffice.com. Basic annual subscription rate is $59.95. Periodicals postage paid at Beverly

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2014. BoxOffice Media, LLC. All rights reserved. SUBSCRIPTION CUSTOMER SERVICE: BOXOFFICE PRO, P.O.

Box 16015, North Hollywood, CA 91615-6015, USA, Phone (818) 286-3108, Fax (800) 869-0040, bxpcs@magserv.

com, www.boxoffice.com. BoxOffice ® is a registered trademark of BoxOffice Media LLC.

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UPCOMING 3D MOVIES

2014

JAN 10 LIONSGATE/SUMMIT THE LEGEND OF HERCULES

JAN 17 OPEN ROAD THE NUT JOB

JAN 24 LIONSGATE I, FRANKENSTEIN

FEB 7 WARNER BROS. THE LEGO MOVIE

FEB 21 SONY / TRISTAR POMPEII

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 & RESCUE

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

4 BoxOffice ® Pro The Business of Movies JANUARY 2014


JUN 5 WARNER BROS./NEW LINE SAN ANDREAS

JUN 12 UNIVERSAL JURASSIC WORLD

JUN 19 DISNEY INSIDE OUT

JUN 19 FOX THE FANTASTIC FOUR

JUN 26 WARNER BROS. PAN

JUL 10 UNIVERSAL MINIONS

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 ANUBIS

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

JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 3

NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 4

JANUARY 2014 BoxOffice ® Pro The Business of Movies 5


EXHIBITION

BRIEFS

The cast of Merrily We

Roll Along, which will

be screened in theaters

nationwide now through

February 23.

FROM STAGE TO SCREEN

n SpectiCast will present the encore presentation

of Stephen Sondheim’s acclaimed revival

of Merrily We Roll Along from London’s West

End to American audiences nationwide now

through Sunday, February 23, 2014. Set over

three decades in the entertainment business,

Merrily We Roll Along charts the relationship

between three close friends, Franklin, Mary,

and Charley. Triple Olivier Award–winner Maria

Friedman makes her directorial debut with this

full-scale production. Traveling backward in

time, this story features some of Stephen Sondheim’s

most well-known songs including “Good

Thing Going,” “Not a Day Goes By,” and “Old

Friends.” Merrily We Roll Along was captured

during the production’s final performances at the

West End’s Harold Pinter Theatre.

SpectiCast is one of the fastest-growing

all-digital distribution companies in the world,

distributing film, cultural arts events, and

alternative-content programs to over 1,600

theatrical and nontheatrical venues in 24

countries on six continents. It markets and

distributes 2D and 3D programs using the

industry’s most advanced technologies. They

distribute programs from some of the world’s

most prestigious cultural arts organizations

including the Paris Opera, the Salzburg Festival,

the Paris Opera Ballet, the Mariinsky Theatre,

and the Philadelphia Orchestra. Their growing

slate of alternative-content and event cinema

includes classic and modern music events from

best-selling artists including Paul McCartney,

the Rolling Stones, Led Zeppelin, Pat Metheny,

Andre Rieu, and Jimi Hendrix, as well as worldclass

theater events including Great Expectations

from London’s Vaudeville Theatre, Stephen

Sondheim’s Company, and The Phantom of the

Opera from the Royal Albert Hall. SpectiCast

also distributes specialty film programs including

its “SpooktiCast” horror genre program,

the Women’s Edge Film Series, the Laugh Out

Loud Film Festival, and many other similar

programs. SpectiCast is based in Philadelphia.

MIX TAPE

n Located on the outskirts of Paris, Dubbing

Brothers is a postproduction center for adapting

major films into foreign languages. Its recently

renovated Dolby Atmos mixing stage is now

equipped with a Meyer Sound system, which

has supported the dubbing and remixing of

films including Escape Plan, Saving Mr. Banks,

and the Dolby Atmos mix of The Hobbit: The

Desolation of Smaug.

“When we decided to update our main 7.1

mixing room to Atmos, we wanted monitoring

of the highest quality,” says Mathieu Taieb, sales

director for Dubbing Brothers. “We knew other

major postproduction houses were using Meyer

Sound for Atmos, so we arranged a session to

listen to a Meyer Sound system. We were very

impressed with what we heard. The sound was

dynamic and precise, warm, and never aggressive.

Both bass and high frequencies exhibited

very high resolution.”

Supplied by Paris-based cinema audio

specialist 44.1, the loudspeaker system was

designed to Dolby Atmos specifications. It

includes three Acheron 80 screen channel

loudspeakers, four X-800C cinema subwoofers

in the front, two X-400C cinema subwoofers

in the rear, and four HMS-12 and 34 HMS-10

cinema surround loudspeakers.

“I enjoy mixing on the system immensely,”

says Taieb. “You can work all day on a

movie with very high dynamic levels, and

not feel tired or mugged by the sound. I’m

continually impressed with the precision and

clarity.”

Designed and supervised by Paul Henri

Wagner of 44.1, the complete technical

renovation of the room includes new wiring,

6 BoxOffice ® Pro The Business of Movies JANUARY 2014


EXHIBITION BRIEFS

a 244-channel/48-fader Avid System 5 mixing

console, and two Pro Tools HDX systems.

Founded in 1989 and headquartered in

Saint-Denis, just outside Paris, Dubbing Brothers

has satellite offices in the United States,

Germany, Italy, and Belgium.

SCREENING ROOM

n Harkness Screens has announced that it has

begun making its new passive 3D screen surface

Clarus 170 at its Asian facilities in India and

China.

Designed for use in large-format auditoria

(using two projectors) or in smaller to midsize

theaters where 3D systems using polarized light

are deployed, the Clarus 170 3D surface also

enhances conventional 2D presentation, enabling

DCI compliance with optimized theater

geometry.

“Clarus 170 has already proved an enormous

success,” says Richard Mitchell, worldwide

marketing manager of Harkness Screens. “To

date we’ve installed a significant number of

screens in Europe and this number is growing

daily. The screen’s unique characteristics mean a

richer, deeper, more immersive 3D experience

for consumers.”

According to Mitchell, Clarus provides a wide

viewing angle and significantly increases overall

brightness uniformity across the screen, reducing

visual hot-spotting while maintaining suitable

light on screen for 2D and 3D projection.

“With Clarus 170 3D surface, exhibitors are

able to benefit from more even light distribution

across the screen without the need to

radically alter equipment specification such

as lamp size or lamp power, which lower-gain

3D screens might require. On top of this, the

surface improves color accuracy and contrast,

giving a viewing experience significantly closer

to traditional 2D white screen presentation,”

Mitchell adds.

Specialist aluminum flake–based coating

applied to the base material provides high gain

characteristics, strong signal-to-noise ratios,

generous viewing angles, and optimum color

temperature. Harkness’s seam-welding process

ensures that these screens have no visible seams

under projection conditions.

SMALL SPACE, BIG SOUND

n QSC Audio Products announces three new

loudspeakers for smaller cinemas. All three

models were on display at CineAsia at the Hong

Kong Convention and Exhibition Centre in

December.

The new models include two passive fullrange,

two-way screen channel loudspeakers and

a compact, narrow-profile subwoofer. Optimized

for rooms up to 35 feet (11 meters) from

the screen to the last row of seating, the new

SC-1120 two-way screen channel loudspeaker

features a 12-inch low-frequency driver and

a 1.75-inch voice coil high-frequency driver.

The new SC-1150 two-way screen channel

loudspeaker is designed for rooms up to 45 feet

(14 meters) in length, featuring a single 15-inch

low-frequency driver and a 1.75-inch voice

coil high-frequency driver. Both systems are

fully passive, requiring only a single amplifier

channel per loudspeaker, and both use QSC’s

90-degree axisymmetric waveguide for wide,

even coverage. The new SB-1180 subwoofer

features a single 18-inch extended-bandwidth

low-frequency driver. All three enclosures are

11.7 inches (297 mm) deep, minimizing space

requirements behind the screen.

“It’s a fact that small cinemas simply don’t

require the same output capabilities from their

loudspeakers that larger cinemas require,” says

Barry Ferrell, senior vice president and chief

strategy officer for QSC Audio Products. “But

until now, cinema operators have been forced

to compromise—either by spending too much

on a loudspeaker system that’s too large for

the room, or settling for a small, inexpensive

system that sacrifices both output and sound

quality. The new small-room systems from QSC

solve that dilemma for cost-conscious cinema

operators.”

WALL OF SOUND

n Dolby Laboratories and Grupo Cinemex

have announced that Cinemex will install the

Dolby Atmos cinema sound platform in 20

theaters.

“Dolby Atmos is a major differentiator for

Cinemex audiences. It provides greater definition

and dimension to movies with its unique

object-based approach to sound,” says Rolando

Maggi, infrastructure director, Grupo Cinemex.

“With this achievement, we reinforce our mission

to be the best in entertaining people by offering

state-of the-art technology and exceptional

facilities, as well as providing our clients with

new and innovative concepts for a convenient

and enjoyable moviegoing experience.”

The addition of Dolby Atmos is one part

of the CinemeXtremo concept, which the

company says offers a more realistic and extreme

experience with its giant screens, 100 percent

digital-cinema-projection capabilities, and

ergonomic seats. The Cinemex expansion will

also feature Christie Vive Audio, the world’s first

audio system to be powered by Christie’s innovative

wall-and ceiling-surround speakers, with

their unique ribbon-driver technology.

“Dolby’s introduction of the world’s

first object-based cinema sound

platform marks a giant step forward

in the evolution of movie storytelling,”

says Doug Darrow, senior

vice president, cinema, Dolby Laboratories.

“We are proud to have

pioneered an approach to sound

that delivers a sense of being in the

moment alongside your favorite

film characters.”

ON THE MOVE

n Chuck Goldwater (below) has been promoted

to executive vice president of Digital Cinema

Destinations Corp. Goldwater has been a member

of Digiplex’s board of directors since early

2012 and was appointed senior vice president of

the company in January 2013.

Goldwater’s previous posts include seven

years at Cinedigm as president of its Media

Services Group. Prior to his tenure at Cinedigm

he was chief executive officer of Digital

Cinema Initiatives, LLC (DCI), a joint venture

of the seven leading Hollywood studios that

established technical specifications and initial

business planning for the worldwide implementation

of digital cinema. Goldwater has

also held positions at USA Cinemas, National

Amusements, and Loews Theatres, and he

served as president and CEO of Mann Theatres

and president at Clearview Cinemas. In 2012 he

was inducted into the ShowEast Hall of Fame.

Digiplex Chairman and CEO Bud Mayo

says, “Since joining Digiplex’s board less than

two years ago and our executive team in early

2013, Chuck has been instrumental in helping

guide our organization through its early years

of rapid growth and operational success. Given

his tremendous wealth of cinema-industry

experience, Chuck has been a key asset to our

corporate management, as well as to our teams

at the local theater level. With the company’s

goal of ongoing expansion plans, we expect to

continue relying on Chuck’s exhibition-industry

expertise and his unique base of knowledge, especially

on the digital-cinema-deployment and

alternative-programming fronts,” Mayo adds.

Chuck Goldwater

Executive Vice President

Digital Cinema Destinations Corp.

8 BoxOffice ® Pro The Business of Movies JANUARY 2014


EXECUTIVE

SUITE

A “Do-Nothing Congress”:

GOOD FOR EXHIBITION

NOW—BUT A DANGER IN

THE LONG TERM

by John Fithian,

President and CEO, NATO

n On January 3, 1975, I stood with my father

on the floor of the United States House of Representatives

as he was sworn in to office for the

first time. A former university history professor,

he taught me to respect our nation’s Congress

as a great legislative body and a pillar of a free

democracy. He also insisted that we respect the

president and the office he held. Despite their

affiliation with different political parties, my

Democratic father and a Republican president,

Gerald R. Ford, became friends and worked

together on several important policy initiatives.

It was a difficult period in our nation’s history.

The Watergate scandal and the resignation

of President Nixon in August 1974 further

soured the mood of a country already torn by

the debate over Vietnam. Some politicians took

advantage of that mood to emphasize partisan

goals and divisions. Most, however, got to work

doing the nation’s business. Despite the fact

that one party held the presidency and the other

party controlled Congress, 205 public bills were

enacted into law in 1975, and another 383 bills

became law in 1976.

In one manner or another, I have been a student

of our government ever since that day in

1975. In high school I spent many hours sitting

in the family gallery of the House of Representatives,

fascinated by the debate. I majored

in government in college, studied legislative

process in law school, and went on to work at

the most influential lobbying firm in Washington,

D.C. C-SPAN is as important to me as are

CNN and ESPN.

I do not come lightly, therefore, to a somber

assessment of our current government in

Washington. But it depresses me to note that

the Congress of 2013–2014 so far has been,

and will likely continue to be, the most partisan

and least productive of my lifetime. And this

113th Congress comes on the heels of the 112th

Congress (2011–2012), which had already set

the lowest bar for legislative productivity since

World War II.

Consider the legislative record of the past

three years. In 2011, 90 bills became law. The

first year of any two-year Congress typically produces

fewer final measures than the second (or

even) year does. Legislation often takes many

months to wind through the process of introduction,

hearing discussion, committee debate

and vote, floor consideration, reconciliation of

the two bodies, and signature by the president.

Nonetheless, 90 laws is a dismal record. The

average number of bills passed during odd years

from 1947 through 2011 was 242 bills per year,

and in only one year other than 2011 was the

number of bills passed less than 100. In the

odd year of 2013, the first year of the 113th

Congress, the number of enacted bills stands

at 56, with but two weeks to go in the session

at the time this column was written. In other

words, 2013 looks to be the least productive

first session of Congress in modern history.

Nor is it likely that 2014 will make up for

2013, if the previous Congress is any indication.

In 2012, the second session of the 112th Congress,

193 bills became law. That number seems

impressive compared to 2011 or 2013, but not

when compared with other second sessions in

other even years. In every even year since 1948

other than 2012, more than 200 bills have

passed, and the average over that span is 397. In

other words, the 112th Congress was the least

productive since the Second World War, and the

113th Congress looks like it will be even worse.

What has the current Congress accomplished?

Well, the Violence Against Women Act

was renewed after some lengthy debate, but that

legislation has been very bipartisan and an easy

sell in previous years. Legislation was passed to

keep the government’s helium reserves open.

And legislators did finally come to an agreement

on how to fund the government, but only after

more than two weeks of embarrassing shutdown

during the month of October. Among the

actions taken in one chamber but not the other,

the House of Representatives has voted more

than 40 times to repeal the Affordable Care Act,

even though that repeal effort stands absolutely

no chance of passing the Senate.

What has the current Congress failed to do?

Just about everything else. Important immigration

reform remains stalled, despite bipartisan

support from left-leaning human rights groups

and right-leaning big businesses. Minor gun

proposals went nowhere even after several

high-profile acts of gun violence ripped through

the country’s psyche and despite the fact that

the leading proposal (expanded background

checks) had the support of 85 percent of the

nation. A time-sensitive farm bill, which typically

finds support from both parties, seems stuck

in the partisan morass over a debate about food

stamps. And bigger, more important initiatives,

such as long-overdue reforms of the tax code

and the nation’s entitlement programs, stand a

10 BoxOffice ® Pro The Business of Movies JANUARY 2014


snowball’s chance in hell of getting off the starting blocks.

Why has this happened? Well, everyone deserves some blame. The

House Republicans lack any sense of unity, as factional politics driven

by the relatively small Tea Party Caucus prevent the party’s more centrist

leadership from compromising on anything. I believe that House Speaker

John Boehner is a good man who could, under normal circumstances,

find common ground with the Senate Democratic leadership and President

Obama. But the historic and inflexible grassroots movement of the

Tea Party, combined with the radicalizing effects of redistricting, has made

that impossible. Speaker Boehner has been embarrassed several times with

losses on the floor of the House.

The Democrats haven’t helped. President Obama hasn’t blocked Congress

with the veto, which he has only employed twice, but on a broader

scale he has failed to translate his electoral mandate into an effective partnership

with Congress. Though he has tried to woo Republicans lately,

those efforts have come too late. The divide between the parties widened

early in the president’s first term when the Democrats lost patience for

a bipartisan reform of health care and pushed through a partisan result

instead. And as the Tea Party has pulled the Republicans in Congress to

the right, liberal interest groups have responded by pulling the Democrats

to the left. And this divide leaves the reduced number of moderates in

Congress in serious danger of losing re-election.

The good news for exhibitors, of course, is that a “do-nothing” Congress

has done nothing to hurt our industry. Proposals for new gun laws,

as mentioned earlier, could easily serve as a legislative vehicle for restrictions

on violent entertainment. Indeed, the White House specifically

cautioned the MPAA, NATO, and other entertainment leaders about the

likely nexus between the two. But with no real movement on gun legislation,

our industry has not been subjected to damaging legislation either.

Proposals to raise the federal minimum wage have gone nowhere in

Congress yet, despite action in state legislatures and on ballot initiatives.

And despite a national outcry about the rising health impact of obesity,

restrictive proposals on food and beverages have shown no traction in

Congress, even while the states, cities, and federal agencies have moved

forward.

Indeed NATO’s main concern is the policymaking of the administrative,

not the legislative, branch of the government. Menu labeling rules are

imminent from the Food and Drug Administration, while disabilities-access

rules related to captioning and description requirements are pending

action at the Department of Justice. In many ways, the lobbying of

agencies presents greater challenges than attempts to influence Congress,

where grass roots have greater sway.

On balance it is easier to represent an industry like exhibition when

the Congress does very little, because we play defense more often than offense.

In the long term, however, a dysfunctional Congress will be bad for

democracy, and bad for the nation’s economy. The value of the American

dollar, for example, will not remain dominant in global currency markets

if the Congress continues to threaten the full faith and credit of the

government every time the debt limit comes into play. Questions about

government shutdowns threaten economic contracts on a wide scale. And

consumers spend less when they doubt the ability of the government to

carry through on its promises.

Beyond those pains of inaction, there is important work the Congress

must do to protect our economy. The tax code is broken and so are federal

entitlement programs. Yet the Republicans really don’t want to mess with

relatively low taxes by global standards, and the Democrats refuse to

consider any real reforms to their cherished entitlements. Without hard

work to produce serious legislative reform on those two subjects, the

country will not escape sustained budget deficits, as the changing nature

of business and the aging of the population will run the country into the

ground. Simply put, a broken Congress may make it easier for defensive

lobbying groups on discrete issues, but it can cause much greater damage

in the long run.

Let’s hope for restored sanity in Washington in our lifetimes.

JANUARY 2014 BoxOffice ® Pro The Business of Movies 11


BOX OFFICE

REPORT

THE GLOBAL

TOP 25

BoxOffice takes a look at the

25 biggest films of 2013.

By Daniel Loria

1 IRON MAN 3

Disney

Budget: $275M

Global: $1.214B

Overseas: $805.7M

Domestic: $409M

The biggest blockbuster of the year was

the only film of 2013 to cross the $1 billion

mark. The third installment in the Iron Man

franchise posted a considerable improvement

over its predecessors, Iron Man

($585 million worldwide) and Iron Man 2

($622 million worldwide). The box office

bump follows the massive success of

Marvel’s The Avengers, the 2012 juggernaut

that collected $1.514 billion from the

global box office. Iron Man 3 soared above

the competition with a $121.2 million tally

from China, its most important overseas

market. There seems to be no stopping

Robert Downey Jr. & Co. with these superhero

movies, especially considering that

the $409.1 million the film collected from

North America only represents a third of

its global total.

Top Five Overseas Territories:

China

South Korea

United Kingdom

Mexico

Brazil

2 DESPICABLE ME 2

Universal

Budget: $140M

Global: $918.3M

Overseas: $551.3M

Domestic: $366.9M

$121.2M

$64.0M

$57.0M

$48.5M

$48.3M

The Minions took over the world in 2013.

The animated sequel became the most

profitable film of all time for Universal

and its second-highest release in history

behind Jurassic Park’s $960 million. The

film nearly doubled the $543 million global

total of the original and is set to surpass

Shrek 2 to become the fourth-biggest

animated film of all time. Universal might

have expected a hit ahead of the film’s release,

but no one imagined that the fledgling

franchise would easily defeat competing

films with built-in pre-awareness or

loftier box office credentials. Despicable

Me 2 will have a shot at the $1 billion mark

with a January release in China.

Top Five Overseas Territories:

United Kingdom

Mexico

Germany

France

Brazil

3 FAST & FURIOUS 6

Universal

Budget: $220M

Global: $788M

Overseas: $549.3M

Domestic: $238.6M

$72.1M

$47.7M

$38.2M

$36.4M

$35.6M

Fast 6 sped out of the gate by becoming

Universal’s biggest U.S., overseas, and

global opener of all time. The film hardly

slowed down from its hot start and went

on to hit $788 million worldwide, a franchise

record. Fast 6 is one of only three

films to have crossed the $500 million

mark overseas in 2013.

Top Five Overseas Territories:

China

United Kingdom

Mexico

Russia

Germany

4 MONSTERS UNIVERSITY

Disney

Budget: $270M

Global: $738.8M

Overseas: $470.4M

Domestic: $268.4M

$65.6M

$38.3M

$36.0M

$33.9M

$30.0M

It took Disney Pixar over a decade to

follow up the success of Monsters, Inc.

Audiences didn’t forget about Mike and

Sulley in the 12 years between Monsters,

Inc. and Monsters University, as the Pixar

prequel became Disney’s second-biggest

hit of the year behind Iron Man 3. Monsters

University wasn’t a runaway hit in China,

but an unexpected $89.2 million run in

Japan helped launch the film to big numbers

overseas. Argentina, not known as a

traditionally powerful territory, contributed

a strong $23.6 million to the film’s box

office total.

Top Five Overseas Territories:

Japan

United Kingdom

Mexico

China

Argentina

$89.2M

$46.7M

$37.2M

$33.7M

$23.6M

5 THE HUNGER GAMES: CATCHING FIRE

Lionsgate

Budget: $185M

Global: $673.4M

Overseas: $336.7M

Domestic: $336.7M

The best-selling young-adult novels enjoyed

a blockbuster transition to the big

screen in last year’s The Hunger Games.

The first film of the newly minted franchise

grossed $686.5 million worldwide, a figure

that the sequel is close to surpassing. The

Hunger Games: Catching Fire is still in

release around the world and could possibly

overtake Monsters University for the

number four spot by year’s end.

Top Five Overseas Territories:

United Kingdom

Germany

China

Australia

Russia

6 MAN OF STEEL

Warner Bros.

Budget: $300M

Global: $662.8M

Overseas: $371.8M

Domestic: $291.0M

$42.9M

$30.7M

$27.1M

$25.7M

$22.0M

Superman’s return to the big screen

was a significant improvement over the

franchise’s previous iteration, Superman

Returns, which only grossed $391 million

worldwide. The key factor in the improvement

was the overseas market, where Man

of Steel nearly doubled the cume of its

predecessor. China led the charge outside

of North America with a $63.4 million contribution

to the Caped Crusader’s latest

cinematic effort. Man of Steel’s box office

results were optimistic enough to revalue

the DC brand. The studio is currently

developing a new film featuring Superman,

Batman, and Wonder Woman.

Top Five Overseas Territories:

China

United Kingdom

Australia

Mexico

France

7 GRAVITY

Warner Bros.

Budget: $145M

Global: $631.5M

Overseas: $380.0M

Domestic: $251.5M

$63.4M

$46.5M

$22.5M

$21.3M

$20.3M

12 BoxOffice ® Pro The Business of Movies JANUARY 2014


One of the year’s most pleasant box office

surprises came with this critically lauded

sci-fi epic from Mexican director Alfonso

Cuarón. Gravity reinforces a new blockbuster

formula that was pioneered by Ang

Lee’s Life of Pi ($611.7 million worldwide),

offering audiences a visual spectacle from

a celebrated auteur that maximizes the

potential of IMAX and 3D. Gravity has

already outgrossed Life of Pi around the

world and is likely to finish its global run

above $650 million.

crossed the $400 million mark overseas in

its first outing. Will a sequel produce the

same blockbuster results of Despicable

Me 2?

Top Five Overseas Territories:

China

United Kingdom

Russia

Mexico

Australia

$63.6M

$41.8M

$28.5M

$27.4M

$25.0M

home and abroad for Disney, opening the

possibility for an even-greater return if

the sequel can boost its overseas performance.

Top Five Overseas Territories:

Russia

China

United Kingdom

Japan

Australia

$27.3M

$25.9M

$23.1M

$18.6M

$15.8M

Top Five Overseas Territories:

China

France

United Kingdom

South Korea

Russia

$64.6M

$46.6M

$39.1M

$28.8M

$21.2M

10 WORLD WAR Z

Paramount

Budget: $260M

Global: $539.5M

12 STAR TREK INTO DARKNESS

Paramount

Budget: $250M

Global: $466.9M

8 THOR: THE DARK WORLD

Disney

Budget: $235M

Global: $610.3M

Overseas: $416.7M

Domestic: $193.6M

Marvel’s The Avengers helped push Iron

Man 3 beyond the $1 billion mark, and

the influence of 2012’s top grosser can

also be seen in the box office bump for

Thor: The Dark World. The original Thor

grossed $446 million worldwide, a figure

that Thor: The Dark World surpassed in

a matter of weeks. The sequel breezed

past the $400 million mark overseas and

will be hoping to reach the $500 million

milestone by the end of the month.

Overseas audiences became the catalyst

of this box office surge after the Thor

sequel surpassed the lifetime cume of

most major markets within the first three

weeks of release.

Top Five Overseas Territories:

China

Russia

United Kingdom

Brazil

Mexico

9 THE CROODS

Fox

Budget: $195M

Global: $589.8M

Overseas: $402.6M

Domestic: $187.1M

$51.3M

$36.2M

$31.4M

$27.2M

$23.5M

A new animated franchise was born with

the release of The Croods. The prehistoric

animated feature might have gotten away

with some Ice Age nostalgia from overseas

viewers, but The Croods was able to stand

on its own and deliver a $589.8 million

global cume—the highest of the year for a

nonfranchise animated feature. The Croods

Overseas: $337.2M

Domestic: $202.3M

Many industry insiders speculated that

World War Z would be the box office

fiasco of the year following a turbulent

production, escalating budget, and

costly reshoots stemming from structural

changes to the film’s third act. A Vanity

Fair profile documenting the troubled

project all but buried the film in a

wave of negative press before the film’s

release, and Paramount and exhibitors

braced for what could have been a costly

flop. The result? One of the ten highest-grossing

films at the global box office

with $539.5 million to its name—even

without a Chinese release. Executives

breathed a sigh of relief and exhibitors

weren’t disappointed as Brad Pitt saved

the world from flesh-eating monsters,

stopping only to enjoy a conspicuously

placed can of Pepsi near the end of the

film. The scariest parts of World War Z

might have occurred behind the scenes,

but don’t be surprised to see a (scaleddown)

sequel in the coming years after

the film’s big box office turnout around

the world.

Top Five Overseas Territories:

South Korea

Russia

Mexico

United Kingdom

France

$33.7M

$24.7M

$23.3M

$22.2M

$21.1M

11 OZ: THE GREAT AND POWERFUL

Disney

Budget: $280M

Global: $493.2M

Overseas: $258.3M

Domestic: $234.9M

That Wizard of Oz property is still extremely

valuable for Disney, and the studio

should be commended for rolling out the

right type of vehicle to reboot the classic

film into a modern franchise. Oz: The Great

and Powerful was a balanced success at

Overseas: $238.2M

Domestic: $228.7M

Paramount made it a priority to improve

upon the $127.2 million grossed overseas

by the previous installment of the

Star Trek franchise. The sequel’s release

dates around the world were spread out

throughout the summer as the studio positioned

the film strategically according

to each region’s release windows. The

result was an 87 percent improvement in

the overseas tally with a $238.2 million

cume outside of North America for Star

Trek Into Darkness. The franchise took

a hit when J.J. Abrams jumped ship to

helm Disney’s upcoming Star Wars films,

but Star Trek Into Darkness showed there

is still long-term potential for the Paramount

property.

Top Five Overseas Territories:

China

United Kingdom

Germany

Australia

South Korea

13 THE WOLVERINE

Fox

Budget: $170M

Global: $417M

Overseas: $284.4M

Domestic: $132.5M

$56.9M

$39.5M

$20.7M

$15.8M

$11.4M

Hugh Jackman returned to the role that

made him a star in the sequel to the superhero

spin-off X-Men Origins: Wolverine.

The first spin-off failed to win over fans of

the franchise despite grossing $373 million

worldwide. The Wolverine was unable

to capture significant numbers in North

America, however, and the $132.5 million

gross hindered the sequel’s potential for a

half-million global cume. The X-Men franchise

will go back to focusing on ensemble

pictures with X-Men: Days of Future Past

on May 23, 2014, and X-Men: Apocalypse

on May 27, 2016.

JANUARY 2014 BoxOffice ® Pro The Business of Movies 13


BOX OFFICE REPORT

Top Five Overseas Territories:

China

Russia

Brazil

United Kingdom

France

14 PACIFIC RIM

Warner Bros.

Budget: $230M

Global: $407.6M

Overseas: $305.8M

Domestic: $101.8M

$40.5M

$22.2M

$21.7M

$21.0M

$17.5M

A disappointment in North America,

Pacific Rim was single-handedly saved

overseas by China. Guillermo del Toro’s

high-concept tentpole grossed $119.9

million in China, over $10 million more than

its North American cume and more than a

quarter of the film’s global total. Asia alone

represented nearly half of the film’s overseas

total. A blockbuster like Pacific Rim

is a perfect example of how the overseas

box office, led by China’s surging market,

can turn a flop into a hit by year’s end.

Though not yet greenlit, director Guillermo

del Toro is writing a sequel.

Top Five Overseas Territories:

China

Russia

South Korea

Mexico

Japan

15 G.I. JOE: RETALIATION

Warner Bros.

Budget: $190M

Global: $372.5M

Overseas: $250M

Domestic: $122.5M

$119.1M

$20.6M

$18.1M

$16.0M

$15.1M

Originally slated for 2012, G.I. Joe:

Retaliation was pushed to 2013 in order

to accommodate reshoots and a 3D

conversion. The decision proved to be

fortuitous outside of North America, as

a spring 2013 release sidestepped the

previous year’s packed summer slate

and led to a $100 million improvement

above its predecessor’s overseas total.

Additional star power from new cast

additions Dwayne “The Rock” Johnson

and Bruce Willis helped the sequel reach

a bigger audience overseas. A third film

is in the works with Jon M. Chu planning

a return to the director’s chair.

Top Five Overseas Territories:

China

Russia

Mexico

South Korea

United Kingdom

$53.8M

$15.0M

$14.1M

$12.9M

$11.4M

16 THE HANGOVER PART III

Warner Bros.

Budget: $155M

Global: $350.5M

Overseas: $238.3M

Domestic: $112.2M

The first Hangover sequel was critically

panned upon release in 2011 despite

drawing enough crowds to amass a

$581.4 million global cume. The sequel’s

poor reception affected business for the

final entry in The Hangover trilogy; The

Hangover Part III fell $230 million short

of its predecessor’s mark. The $350 million

global cume came in large part from

strong support overseas after the film

only made 44 percent of the business

generated by The Hangover Part II in

North America. Despite the setbacks, The

Hangover Part III finished the year as the

number one comedy in the world, even

though it scored a lowly 19 percent at

review aggregator Rotten Tomatoes.

Top Five Overseas Territories:

Germany

United Kingdom

Australia

Russia

Brazil

17 THE GREAT GATSBY

Warner Bros.

Budget: $160M

Global: $348.8M

Overseas: $204M

Domestic: $144.8M

$31.0M

$29.3M

$19.7M

$17.3M

$16.5M

Baz Luhrmann recovered from Australia

with his 3D adaptation of F. Scott Fitzgerald’s

celebrated novel. The Australian

director’s home country showed the

most enthusiasm for the film, leading the

overseas markets with a $25.8 million

tally. (The government of Australia contributed

financially to the making of the

film with tax subsidies.) The story hit a

chord in Russia where, aided by Leonardo

DiCaprio’s star power, The Great

Gatsby earned $17.6 million. The Great

Gatsby illustrates the potential of a wellknown

literary adaptation under the helm

of an established director and the talent

such a project can attract. In an industry

dominated by special effects bonanzas,

Luhrmann’s Gatsby suggests that dramas

can work in 3D and retain their box office

viability.

Top Five Overseas Territories:

Australia

United Kingdom

Russia

Germany

France

$25.8M

$23.9M

$17.6M

$15.7M

$13.5M

18 NOW YOU SEE ME

Lionsgate

Budget: $105M

Global: $348.4M

Overseas: $230.6M

Domestic: $117.7M

One of the biggest box office surprises of

the year began its run by humiliating M.

Night Shyamalan’s After Earth in a head-tohead

face-off in North America. Now You

See Me would continue to thrive around the

world, carving its own niche in a summer

full of higher-profile and better-publicized

releases. The film was one of the biggest

hits of the year in France, where it earned

$25.6 million. China and Russia each contributed

grosses above $20 million to the

film’s $230.6 million overseas tally.

Top Five Overseas Territories:

France

China

Russia

South Korea

United Kingdom

19 THE SMURFS 2

Sony

Budget: $170M

Global: $347.5M

Overseas: $276.5M

Domestic: $71M

$25.6M

$22.9M

$21.2M

$17.0M

$16.7M

The Smurfs posted a $563 million global

outing in 2011, with over $400 million of

that figure coming from overseas sales.

The sequel is therefore best analyzed

when looking at its overseas numbers

rather than the paltry $71 million it grossed

in North America—about half of its predecessor’s

total in the market. The Smurfs 2

couldn’t replicate the success of the original,

however, ending its overseas run with

a $276.5 million total. The film still proved

to be profitable in what ultimately became

a difficult summer for Sony.

Top Five Overseas Territories:

Germany

China

France

United Kingdom

Brazil

20 THE CONJURING

Warner Bros.

Budget: $50M

Global: $316.6M

Overseas: $179.3M

Domestic: $137.3M

$23.1M

$21.8M

$19.7M

$18.8M

$14.5M

14 BoxOffice ® Pro The Business of Movies JANUARY 2014


It’s always a surprise when a $50 million

film does this well. The Conjuring became

the low-budget gem of the year after

crossing the $300 million mark at the

global box office. The film became the

highest-grossing film of all time in Mexico,

its biggest overseas market with $19 million.

Director James Wan has built himself

a successful reputation as this generation’s

horror auteur after developing similarly

successful franchises with the Saw and

Insidious films. Universal is hoping to have

another profitable Wan release after handing

him the keys to Fast & Furious 7.

Top Five Overseas Territories:

Mexico

United Kingdom

South Korea

Russia

France

21 A GOOD DAY TO DIE HARD

Fox

Budget: $135M

Global: $305.9M

Overseas: $238.6M

Domestic: $67.3M

$19.0M

$16.0M

$15.2M

$10.0M

$9.9M

The latest installment in the Die Hard

franchise barely made an impact in North

America. A Good Day to Die Hard posted

the lowest performance for the John

McClane franchise in North America, only

making half the money of its predecessor,

Live Free or Die Hard. The film’s overseas

performance is a different story altogether.

Bruce Willis is as popular as ever outside

of North America in the role that made

him a star. A Good Day to Die Hard made

77 percent of its $305.9 million global

cume overseas, with China’s $31.6 million

contribution leading the charge. A Good

Day to Die Hard is far from being the box

office flop many analysts predicted after

its lackluster North American debut.

Top Five Overseas Territories:

China

Japan

United Kingdom

France

Germany

22 OBLIVION

Universal

Budget: $165M

Global: $286.4M

Overseas: $197.2M

Domestic: $89.1M

$31.6M

$21.6M

$16.6M

$15.5M

$15.5M

Tom Cruise’s return to sci-fi heralded

flashbacks of the critical and financial

success of Steven Spielberg’s Minority

Report. The 2002 film had wowed

critics and audiences alike on its way to a

$358.3 million global cume. Expectations

were high when TRON: Legacy director

Joseph Kosinski signed to direct Cruise

in Oblivion, but the film never fulfilled its

true blockbuster potential. A $286.1 million

global cume is nevertheless a moderate

success for Universal, considering the film

underperformed in North America with a

mere $89.1 million. Cruise’s star has faded

stateside since his last hit, Mission: Impossible—Ghost

Protocol. The actor’s previous

release, Jack Reacher, also failed to reach

the $100 million mark in North America.

Name alone won’t be enough to bring

audiences to the next Tom Cruise flick, a

crucial factor as the marketing ramps up

for 2014’s Edge of Tomorrow.

Top Five Overseas Territories:

China

Russia

United Kingdom

Japan

France

23 ELYSIUM

Sony

Budget: $155M

Global: $286.1M

Overseas: $193M

Domestic: $93M

$23.7M

$18.9M

$16.3M

$13.3M

$11.3M

Neill Blomkamp’s District 9 impressed in

2009 with a $208.1 million global take

from a moderate $63 million budget. The

director was given a shot at a big-budget

summer tentpole with Sony’s Elysium. Matt

Damon and Jodie Foster provided the necessary

star power, but the film wasn’t able

to jump the $100 million hurdle in North

America. The film’s overseas performance

was on par with Oblivion, and the $286.1

million global cume represented a comfortable

profit for Sony’s difficult summer.

Top Five Overseas Territories:

China

Russia

United Kingdom

France

Australia

24 TURBO

Universal

Budget: $165M

Global: $283.4M

Overseas: $200.4M

Domestic: $83M

$25.6M

$15.8M

$14.0M

$13.6M

$10.8M

The animated slate for 2013 proved to be

very competitive with a number of established

franchises and hopeful newcomers

vying for an audience. Turbo made the cut

for inclusion into the year’s top 25 after

crossing the $200 million mark overseas. A

late opening in France gave the film little

competition in its genre and allowed Turbo

to amass $22.1 million in box office.

Top Five Overseas Territories:

France

United Kingdom

China

Russia

Australia

25 WE’RE THE MILLERS

Warner Bros.

Budget: $70M

Global: $269.1M

Overseas: $118.8M

Domestic: $150.3M

$22.1M

$18.2M

$18.1M

$13.9M

$12.1M

We’re the Millers was one of the few new

comedies to have thrived both at home

and abroad. The ensemble comedy delivered

raunchy laughs around the world to

the tune of $269.1 million. The film played

particularly well in Russia, where an $18

million cume led the rest of the overseas

markets.

Top Five Overseas Territories:

Russia

United Kingdom

Germany

Australia

Italy

$18.0M

$13.3M

$12.4M

$8.9M

$5.8M

BREAKDOWN OF THE TOP 25

WORLDWIDE HITS OF 2013

China

United Kingdom

Russia

Mexico

France

South Korea

Australia

Germany

Brazil

Japan

Argentina

Italy

TOTAL

$930.4M

$716.1M

$384.4M

$314.0M

$273.1M

$201.1M

$182.1M

$171.6M

$163.8M

$157.8M

$23.6M

$5.8M

$3,523.8B

The numbers on this report represent grosses as of

December 9, 2013. The budget numbers provided in

this story are a combination of production-budget

figures and estimated domestic P&A costs.

JANUARY 2014 BoxOffice ® Pro The Business of Movies 15


FESTIVAL

CIRCUIT

Joseph Gordon-Levitt

and Scarlett Johansson

starred in the Sundance

hit Don Jon

As preparations mount for the

latest edition of the Sundance

Film Festival, BoxOffice looks

back at its economic impact

SUNDANCE

BY THE NUMBERS

by Daniel Loria

THE HITS

n The highest-grossing film from Sundance

2013 was only a moderate success for distributor

Relativity. Don Jon, Joseph Gordon-Levitt’s

directorial debut, screened in the festival’s

Premieres section as one of the most highly

anticipated films in Park City. Relativity bought

distribution rights for the film at around $4 million,

reportedly committing an additional $20

million in marketing to accommodate a wider

release for the indie.

An R-rated romantic comedy about porn

addiction, Don Jon was never going to be an

easy sell to mainstream audiences, even with the

star power of Joseph Gordon-Levitt and Scarlett

Johansson. The $24.3 million haul can’t be

considered disappointing for a film that comes

out of Sundance, but it doesn’t reflect the film’s

potential. Relativity had to be expecting more

from Don Jon but will be happy to walk away

from establishing a working relationship with a

talented star without losing any money.

If Don Jon can be criticized for not being

profitable enough, the opposite has to be said

about the second-highest grossing film from

Sundance 2013. Mud competed for the Palme

d’Or at the 2012 Cannes Film Festival but

walked away without the top honor and, more

problematically, without securing distribution in

North America. Lionsgate and Roadside Attractions

eventually bought the film in August 2012,

ahead of its selection as one of the Spotlight

screenings of Sundance 2013.

Positive festival reviews helped Mud collect a

$2.2 million bow from 363 locations in its limited-release

debut. Word of mouth spread, slowly

but surely, as the film expanded to more theaters

across North America. Lionsgate and Roadside

positioned Mud as a theatrical/VOD hybrid,

following the blueprint success that the strategy

had brought them in their previous releases,

Margin Call and Arbitrage. A $21.5 million

theatrical haul is therefore a great number when

compared with the $7.9 million grossed by Arbitrage

and Margin Call’s $5.3 million final tally.

Celine and Jesse returned for a third time in

Richard Linklater’s Before Midnight. The couple

graced screens at Sundance’s Premieres section

and buzz quickly began to spread, calling it the

strongest in Linklater’s trilogy. Before Midnight

succeeded theatrically as well, grossing a series-best

$8.1 million for Sony Pictures Classics.

Fox Searchlight also acquired a hit after

paying slightly under $10 million for the rights

to The Way, Way Back. The comedy garnered

strong buzz as a Sundance premiere and went on

to post a $525K bow from only 19 theaters in

its theatrical debut. The Way, Way Back doubled

Searchlight’s investment at the box office, recording

a $21.5 million gross.

The revelation of Sundance 2013 was the

film then known simply as Fruitvale. The drama

inspired a bidding war among the top distributors

in attendance at Sundance, only to have the

Weinstein Company emerge as the winner after

a reported $2.5 million bid. Fruitvale left Sundance

with the Grand Jury Prize and was retitled

Fruitvale Station for a summer release. The film

became an art-house hit thanks to the festival

buzz and strong word of mouth, collecting $16

million from its theatrical run.

The Spectacular Now joined Fruitvale as the

only other film from the main competition to

make significant business at the box office. New

distribution outfit A24 continued its busy acquisition

streak at Sundance 2013, scooping up the

rights to the romantic comedy and scheduling it

for a late-summer release. The Spectacular Now

became a moderate hit in limited release with a

$6.8 million gross.

THE DOCUMENTARIES

n Sundance is known to feature some of

the strongest documentaries of the year, and

2013 was no exception. Documentaries have

traditionally been difficult to market theatrically,

with a very small number of them hitting

six-digit figures, let alone millions. The strength

of the 2013 documentary crop at Sundance was

reflected by more than a handful of standouts at

the box office.

The Weinstein Company’s RADiUS label

picked up two hits in Twenty Feet from Stardom

and Inequality for All. The discrepancy in box

office among documentary releases tends to

be highlighted by the rare films that make

it into wide release. This year’s top-grossing

documentary, One Direction: This is Us, led the

category with $28.8 million. Second place went

16 BoxOffice ® Pro The Business of Movies JANUARY 2014


to Sundance favorite Twenty Feet from Stardom,

a fascinating look into the world of back-up

singers, which posted a strong $4.7 million

take from limited release. Inequality for All, the

second RADiUS-TWC acquisition from the

festival, took in a surprising $1.1 million—not

bad for a documentary that focuses on the views

of former labor secretary and UC Berkeley

professor Robert Reich.

Blackfish caused a stir at the festival and was

quickly nabbed for distribution. CNN Films

and Magnolia teamed up for the rights to the

documentary that explores the dangers of putting

killer whales in captivity. The documentary

was released over the summer with a shortened

theatrical window in order to accommodate a

broadcast premiere on the cable network. Blackfish

took $2 million from its theatrical run.

The Gatekeepers and Stories We Tell both

screened as Spotlight selections at Park City with

North American distribution already in place.

The Gatekeepers benefitted from a 2012 Academy

Award nomination in its $2.4 million theatrical

run. Stories We Tell, Sarah Polley’s personal family

documentary, grossed $1.6 million.

Film

Domestic gross

Don Jon $24,309,029

Mud $21,590,086

The Way, Way Back $21,502,690

Jobs $16,131,410

Fruitvale Station $16,098,998

Before Midnight $8,114,627

The Spectacular Now $6,852,971

Twenty Feet from Stardom $4,779,037

In a World... $2,963,902

The Gatekeepers $2,415,727

The East $2,274,649

Austenland $2,140,812

Blackfish $2,073,582

Fill the Void $1,775,316

Stoker $1,703,125

Stories We Tell $1,600,145

The Kings of Summer $1,315,500

Inequality for All $1,179,741

Kill Your Darlings $827,141

Muscle Shoals $640,635

The Inevitable Defeat of Mister and Pete $494,608

Upstream Color $450,618

Sound City $421,187

Ain't Them Bodies Saints $391,611

Dirty Wars $371,245

Lovelace $356,582

Adore $318,982

Linsanity $293,287

The Summit $230,969

Prince Avalanche $205,139

THE FLOPS

n Jobs was one of the most highly anticipated

films to hit Sundance 2013. The biopic

starring Ashton Kutcher didn’t live up to

expectations as the closing-night film in the

festival’s Premieres section. Mixed reviews

quickly seeped in and the film never recovered

from the negative buzz. Apple products might

rule the market, but a $16.1 million cume for

the Steve Jobs biopic is very underwhelming.

If Jobs was a disappointment, Kill Your

Darlings has to be considered a total flop.

The film centers around a crucial time in the

early lives of important figures of the Beat

movement. Kill Your Darlings featured a

lead performance by Hogwarts alum Daniel

Radcliffe, but even he couldn’t muster a spell

to turn a profit for the period piece. The film

crashed out of theaters without hitting the $1

million mark and settled for an $827K from

limited release.

Lovelace was one of the hot properties to

screen in the Premieres section, and RADi-

US-TWC didn’t wait long to add it to its

slate. The film attracted an all-star cast led by

Amanda Seyfried and featuring supporting

performances from Hank Azaria, Adam Brody,

Bobby Cannavale, James Franco, Chloë Sevigny,

Sharon Stone, and Juno Temple. Poor reviews,

however, hampered expectations for the

biopic about adult entertainment icon Linda

Lovelace. Like Kill Your Darlings, Lovelace was

based on true events but couldn’t find a way

to engage audiences. Lovelace finished its commercial

run with a disastrous $356K total.

It’s always hard for a bad indie to make

good money. It is therefore understandable

that the films mentioned above struggled to

find an audience upon their theatrical release.

The same cannot be said, however, about

David Lowery’s Ain’t Them Bodies Saints, one

of the most acclaimed films coming out of

competition at Sundance 2013. IFC took the

rights amid high hopes for the Texas-set drama

starring Rooney Mara and Casey Affleck.

Most of the festival buzz had evaporated by

its mid-August release, however, and Ain’t

Them Bodies Saints never found the support it

deserved. The film finished its theatrical run

with a disappointing $391K gross.

THE 2013 SUNDANCE SCORECARD

Film

Domestic gross

Crystal Fairy $192,441

Afternoon Delight $174,496

Escape from Tomorrow $171,962

Cutie and the Boxer $170,449

We Steal Secrets: The Story of WikiLeaks $166,243

Mother of George $160,337

American Promise $108,735

Computer Chess $101,718

Blue Caprice $92,336

We Are What We Are $81,381

Narco Cultura $80,407

After Tiller $70,614

Pandora's Promise $66,680

C.O.G. $55,301

The Square $52,954

Concussion $42,606

God Loves Uganda $41,598

Sightseers $41,039

Touchy Feely $36,128

Big Sur $35,072

Running from Crazy $33,300

I Used to Be Darker $22,214

V/H/S/2 $21,833

Fire in the Blood $18,278

The Look of Love $16,119

Il Futuro $14,001

Charlie Countryman $11,650

Hell Baby $8,785

A Teacher $8,348

SOURCE: BOXOFFICE.COM

JANUARY 2014 BoxOffice ® Pro The Business of Movies 17


OF EXHIBITION

Exhibitors ranked by domestic screen

count as of December 12, 2013. Data

supplied by NATO and the individual

circuits. The figures do not include

acquisitions that were not finalized at

press time. Giants of Exhibition will be

updated each month at BoxOffice.com.

Corrections and adjustments should be

sent to ken@boxoffice.com

1

REGAL

ENTERTAINMENT

GROUP

LAST YEAR SCREENS SITES

1 7,382 579

7132 Regal Lane

Knoxville, TN 37918

Tel: 865-922-1123

Fax: 865-922-3188

www.regmovies.com

EXECUTIVE ROSTER

Amy E. Miles, CEO

Gregory W. Dunn, Pres. & COO

Peter B. Brandow, Exec. VP, Sec. & Gen. Csl.

David Ownby, Exec. VP, CFO & Treasurer

Corey Coggin, Sr. VP/Finance

Ted Cooper, Sr. VP/Film

Todd Boruff, Sr. VP/Real Estate

Rob Del Moro, Sr. VP & CPO

Dave Doyle, Sr. VP & CIO

Bob Engel, Sr. VP/Film Finance

Ronald Kooch, Sr. VP/Const.

Ray Nutt, Sr. VP/Bus. Rels.

Neal Pinsker, Sr. VP/Ops.

Randy Smith, Chief Admin. Off. & Csl.

Ken Thewes, Sr. VP & CMO

YEAR FOUNDED 1989

SCREENS LAST YEAR 6,607

SITES LAST YEAR 521

THEATER EMPLOYEES 23,672

CORPORATE EMPLOYEES 511

LOCATIONS 42 states & DC, Guam, Saipan,

American Samoa: AK, AL, AR, AZ, CA, CO, CT,

DE, FL, GA, HI, ID, IL, IN, KS, KY, LA, MA, MD,

ME, MI, MN, MO, MS, MT, NC, NE, NH, NJ,

NM, NV, NY, OH, OK, OR, PA, SC, TN, TX, VA,

WA, WV

2 AMC

ENTERTAINMENT

LAST YEAR SCREENS SITES

2 4,988 344

920 Main St.Kansas City, MO 64105

Tel: 816-221-4000

Fax: 816-480-4617

www.amcentertainment.com

EXECUTIVE ROSTER

Gerardo “Gerry” I. Lopez, CEO & Pres.

Craig R. Ramsey, Exec. VP & CFO

John D. McDonald, Exec. VP/Ops.

Mark A. McDonald, Exec. VP/Dvlp.

Elizabeth Frank, Exec. VP & Chief Content &

Programming Off.

Robert J. Lenihan, Pres./Programming

Christina Sternberg, Sr. VP/Corp. Strategy

Kevin M. Connor, Sr. VP, Gen. Csl. & Sec.

Keith P. Wiedenkeller, Sr. VP & Chief People

Off.

Stephen Colanero, Chief Mktg. Off.

Michael Czinege, CIO

YEAR FOUNDED 1920

SCREENS LAST YEAR 4,804

SITES LAST YEAR 332

THEATER EMPLOYEES 16,600

CORPORATE EMPLOYEES 400

LOCATIONS 33 States & DC: AL, AR, AZ, CA, CO,

CT, FL, GA, IA, IL, IN, KS, KY, LA, MA, MD, MI,

MN, MO, NC, NE, NJ, NV, NY, OH, OK, PA, SC,

TX, UT, VA, WA, WI

3

CINEMARK USA

LAST YEAR SCREENS SITES

3 4,400 330

3900 Dallas Pkwy., Ste. 500

Plano, TX 75093

Tel: 972-665-1000

Fax: 972-665-1004

www.cinemark.com

EXECUTIVE ROSTER

Lee Roy Mitchell, Chairman

Tim Warner, CEO & Pres.

Tandy Mitchell, Exec. VP & Asst. Sec.

Valmir Fernandes, Pres./Cinemark Intl.

Robert Copple, Exec. CFO & Asst. Sec.

Mike Cavalier, Sr. VP, Gen. Counsel & Sec.

Tom Owens, Sr. VP/Real Estate

Rob Carmony, Sr. VP/New Technologies

Walter Hebert, Sr. VP/Purchasing

Don Harton, VP/Construction

James Meredith, VP/Mktg. & Comm.

Steve Zuehlke, VP/Ops.

Steve Bunnell, VP/Film Licensing

YEAR FOUNDED 1984

WORLDWIDE SCREENS 5,453

WORLDWIDE SITES 468

WORLDWIDE SCREENS LAST YEAR 5,096

WORLDWIDE SITES LAST YEAR 448

THEATER EMPLOYEES (U.S.) 8,100

CORPORATE EMPLOYEES 250

LOCATIONS 39 States: AK, AR, AZ, CA, CO, DE,

FL, GA, IA, IL, IN, KS, KY, LA, MA, MD, MI,

MN, MO, MS, MT, NC, NJ, NM, NV, NY, OH,

OK, OR, PA, SC, SD, TN, TX, UT, VA, WA, WV,

WI; Argentina; Brazil; Chile; Colombia; Costa

Rica; Ecuador; El Salvador; Guatemala; Honduras;

Mexico; Nicaragua; Panama; Peru; Taiwan

4 CARMIKE

CINEMAS

LAST YEAR SCREENS SITES

4 2,418 247

1301 First Ave.

Columbus, GA 31901

Tel: 706-576-3400

Fax: 706-576-3433

www.carmike.com

EXECUTIVE ROSTER

S. David Passman III, Pres. & CEO

18 BoxOffice ® Pro The Business of Movies JANUARY 2014


Fred W. Van Noy, Sr. VP/Ops. & COO

Richard B. Hare, Sr. VP/Fin. & CFO

Daniel E. Ellis, Sr. VP, Gen. Counsel & Sec.

Rob Lehman, Sr. VP/Beverage & Food

Jeffrey A. Cole, Asst. VP/Controller

YEAR FOUNDED 1982

SCREENS LAST YEAR 2,242

SITES LAST YEAR 232

LOCATIONS 35 states: AL, AR, CO, DE, FL, GA,

IA, ID, IL, IN, KS, KY, MI, MN, MO, MT, NC,

ND, NE, NM, NY, OH, OK, OR, PA, SC, SD, TN,

TX, UT, VA, WA, WI, WV, WY

5 CINEPLEX

ENTERTAINMENT

LAST YEAR SCREENS SITES

5 1,635 161

1303 Yonge St.

Toronto, ON M4T 2Y9

CANADA

Tel: 416-323-6600

Fax: 416-323-6683

www.cineplex.com

EXECUTIVE ROSTER

Ellis Jacob, Pres. & CEO

Dan McGrath, COO

Gord Nelson, CFO

Jeff Kent, CTO

Michael McCartney, Exec. VP/Film

Programming

Michael Kennedy, Exec. VP/Filmed Ent.

Salah Bachir, Pres./Cineplex Media

Susan Mandryk, Sr. VP/Cust. Strategies

Heather Briant, Sr. VP/HR

George Sautter, Sr. VP/Merch. & Strategic

Planning

Anne Fitzgerald, Chief Legal Officer

Thomas Santram, VP/Legal

Pat Marshall, VP/Comm. & IR

Bill Tishler, VP/Design & Const.

Brad LaDouceur, VP/Alt. Programming

Susan Campbell, VP/Finance

Monica Duhatschek, VP/Planning & Bus. Dvlp.

Rick Klama, VP/Interactive Media

Paul Nonis, Sr. VP/Natl. Ops.

Daniel Seguin, VP/Ops. of Eastern Canada &

GM/Quebec

Kevin Watts, VP/Ops.

Ian Shaw, VP/Purchasing

Fab Stanghieri, Sr. VP/Real Estate &

Construction

Richard Wood, VP/Lease Administration

Robert Brown, VP/Cineplex Media

Scott Hughes, VP/Infrastructure & POS

Decio Silva, VP/Software Solutions

Jason Fulsom, VP/Film

John Tsirlis, VP/Sales, Cineplex Media

Sarah Lewthwaite, VP/Mktg.

Darren Solomon, VP/Entertainment Content

Scott Behnke, VP/Risk Mgmt.

Steve Harris, VP & GM/Cineplex Digital

Solutions

Lori Legault, Sr. VP/Sales, Cineplex Media

Malcolm Clark, VP/Digital Commerce

YEAR FOUNDED 2003

SCREENS LAST YEAR 1,437

SITES LAST YEAR 133

EMPLOYEES 10,000

LOCATIONS 6 provinces: Alberta, British Columbia,

Manitoba, Ontario, Quebec, Saskatchewan

6 MARCUS

THEATRES

LAST YEAR SCREENS SITES

7 685 55

100 E. Wisconsin Ave.

Milwaukee, WI 53202

Tel: 414-905-1000

Fax: 414-905-2189

www.marcustheatres.com

EXECUTIVE ROSTER

Steve H. Marcus, Chairman/The Marcus

Corporation

Gregory S. Marcus, Pres. & CEO/The Marcus

Corporation

Rolando B. Rodriguez Pres & CEO/Marcus

Theatres Corporation

Mark Gramz, Exec. VP

Jeff Tomachek, Exec. VP

Samuel “Sonny” Gourley, Sr. VP/Film

Rick Neals, VP/Film

Bob Menefee, VP/Concessions

Kim Lueck, Chief Info. Tech. Off.

YEAR FOUNDED 1935

SCREENS LAST YEAR 687

SITES LAST YEAR 55

EMPLOYEES 2,800

LOCATIONS 7 states: IL, IA, MN, ND, NE, OH, WI

7 HARKINS

THEATRES

LAST YEAR SCREENS SITES

11 440 31

7511 E. Mcdonald Dr.

Scottsdale, AZ 85250

Tel: 480-627-7777

Fax: 480-443-0950

www.harkinstheatres.com

EXECUTIVE ROSTER

Dan Harkins, Owner & CEO

Mike Bowers, Pres. & COO

Greta Newell, CFO

Racheal Wilson, Sr. VP

Tyler Cooper, VP

Kirk Griffin, Dir./Engineering

Barry Bruno, Head Film Buyer

Bryan Laurel, Dir./Mktg.

Gina Thompson, Dir./HR

Aron Barr, Dir./IT

Fred DiNapoli, Dir./Facilities

Richard Lustiger, Legal Counsel

YEAR FOUNDED 1933

SCREENS LAST YEAR 428

SITES LAST YEAR 30

THEATER EMPLOYEES 1,800

CORPORATE EMPLOYEES 68

LOCATIONS 5 states: AZ, CA, CO, OK, TX

Bryan Laurel, BryanLaurel@harkins.com

8 SOUTHERN

THEATRES

LAST YEAR SCREENS SITES

15 433 36

305 Barrone St., Ste. 900

New Orleans, LA 70112

Tel: 504-297-1133

Fax: 504-297-1138

www.thegrandtheatre.com

EXECUTIVE ROSTER

George Solomon, CEO

Ronald Krueger II, COO

James Wood, CFO

Douglas Whitford, Film Buyer

YEAR FOUNDED 2002

SCREENS LAST YEAR 301

SITES LAST YEAR 21

THEATER EMPLOYEES 1,100

CORPORATE EMPLOYEES 28

LOCATIONS 9 states: AL, FL, GA, KY, LA, MS, NC,

SC, TX

9 NATIONAL

AMUSEMENTS

LAST YEAR SCREENS SITES

9 423 32

846 University Ave.

Norwood, MA 02062

Tel: 781-461-1600

Fax: 781-322-0218

www.nationalamusements.com

www.showcasecinemas.com

EXECUTIVE ROSTER

Shari E. Redstone, Pres.

Thaddeus Jankowski, Sr. VP & Gen. Csl.

George Levitt, Sr. VP/Film Booking

Richard Sherman, Sr. VP/Fin. & Admin.

John Bilsborough, Sr. VP/Ops. Intl.

Amber Stepper, VP/Mktg. & Adv.

Bill LeClair, VP/Concessions

Joe Mollo, VP/MIS

William J. Moscarelli, VP/Real Estate

Elaine Purdy, VP/U.S. Mktg.

Mark Walukevich, VP/Film Intl.

Steve Horton, VP/Ops. Domestic

Duncan Short, VP/Ops. Intl.

Patricia Reeser, VP & Deputy Gen. Csl.

Shawn Sullivan, VP/Legal & Bus. Affairs

John Zawalich, VP/Sales & Bus. Dvlp.

Mike Kszystyniak, VP/Fin.

YEAR FOUNDED 1936

WORLDWIDE SCREENS 960

JANUARY 2014 BoxOffice ® Pro The Business of Movies 19


GIANTS OF EXHIBITION

WORLDWIDE SITES 77

SCREENS LAST YEAR 437

SITES LAST YEAR 32

THEATER EMPLOYEES 4,800 (U.S. 2,800; Intl.

2,000)

CORPORATE EMPLOYEES more than 150

LOCATIONS 6 states: CT, MA, NJ, NY, OH, RI;

Argentina; Brazil; England; Scotland; Wales

10

BOW TIE

CINEMAS

LAST YEAR SCREENS SITES

32 388 59

641 Danbury Rd.

Ridgefield, CT 06877

Tel: 203-659-2600

Fax: 203-659-2601

www.bowtiecinemas.com

EXECUTIVE ROSTER

Charles B. Moss, Owner

Ben Moss, Owner

Joseph Masher, COO

Ike Rivera, VP Operations

Robert Schmiedel, VP Controller

Jenifer Pellegrino, VP Human Resources

John Connelly, VP Information Technologies

Nesa Hassanein, VP Real Estate

Steve Ventor, Dir. Ops. – New York

Ted Lazor, Dir. Ops. – New Jersey

Tonya Priest, Reg. Mgr. – Connecticut

Dan Herrle, Reg. Mgr. – Mid Atlantic

Hank Lightstone, President, Film Group

Denis Foley, Senior Film Buyer

John Molson, Senior Film Buyer

Tatiana Alafouzo, Film Analyst

YEAR FOUNDED 1900

SCREENS LAST YEAR 177

SITES LAST YEAR 21

THEATER EMPLOYEES 1300

CORPORATE EMPLOYEES 25

LOCATIONS 6 states: CO, CT, MD, NJ, NY, VA

11 LANDMARK

CINEMAS

CANADA

LAST YEAR SCREENS SITES

46 359 54

14505 Bannister Rd. SE, Ste. 100

Calgary, AB T2X 3J3

CANADA

Tel: 403-262-4255

Fax: 403-266-1529

www.landmarkcinemas.com

EXECUTIVE ROSTER

Brian F. McIntosh, Pres.

Neil H. Campbell, COO

Damien Cheng, CFO

Kevin Norman, VP/Film Ent.

Nathan Cooney, VP Operations

Fran Holy, VP Marketing & Communications

Sherry Chappell, VP Administration

James Mason, Dir., Food Services

Mike Charbonneau, Dir. Creative Services &

Interactive

Alan Lui, Dir., Distributor Relations

Don Langkaas Manager, Advertising & Special

Programs

Drew Campbell, Dir. Guest Strategy & Services

YEAR FOUNDED 1965

SCREENS LAST YEAR 125

SITES LAST YEAR 31

THEATER EMPLOYEES 1500

CORPORATE EMPLOYEES 50

LOCATIONS 6 provinces: Alberta, British Columbia,

Manitoba, Saskatchewan, Ontario, Yukon

12 MALCO

THEATRES INC.

LAST YEAR SCREENS SITES

12 348 32

5851 Ridgeway Center Pkwy.

Memphis, TN 38120

Tel: 901-761-3480

Fax: 901-681-2044

www.malco.com

EXECUTIVE ROSTER

Stephen Lightman, Chair, Pres. & CEO

Robert Levy, Executive VP

James Tashie, Executive VP

David Tashie, Sr. VP Ops. & Construction

Robert Harrington, VP CFO

Larry Etter, Sr. VP Food Services

Jeff Kaufman, Sr. VP Film & Film Marketing

James Lloyd, VP

Mike Thomson, VP

Wes Lunsford, VP Digital Ops.

Don Burchett, VP Western Area Region

Donald Terry, VP Memphis Area Region

Alan Denton, VP Corporate Comm. & Human

Resources

Karen Scott, Dir. of Mktg.

Mallory Lightman, Mktg. & Design Coord.

Jeff Martin, Film Dept. Assist.

Nathan McDaniel, Eastern Area Regional Mgr.

Kiran Hanumaiah, Dir. of Info. Tech.

Jimmy Beckford, Dir. of Digital Ops.

Scott Barden, Regional Dir. of Digital Ops.

John Tashie, Website Admin.

YEAR FOUNDED 1915

SCREENS LAST YEAR 323

SITES LAST YEAR 30

LOCATIONS 5 states: AR, KY, MO, MS, TN

13 STARPLEX

CINEMAS INC.

LAST YEAR SCREENS SITES

22 344 33

12750 Merit Dr., Suite 800

Dallas, TX 75251

Tel: 214-692-6494, 877-884-6494

Fax: 214-692-8982

www.starplexcinemas.com

EXECUTIVE ROSTER

Steve Holmes, CEO & Pres.

Tammy Flores, Film Buyer

A.J. Roquevert, Film Buyer

Elle Beith, Dir./HR

YEAR FOUNDED 1995

SCREENS LAST YEAR 235

SITES LAST YEAR 22

THEATER EMPLOYEES 787

CORPORATE EMPLOYEES 36

LOCATIONS 11 states: CA, OH, IL, IN, NJ, OK,

TX, WA, KS, MO, NE

14 GEORGIA

THEATRE

COMPANY

LAST YEAR SCREENS SITES

13 326 32

50 Cinema Ln.

St. Simons Island, GA 31522

Tel: 912-634-5192

Fax: 912-634-5195

www.georgiatheatrecompany.com

EXECUTIVE ROSTER

William J. Stembler, CEO & Pres.

Jeff Mobley, COO

Bo Chambliss, Exec. VP & Gen. Csl.

C.F. Kip Smiley, VP/Film

Dennis Merton, VP/Finance

Joan Mannheim, Treasurer

YEAR FOUNDED 1991

SCREENS LAST YEAR 310

SITES LAST YEAR 31

THEATER EMPLOYEES 600

CORPORATE EMPLOYEES 9

LOCATIONS 4 states: GA, FL, SC, VA

15 FRANK

THEATRES

LAST YEAR SCREENS SITES

16 282 25

1003 W. Indiantown Rd., Ste. 210

Jupiter, Florida 33458

Tel: 561-776-4747

Fax: 561-776-2340

www.franktheatres.com

EXECUTIVE ROSTER

Al Frank, Emeritus

Bruce Frank, Pres. & CEO

Rob Reynolds, COO & CFO

20 BoxOffice ® Pro The Business of Movies JANUARY 2014


GIANTS OF EXHIBITION

Joyce Frank, Sr. VP

Deborah Frank, Sr. VP

Larry Collins, Exec. VP/Film

YEAR FOUNDED 1921

SCREENS LAST YEAR 282

SITES LAST YEAR 25

THEATER EMPLOYEES 800

CORPORATE EMPLOYEES 15

LOCATIONS 7 states: FL, GA, NJ, NC, PA, SC, WV

16 LANDMARK

THEATRES

LAST YEAR SCREENS SITES

24 278 58

2222 S. Barrington Ave.

Los Angeles, CA 90064

Tel: 310-473-6701

Fax: 310-312-2364

www.landmarktheatres.com

EXECUTIVE ROSTER

Ted Mundorff, CEO & Pres.

Schuyler Hansen, CFO

Jason Sachs, CAO

Mike McClellan, SVP & Head Film Buyer

Michael Fant, SVP/Real Estate & Development

Chuck Delagrange, VP/Theater Ops.

Bryan Linnington, VP/Tech.

Marilyn Joslyn, Dir./Creative & Mktg.

YEAR FOUNDED 1974

SCREENS LAST YEAR 227

SITES LAST YEAR 50

THEATER EMPLOYEES 1,192

CORPORATE EMPLOYEES 70

LOCATIONS 17 states & DC: AZ, CA, CO, GA, IL,

IN, MA, MD, MI, MN, MO, NY, OK, PA, TX,

WA, WI

17 GOODRICH

QUALITY

THEATRES

LAST YEAR SCREENS SITES

17 277 30

4417 Broadmoor SE

Grand Rapids, MI 49512

Tel: 616-698-7733

Fax: 616-698-7220

www.gqti.com

EXECUTIVE ROSTER

Robert E. Goodrich, Pres.

Ross Pettinga, CFO

Martin Betz, COO

Wanda Holst, Film Buyer & Office Mgr.

Kelly Nash, Mktg. Mgr. & Creative Dir.

Brian Nuffer, Director of Concessions

Darren Pitcher, CIO

YEAR FOUNDED 1930

SCREENS LAST YEAR 277

SITES LAST YEAR 30

THEATER EMPLOYEES 1,150

CORPORATE EMPLOYEES 35

LOCATIONS 4 states: IL, IN, MI, MO

18 PREMIERE

CINEMA CORP.

LAST YEAR SCREENS SITES

18 254 22

109 W. Fourth St.

Big Spring, TX 79720

Tel: 432-267-6450

Fax: 432-267-9609

www.pccmovies.com

EXECUTIVE ROSTER

Gary Moore, Pres. & CEO

Joel Davis, VP & COO

Martin Watson, Special Ops.

Debra Calobreves, CFO & Treasurer

Tim Patton, Booking

Rick Slaughter, Booking

Michelle Tubb, HR

Larry Delaney, CTO

Rich Klorres, Dir./Bldg. Srvcs.

Kristi Davis, Internet Mktg.

Brian Tietlebaum, Webmaster

Vince Bienek, Dir./IT

YEAR FOUNDED 1985

SCREENS LAST YEAR 252

SITES LAST YEAR 22

LOCATIONS 4 states: AL, FL, TX, NM

19

DIGITAL CINEMA

DESTINATIONS

CORP. (DBA DIGIPLEX)

LAST YEAR SCREENS SITES

33 253 26

250 E. Broad St.

Westfield, NJ 07090

Tel: 908-396-1360

Fax: 908-396-1361

www.digiplexdest.com

EXECUTIVE ROSTER

A. Dale “Bud” Mayo, Chairman & CEO

Chuck Goldwater, Exec. VP

Brian Pflug, CFO

Jeff Butkovsky, CTO

Warren Colodner, Gen. Counsel

John Halecky, Chief Mktg. Officer

Dean Gentile, VP/Ops.

Doreen Sayegh, VP/Alt. Programming

Brett Marks, Dir./Development

Jill Solomon, Dir./In-Theater Marketing

Jody Grayson, Dir./Admin.

Tim Keefner, Dir./Field Ops.

YEAR FOUNDED 2010

SCREENS LAST YEAR 162

SITES LAST YEAR 19

THEATER EMPLOYEES 500+

CORPORATE EMPLOYEES 18

LOCATIONS 9 states: AZ, CA, CT, FL, MD, NH,

NJ, OH, PA

20

B&B THEATRES

LAST YEAR SCREENS SITES

22 237 33

P.O. Box 129

Liberty, MO 64069

Tel: 816-407-7469

www.bbtheatres.com

EXECUTIVE ROSTER

Robert E. Bagby, Pres. & Owner

Elmer Bills, Chairman & Owner

Bobbie Bagby, VP/Mktg.

Michael Hagan, VP/Finance

Dan VanOrden, Circuit GM

Dennis McIntire, Dir./Ste. Planning

Brittanie Bagby, Dir./Business Affairs

Jesse Baker, Dir./Design and Brand Mgmt.

Brock Bagby, Director of Programming & Bus.

Dev.

Jerry Dittmer, Financial Analyst

Tyler Rice, Circuit Operations Mgr.

Brad Bills, Film Buyer

YEAR FOUNDED 1924

SCREENS LAST YEAR 233

SITES LAST YEAR 32

THEATER EMPLOYEES 1,100

CORPORATE EMPLOYEES 23

LOCATIONS 5 states: FL, KS, MO, OK, TX

21 READING

CINEMAS USA

LAST YEAR SCREENS SITES

21 236 22

6100 Center Dr., Ste. 900

Los Angeles, CA 90045

Tel: 213-235-2240

Fax: 213-235-2229

www.readingrdi.com

EXECUTIVE ROSTER

James J. Cotter, Chairman & CEO

Margaret Cotter, Pres.

Robert F. Smerling, Pres./Domestic Cinemas

YEAR FOUNDED 2002

TOTAL SCREENS 236

TOTAL SITES 22

LOCATIONS 6 states: CA, HI, NJ, NY, TX, VA;

Australia and New Zealand

22

COBB THEATRES

LAST YEAR SCREENS SITES

19 235 20

2000B South Bridge Pkwy., Ste. 100

Birmingham, AL 35209

Tel: 205-802-7766

Fax: 205-802-7771

www.cobbtheatres.com

22 BoxOffice ® Pro The Business of Movies JANUARY 2014


EXECUTIVE ROSTER

Robert M. Cobb, Pres. & CEO

Jeremy P. Welman, COO

Ricky Thomas, CFO

Jeff Cobb, VP/Real Estate

Freddie Dobbs, VP/Construction

Loretta Thomas, VP/Purchasing

Guy Austin, Dir./Theater Ops.

Fred Meyers, Dir./Cinebistro Ops.

Jennifer Gossett, Dir./HR

Eddie Messick, Dir./IT Ops.

YEAR FOUNDED 2000

SCREENS LAST YEAR 253

SITES LAST YEAR 21

THEATER EMPLOYEES 1,200

CORPORATE EMPLOYEES 18

LOCATIONS 5 states: AL, CO, FL, GA, VA

23 WEHRENBERG

THEATRES

LAST YEAR SCREENS SITES

26 210 15

12800 Manchester Rd.

St. Louis, MO 63131

Tel: 314-822-4520

Fax: 314-822-8032

www.wehrenberg.com

EXECUTIVE ROSTER

Ronald P. Krueger, Chairman & CEO

OMNITERM-7.5x5 Dec10.pdf 1 13-12-10 10:55 AM

William E. Menke, Exec. VP & COO

Jeff Brands, CFO

Robert A. Weiss, VP/Film

Kelly Hoskins, VP/Mktg.

Brett Havlik, Dir./Concessions

YEAR FOUNDED 1906

SCREENS LAST YEAR 210

SITES LAST YEAR 15

THEATER EMPLOYEES 1,000

CORPORATE EMPLOYEES 40

LOCATIONS 4 states: IA, IL, MN, MO

24 REGENCY

THEATRES INC.

LAST YEAR SCREENS SITES

25 196 29

26901 Agoura Rd., Ste. 260

Calabasas, CA 91301

Tel: 818-224-3825

Fax: 818-224-2173

www.regencymovies.com

EXECUTIVE ROSTER

Lyndon Golin, Pres.

Andrew Golin, VP

Monica Golin, CFO

Jim Ferguson, Controller

Sally Panteleon, Box Office & Purchasing

Specialist

Angie Haziza, Mktg. Mgr.

Heidi Garcia, Mktg. & Ops. Admin. Mgr.

Terry Otis, Dir. of Concessions

Veronica Moreno, Director of Ops.

Dwight Morgan, Ops.

Andrew Gualtieri, Ops.

Larry Porricelli, Ops.

YEAR FOUNDED 1996

SCREENS LAST YEAR 197

SITES LAST YEAR 30

LOCATIONS 2 states: CA, NV

TIE

25

LARRY H. MILLER

MEGAPLEX

THEATRES

LAST YEAR SCREENS SITES

30 178 17

301 W. South Temple

Salt Lake City, UT 84101

Tel: 801-304-4505

Fax: 801-325-2768

www.megaplextheatres.com

EXECUTIVE ROSTER

Blake Andersen, Sr. VP

Greg Miller, CEO

YEAR FOUNDED 1999

SCREENS LAST YEAR 178

SITES LAST YEAR 17

EMPLOYEES 1,400

LOCATIONS 2 states: NV, UT

JANUARY 2014 BoxOffice ® Pro The Business of Movies 23


GIANTS OF EXHIBITION

TIE

25 DICKINSON

THEATRES

LAST YEAR SCREENS SITES

30 178 16

6801 W. 107th St.

Overland Park, KS 66212

Tel: 913-432-2334

Fax: 913-432-9507

www.dtmovies.com

EXECUTIVE ROSTER

Ron Horton, Pres. & CEO

Ed Carl, COO & Head Film Buyer

Bruce Whittman, CFO

Tom Woolery, VP/Ops.

Kevin White, VP/Purch., Maint. & Conc.

YEAR FOUNDED 1920

SCREENS LAST YEAR 210

SITES LAST YEAR 18

THEATER EMPLOYEES 500

CORPORATE EMPLOYEES 12

LOCATIONS 7 states: AZ, AR, KS, MO, NE, OK, TX

27 MARQUEE

CINEMAS

LAST YEAR SCREENS SITES

28 173 18

552 Ragland Rd.

Beckley, WV 25801

Tel: 304-255-4036

Fax: 304-252-0526

www.marqueecinemas.com

EXECUTIVE ROSTER

Curtis E. McCall, Chairman, Pres. & CEO

James M. Cox, VP & Construction/Dvlp.

Cindy Ramsden, CFO

Harry L. Newman, Dir./Ops.

Robin P. Shumate, Dir./Mktg.

Rob Thomspon, Ops.

John Mitchell, Ops.

YEAR FOUNDED 1979

SCREENS LAST YEAR 184

SITES LAST YEAR 19

THEATER EMPLOYEES 500

CORPORATE EMPLOYEES 10

LOCATIONS 9 states: CT, FL, KY, NJ, NY, NC, PA,

VA, WV

28 PACIFIC

THEATRES/

ARCLIGHT CINEMAS

LAST YEAR SCREENS SITES

29 171 14

120 N. Robertson Blvd., 3rd Fl.

Los Angeles, CA 90048

Tel: 310-657-8420

Fax: 310-657-6736

www.pacifictheatres.com

www.arclightcinemas.com

EXECUTIVE ROSTER

Christopher Forman, CEO & Pres.

Nora Dashwood, Chief Branding Off.

YEAR FOUNDED 1946

SCREENS LAST YEAR 177

SITES LAST YEAR 13

LOCATIONS 1 state: CA

29

PHOENIX BIG

CINEMAS

MANAGEMENT

LAST YEAR SCREENS SITES

26 169 19

9111 Cross Park Dr., Ste. #E-275

Knoxville, TN 37923

Tel: 865-692-4061

Fax: 865-692-4065

www.phoenixbigcinemas.com

EXECUTIVE ROSTER

Phil Zacheretti, Pres. & CEO

Chris Gehring, VP/Ops.

Alexander Ellis, VP & Head Film Buyer

Cindy Taylor, VP/Finance

Karen Lane, VP/Mktg. & Adv.

Moya Myers, Dir./Purchasing

Denise Ferro, Dir./Food & Beverage

Vince Emmons, Dir./Capital Improvements

Christine West, Dir./HR & Compliance

YEAR FOUNDED 2001

SCREENS LAST YEAR 210

SITES LAST YEAR 26

THEATER EMPLOYEES 550

CORPORATE EMPLOYEES 22

LOCATIONS 14 states: CA, FL, GA, IL, KS, MD,

NC, OH, NJ, NY, NV, PA, TN, VA

30

STUDIO MOVIE

GRILL

LAST YEAR SCREENS SITES

UNRANKED 160 15

8350 North Central Expy., Ste. 400

Dallas, TX 75206

Tel: 972-388-7888, 866-766-8187

Fax: 214-751-3980

www.moviestudiogrill.com

EXECUTIVE ROSTER

Brian Schultz, CEO

YEAR FOUNDED 2000

LOCATIONS 7 states: AZ, GA, IL, IN, NC, OH, TX

31 CELEBRATION!

CINEMA

LAST YEAR SCREENS SITES

34 155 12

2121 Celebration Dr. NE

Grand Rapids, MI 49525

Tel: 616-447-4200

Fax: 616-447-4201

www.celebrationcinema.com

EXECUTIVE ROSTER

John D. Loeks, Chairman & CEO

J.D. Loeks, Pres. & COO

Nancy Hagan, Treas. & CFO

Michelle Felker, Sec.

Steve Forsythe, VP/People

Roger Lubs, VP/Facilities & Const.

Ron Van Timmeren, VP/Programming

Steve VanWagoner, VP/Mktg.

Kenneth Baas, VP & CTO

Kenyon Shane, VP/Ops. & Revenue Dvlp.

YEAR FOUNDED 1944

SCREENS LAST YEAR 154

SITES LAST YEAR 12

LOCATIONS 1 state: MI

svanwagoner@celebrationcinema.com

32

MJR THEATRES

LAST YEAR SCREENS SITES

40 153 10

41000 Woodward Ave., Ste. 135

East Bloomfield Hills, MI 48304

Tel: 248-548-8282

Fax: 248-548-4706

www.mjrtheatres.com

EXECUTIVE ROSTER

Michael Mihalich, Pres.

Tony Penchoff, Exec. Asst. to Pres.

Dennis Redmer, VP/Ops.

Candi Mihalich, VP & Film Buyer

Robin Hansen, Dir./ Mktg. & Adv.

YEAR FOUNDED 1980

SCREENS LAST YEAR 137

SITES LAST YEAR 9

THEATER EMPLOYEES 480

CORPORATE EMPLOYEES 13

LOCATIONS 1 state: MI

33 MUVICO

THEATRES

LAST YEAR SCREENS SITES

35 152 9

3101 N. Federal Hwy., 6th Fl.

Fort Lauderdale, FL 33306

Tel: 954-564-6550

Fax: 954-564-6553

www.muvico.com

EXECUTIVE ROSTER

Neil F. Bretan, Pres. & CEO

James E. Herd Jr., COO

Alan Rainbeau, VP/Finance

David Thollander, VP/Purchasing & Facilities

Mollie Raymond, VP/Controller

YEAR FOUNDED 1984

SCREENS LAST YEAR 152

SITES LAST YEAR 9

LOCATIONS 3 states: CA, FL, IL

24 BoxOffice ® Pro The Business of Movies JANUARY 2014


TIE

34 CINEMA

ENTERTAINMENT

CORP.

LAST YEAR SCREENS SITES

36 151 19

1621 W. Division St.

St. Cloud, MN 56302

Tel: 320-251-9131

Fax: 320-251-1003

www.cectheatres.com

EXECUTIVE ROSTER

Robert Ross, Pres.

Tony Tillemans, VP

Anthony Ross, VP/Finance

Dwight Gunderson, Dir./Film Buying & Mktg.

Greg Carter, Gen. Ops. Mgr.

Andrew Bergstrom, Concessions & Equip. Buyer

Craig Seidenkranz, Projection Tech.

YEAR FOUNDED 1961

SCREENS LAST YEAR 151

SITES LAST YEAR 19

THEATER EMPLOYEES 375

CORPORATE EMPLOYEES 13

LOCATIONS 4 states: IA, MN, NE, WI

TIE

34 COMING

ATTRACTIONS

THEATRES INC.

LAST YEAR SCREENS SITES

37 151 18

2200 Ashland St.

Ashland, OR 97520

Tel: 541-488-1021

Fax: 541-482-9290

www.catheatres.com

EXECUTIVE ROSTER

John C. Schweiger, Chairman & CEO

Al Lane, Senior VP & COO

Lee Fuchsmann, VP/Film

Desaree Hall, VP & Controller

James Sandberg, Director of Operations

Kim Neufeld, Dir./Marketing & Sales Promo.

Sarah Heiken, Dir./HR

Mark Edwards, Dir./Purchasing & Snack Bar

Maint.

Roy Probst, Dir./Facility Repair & Maint.

YEAR FOUNDED 1985

SCREENS LAST YEAR 151

SITES LAST YEAR 19

THEATER & CORPORATE EMPLOYEES 275

LOCATIONS 4 states: AK, CA, OR, WA

36 NEIGHBORHOOD

CINEMAS GROUP

(NCG)

LAST YEAR SCREENS SITES

40 147 15

314 E. Comstock

Owosso, MI 48867

Tel: 989-725-8755

Fax: 989-723-0359

www.ncgmovies.com

EXECUTIVE ROSTER

Jeff Geiger, President

Mark Henning, COO

Shelly Davis, CFO & Film Buyer

Gary Geiger, Exec. Officer

Steve Smith, Exec. Officer

Jason Brown, District Mgr.

Tim Dilts, District Mgr.

Carol Douglas, Dir./Concess.

YEAR FOUNDED 1985

SCREENS LAST YEAR 125

SITES LAST YEAR 13

THEATER EMPLOYEES 750

CORPORATE EMPLOYEES 11

LOCATIONS 4 states: GA, IN, MI, TN

37 UNITED

ENTERTAINMENT

CORP.

LAST YEAR SCREENS SITES

44 143 16

3601 18th St. S.

St. Cloud, MN 56301

Tel: 320-203-1003

Fax: 320-203-1229

www.uecmovies.com

EXECUTIVE ROSTER

Mike Ross, Pres. & CEO

John Shorba, VP/Ops.

Steve Ross, Theater Ops.

Mike Daniels, Dvlp. Mgr.

John Zemer, Prod. Mgr.

Carol Bowman, Controller

YEAR FOUNDED 1993

SCREENS LAST YEAR 124

SITES LAST YEAR 14

CORPORATE EMPLOYEES 400

LOCATIONS 10 states: CA, IN, MI, MN, MS, NC,

OH, PA, TN, UT

38

CINÉMA GUZZO

LAST YEAR SCREENS SITES

39 142 10

1055 Chemin du Coteau

Terrebonne, PQ J6W 5Y8

CANADA

Tel: 450-961-2945

Fax: 450-961-9349

www.cinemasguzzo.com

EXECUTIVE ROSTER

Angelo Guzzo, Chairman & Owner

Vincenzo Guzzo, Exec. VP, COO & Owner

Maria Guzzo, Sec. & VP/Community Affairs

Jose Bruzzese, Treas.

Mario Quattrociocche, Dir./Constr.

James Dambreville, Dir./Ops. & Mktg.

Vito Franco, Film Buyer

YEAR FOUNDED 1974

SCREENS LAST YEAR 142

SITES LAST YEAR 10

THEATER EMPLOYEES 625

CORPORATE EMPLOYEES 45

LOCATIONS 1 province: Quebec

39 SANTIKOS

LAST YEAR SCREENS SITES

42 129 9

18402 US Hwy. 281 N., Ste. 229

San Antonio, TX 78259

Tel: 210-496-1300

Fax: 210-496-2720

www.santikos.com

EXECUTIVE ROSTER

John Santikos, Owner & Operator

YEAR FOUNDED 1967

SCREENS LAST YEAR 129

SITES LAST YEAR 9

LOCATIONS 1 state: TX

40 GALAXY

THEATRES

LAST YEAR SCREENS SITES

45 126 13

15060 Ventura Blvd., Ste. 350

Sherman Oaks, CA 91403

Tel: 818-986-9000

www.galaxytheaters.com

EXECUTIVE ROSTER

Frank Rimkus, CEO

Rafe Cohen, COO

Lee Josselyn, VP/Film

YEAR FOUNDED 1998

SCREENS LAST YEAR 111

SITES LAST YEAR 11

THEATER EMPLOYEES 500

CORPORATE EMPLOYEES 19

LOCATIONS 4 states: CA, NV, TX, WA

41 YOUR

NEIGHBORHOOD

THEATRES

LAST YEAR SCREENS SITES

46 125 17

55 Cambridge Parkway

Cambridge, MA 02142

Tel: 617-499-2700

Fax: 617-225-0897

www.yourneighborhoodtheatre.com

EXECUTIVE ROSTER

Mark Benvenuto, President

Deborah Belisle, VP/Ops.

Brad Brown, Reg. Dir.

YEAR FOUNDED 1985

THEATER EMPLOYEES 275

CORPORATE EMPLOYEES 12

LOCATIONS CT, ME, MA, NH, NY, RI

JANUARY 2014 BoxOffice ® Pro The Business of Movies 25


GIANTS OF EXHIBITION

42 ALAMO

DRAFTHOUSE

CINEMAS

LAST YEAR SCREENS SITES

UNRANKED 113 12

13809 N. Highway 183

Austin, TX 78750

Tel: 512-219-7800

www.drafthouse.com

EXECUTIVE ROSTER

Tim League, Founder, CEO

Henri Mazza, CCO

Mike Sherrill, COO

Sarah Pitre, Programmer

Greg MacLennan, Programmer/Video Editor

YEAR FOUNDED 1997

LOCATIONS 7 states: TX, VA, CO, MI, MO, NY, CA

43 FLAGSHIP

CINEMAS

LAST YEAR SCREENS SITES

UNRANKED 112 14

55 Cambridge Parkway, Ste. 200

Cambridge, MA 02142

Tel: 508-998-4942

Fax: 508-998-4977

www.flagshipcinemas.com

EXECUTIVE ROSTER

John J. Crowley Jr., Pres.

Paul Wenger, VP

Andrew Poore, Dir./Ops.

Pauline Mickle, Asst. VP/Admin.

YEAR FOUNDED 1996

SCREENS LAST YEAR 103

SITES LAST YEAR 11

THEATER EMPLOYEES 300

CORPORATE EMPLOYEES 6

LOCATIONS 6 states: MA, ME, MD, FL, PA, VT

44

ALLEN THEATRES

LAST YEAR SCREENS SITES

48 107 16

133 Wyatt Dr. #3

Las Cruces, NM 88005

Tel: 575-524-7933

Fax: 575-527-0068

www.allentheatresinc.com

EXECUTIVE ROSTER

Larry F. Allen, Pres. & Co-Owner

Lane E. Allen, VP & Co-Owner

Russell Allen, VP/Ops.

Nathan Allen, VP/Finance

Heather Gandy, Mktg.

YEAR FOUNDED 1912

SCREENS LAST YEAR 105

SITES LAST YEAR 16

LOCATIONS 2 states: CO, NM

44 WESTATES

LAST YEAR SCREENS SITES

UNRANKED 107 22

1111 Brickyard Rd., Ste. 106

Salt Lake City, UT 84106

Tel: 801-487-6233

www.westatestheatres.com

EXECUTIVE ROSTER

Tony Jay Rudman, Pres.

Shonnie Tornow, VP

SCREENS LAST YEAR 107

SITES LAST YEAR 22

LOCATIONS 4 states: AZ, ID, NV, UT

46 CLASSIC

CINEMAS

TIE

LAST YEAR SCREENS SITES

49 104 13

603 Rogers St.

Downers Grove, IL 60515

Tel: 630-968-1600

Fax: 630-968-1626

www.classiccinemas.com

EXECUTIVE ROSTER

Willis Johnson, Pres.

Chris Johnson, VP/Ops.

Bill Budig, CIO

Lou Michael, Booking/Great Lakes Theatre

Service

Shirley Johnson, Corporate Secretary

YEAR FOUNDED 1978

SCREENS LAST YEAR 104

SITES LAST YEAR 13

THEATER EMPLOYEES 450

CORPORATE EMPLOYEES 20

LOCATIONS 1 state: IL

46

TIE

MULLER FAMILY

THEATRES

LAST YEAR SCREENS SITES

49 104 8

20653 Keokuk Ave.

Lakeville, MN

Tel: 952-469-2883

Fax: 952-985-5643

www.mullerfamilytheatres.com

EXECUTIVE ROSTER

Mike S. Muller, Pres. & Partner

Robert Muller, VP & Partner

Dale Haider, Dir./Ops.

YEAR FOUNDED 1978

SCREENS LAST YEAR 104

SITES LAST YEAR 8

THEATER EMPLOYEES 300

CORPORATE EMPLOYEES 6

LOCATIONS 1 state: MN

48 SR

ENTERTAINMENT

GROUP

LAST YEAR SCREENS SITES

UNRANKED 102 11

917 College Ave.

Santa Rosa, CA 95404

Tel: 707-523-1586

Fax: 707-523-1799

www.srentertainmentgrp.com

EXECUTIVE ROSTER

Dan Tocchini, Pres.

Amy Tocchini, Sec. & Treas.

Neil Pearlmutter, VP/Ops. & Tech.

YEAR FOUNDED 1983

SCREENS LAST YEAR 102

SITES LAST YEAR 11

THEATER EMPLOYEES 310

CORPORATE EMPLOYEES 12

LOCATIONS 1 state: CA

49

R.L. FRIDLEY

THEATRES

LAST YEAR SCREENS SITES

UNRANKED 100 22

1321 Walnut St.

Des Moines, IA 50309

Tel: 515-282-9287

Fax: 515-282-8310

www.fridleytheatres.com

EXECUTIVE ROSTER

Robert L. Fridley, Pres. & Treasurer

Brian R. Fridley, VP

YEAR FOUNDED 1974

SCREENS LAST YEAR 94

SITES LAST YEAR 22

THEATER EMPLOYEES 350

CORPORATE EMPLOYEES 9

LOCATIONS 2 states: IA, NE

50 KRIKORIAN

PREMIERE

THEATRES

LAST YEAR SCREENS SITES

UNRANKED 92 7

2275 W. 190th St., Ste. 201

Torrance, CA 90504

Tel: 310-856-1270

Fax: 310-856-1299

www.kptmovies.com

EXECUTIVE ROSTER

George Krikorian, Pres.

Todd Cummings, VP. & GM

YEAR FOUNDED 1984

SCREENS LAST YEAR 89

SITES LAST YEAR 7

THEATER EMPLOYEES 350

CORPORATE EMPLOYEES 9

LOCATIONS 1 state: CA

26 BoxOffice ® Pro The Business of Movies JANUARY 2014


BIG

PICTURE

Kathryn Newton starred as Alex in the

most recent edition of the franchise,

Paranormal Activity 4

Paramount unleashes

two new Paranormal Activity

sequels in 2014, but is the

record-breaking horror

franchise a ghost of

its former self?

by Shawn Robbins

Assistant Editor

BoxOffice.com

28 BoxOffice ® Pro The Business of Movies JANUARY 2014


Horror franchises tend to come in waves. The late 1970s

and ’80s saw the rise of Michael Myers, Jason Voorhees,

and Freddy Krueger. The late ’90s begat genre entries

even more teen-specific with Scream and its iconic

Ghostface, to be followed by a brief run of Japanese

horror remakes—popularized by The Ring and The Grudge. But unlike

the aforementioned staples of the late 20th century, their sequels failed to

scare up big business. Traditional scream fests were left by the wayside in

favor of “gore porn” like the Saw franchise, whose run carried the entire

horror genre’s torch for half a decade starting in 2004.

And then came director Oren Peli with Paranormal Activity, a shoestring-budgeted

($15,000 for production costs) minimalist supernatural

flick that he shot in his own house. A couple of years later, Steven Spielberg

screened the film himself and helped get Peli’s flick a distribution

deal through Paramount and DreamWorks, which used unconventional

methods to build word of mouth. The film debuted in 12 college towns

in September 2009, building the kind of grassroots buzz that studios

dream about for an unknown pic with zero star power.

That’s when the Internet started taking notice. Movie communities

heard rumblings of the little horror movie that was traumatizing (in a

good way) audiences as the film expanded into 33 theaters for its second

weekend and 160 for its third, when it earned a stunning $49,379 per

location. Those were numbers unseen by any horror flick since 1999.

That was when The Blair Witch Project haunted the nation with $56,002

and $63,811 location averages in its first two weekends.

Paramount knew it had a massive hit on its hands. By its 28th day of

release, Paranormal Activity had banked $40.5 million without playing in

more than 760 theaters. The film then saturated the nationwide market,

taking first place in its fifth weekend and adding locations through its

eighth week, the buzz now reaching beyond horror fans and into the

mainstream.

The movie accumulated $108 million domestically and another $85.4

million overseas—all against just $17 million in negative costs (virtually

all of which was spent on marketing).

Thus, a franchise was born.

One year later, Paranormal Activity 2 rode the still-surging wave of

the first film to a massive $40.7 million opening weekend. Paranormal

Activity 3 followed in 2011 with a record October bow of $52.6 million

in its first three days. Last year’s Gravity recently surpassed that mark with

$55.8 million.

The Paranormal Activity brand has since become known as one of the

most profitable franchises in cinema history. Paramount has wisely kept

production costs at $5 million or less for the three sequels, meaning total

costs between $27 million and $32 million after marketing. To date, each

film has made back its total budget by the end of opening weekend.

The series became an annual Halloween tradition (picking up where

Saw left off), but in 2012, the demand hit a wall. After the third film’s record

debut and $104 million domestic run, mainstream audiences decided

the series was no longer a major event for them. Paranormal Activity

4 posted a $29 million debut—far below expectations—and ultimately

topped out just under $54 million by the time it left theaters. Granted,

those numbers are still fantastic for Paramount’s bottom line, but North

American theater owners saw half as many people show up for the fourth

movie as its predecessors—meaning half the concessions sales, too.

On the brighter side of the fence, international audiences didn’t seem

to mind the consistency: Paranormal Activity 4 earned $88.5 million outside

of its home country, not much less than the $92.5 million and $97

million foreign grosses of the second and third films, respectively.

Where does the series go now?

Instead of launching a new entry for Halloween in 2013, Paramount

pushed the release of its spin-off, Paranormal Activity: The Marked Ones, to

January 3, 2014. The first weekend of the year isn’t known for producing hits

DECEMBER 2013 BoxOffice ® Pro The Business of Movies 29


BIG PICTURE

The orginal Paranormal Activity

grossed $107,918,810 domestically on a

production budget of just $15,000

as moviegoers are still catching up on holdovers

from the holidays. The recent exception to that

was 2012’s The Devil Inside (also from Paramount),

which rode a strong viral campaign to

an unexpected $33.7 million opening. Although

word of mouth via Twitter quickly killed its legs (it

earned $53.3 million stateside, nearly 32 percent

of which came from opening day), the film struck

financial gold in large part due to its appeal to

Latino audiences. The Marked Ones follows suit by

featuring an all-Latino cast.

Unfortunately, typical spin-off box office

behavior can probably be expected. The

sharply declining interest in 2012’s fourth film

occurred at a similar point in the franchise’s life

cycle as it did for Saw, whose final three movies

in the seven-film series dropped 36 percent or

more from the $87 million peak of Saw II.

Lacking any major connection to the first

four Paranormal Activity efforts (outside of a

supporting character from the second flick),

The Marked Ones is unlikely to win back

audiences. Online buzz metrics are at a series

low (as of November 30, 2013) and fans of

the franchise are more skeptical than ever—especially

with this being the first of two new

Paranormal movies to come in the new year. A

proper sequel, Paranormal Activity 5, is set to

debut on October 24, 2014.

Just over one month from release, we’re

forecasting a domestic opening under $20 million

and a final haul in the range of $30 million

for The Marked Ones. As release weekend

approaches, those numbers will continue to be

refined as necessary on BoxOffice.com.

Does Paramount have anything to worry

about? Financially, the answer is a resounding

no. The studio knows how to keep their cash

cow effectively priced, so another combined

cost of $30 million or less should mean the

spin-off proves to be worth their efforts in the

long run—especially if the movie can continue

retaining most of its international audience.

Still, that’s no solace for North American exhibitors

who are hoping for Hollywood to find

a new horror-based cash cow in the near future

before the Paranormal Activity franchise burns

off the rest of its hard-earned goodwill.

THE PARANORMAL ACTIVITY SCORECARD

DOMESTIC GROSS

PARANORMAL ACTIVITY $107,918,810

PARANORMAL ACTIVITY 2 $84,752,907

PARANORMAL ACTIVITY 3 $104,028,807

PARANORMAL ACTIVITY 4 $53,921,300

PARANORMAL ACTIVITY: THE MARKED ONES $31,000,000*

PARANORMAL ACTIVITY 5

RELEASE DATE: OCTOBER 24, 2014

SOURCE: BOXOFFICE.COM

*PROJECTED

30 BoxOffice ® Pro The Business of Movies JANUARY 2014


Interview by Daniel Loria

HOW DID YOU GET YOUR START IN THE BUSINESS?

I was born into it. My dad was born in 1922, and by 1930 he was

begging Fox Intermountain for the job. He ended up taking over

some theaters here in Sheridan in 1953. I was born in 1962, and it’s

been in my blood since I was born.

BILL CAMPBELL

President

Opheum Theatres

Sherdian, Wyoming

TELL ME ABOUT ORPHEUM THEATRES AND YOUR ROLE

IN THE COMPANY.

The Orpheum Theatre is the first we purchased in Sheridan in 1953.

It was just a small single-screen, 200-seat house. My father ran it in

Sheridan until Fox Intermountain had to get out of their lease, and

then he took over another single-screen called the WYO Theater; he

had that the year I was born. My first jobs were fixing seats and popping

popcorn at the WYO Theater. In 1976 he built a twin theater

called the Centennial, and we closed the WYO in 1983. We kept

adding screens to the Centennial and we are now a six-plex.

TELL ME A BIT ABOUT THE MARKET IN YOUR REGION

AND WHAT MAKES IT DIFFERENT THAN ANYWHERE

ELSE IN THE COUNTRY.

The nice thing is the lack of any competition close by. They call

[Sheridan] a big city around here and it’s 17,000 people. Billings,

Montana, is a-hundred-something-thousand people and it’s 120

miles away. Everything is hundreds of miles away, so competition

among independents isn’t as fierce as it is in some other markets in

more metropolitan regions.

Other than that, small-town theaters are almost more important as

an entertainment value than many of the large theaters in cities where

there are so many different venues trying to get [an audience] for

things like basketball games or ballet. Small towns don’t have that—

people just end up going to the local movie theater.

WHAT ADVICE WOULD YOU GIVE TO NEW INDEPEN-

DENT THEATER OWNERS?

You have to understand the market and how the industry works.

Starting with booking patterns, in small towns just because you open

a theater doesn’t mean you’re going to get product day-and-date with

everybody in the nation. Many people think that’s just going to happen

automatically by opening a screen. You need to know how the

process works. Knowing your population base and what to expect,

that’s the biggest challenge for independent theaters in small towns—

many times they simply don’t have the population base needed to run

a viable business.

YOU’VE BEEN AN EARLY CHAMPION OF DIGITIZATION.

NOW THAT THE TECHNOLOGY IS WIDESPREAD, WHAT

BENEFITS HAS THE TECHNOLOGY GIVEN INDEPENDENT

EXHIBITORS?

The easiest thing to see is the quality of the presentation. Many of the

theaters in towns like Sheridan would take prints off larger markets.

The prints would arrive scratched a lot of the time, not pristine

prints by any means. The fact that now everything looks scratch-free

and the soundtrack always sounds wonderful, you’re giving a better

product and a better presentation.

WHAT CHANGES WOULD YOU LIKE TO SEE THAT

WOULD MAKE IT EASIER FOR INDEPENDENT THEATERS

IN THE MARKET?

I suppose more flexibility, understanding that viewing patterns may

change; instead of having weekly contracts, maybe some screens will

have split weeks to bring in more product. Have more turns of different

product over the year instead of the long-term commitments we

are seeing.

WHAT ARE THE NEW CHALLENGES FACING INDEPEN-

DENT EXHIBITORS TODAY AND IN THE FUTURE?

[Release] windows are always going to be a concern. With independent

theaters, if you don’t take something on break there’s a chance

you’re not going to have room for it. Some of the smaller theaters

don’t get prints until six or eight weeks out, and if windows keep

tightening, the value of watching a movie in the theater goes down.

Retaining the windows is very, very important.

WHAT IS YOUR OPINION OF VOD? HAS IT BECOME AN

OBSTACLE TO PROGRAMMING SPECIALTY FARE LIKE

INDEPENDENT AND FOREIGN FILMS IN YOUR THE-

ATERS?

We try to do a film festival where we bring in, not necessarily

absolutely obscure independent movies, but even movies that just

won’t be able to play for three or four weeks in Sheridan but still have

some commercial value. If films open on VOD I hesitate bringing

them in, considering how many people are in my town anyway. It is

a challenge. The windows seem to work, but everyone wants to push

things because we are in a world of instant gratification. Everyone

wants to rush and burn through things quicker, but I’d like to see

the windows respected and VOD pushed late into theatrical run, not

day-and-date.

WE KEEP HEARING ABOUT CORD CUTTING IN THE

TELEVISION INDUSTRY. DO YOU SEE LIVE EVENTS LIKE

SPORTS OR THEATRICAL PERFORMANCES PLAYING A

SIGNIFICANT ROLE FOR EXHIBITORS IN THE FUTURE?

Alternative content has always been talked about as this big thing

that’s going to change the business. I hope for it but I haven’t seen it

yet. There is a huge potential for streaming live events with satellite,

but I haven’t seen it take off quite yet.

WHAT’S ON YOUR MIND HEADING INTO THE FUTURE?

I’m more worried, come a few years, when we see whether or not

the digital projection technology will have the longevity over 10

years. The machines we took out were rock solid, 50-year-old

machines, and I’m not sure we’ll get that again. My biggest concern

going ahead is what’s going to happen when we need to replace

projectors again.

32 BoxOffice ® Pro The Business of Movies JANUARY 2014


WHEN RECORDS ARE BROKEN

…IT’S

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BoxOffice ® · NEW YORK · BEVERLY HILLS


FILM

FRANCHISE

Is it too late for Paramount to revive the

Jack Ryan franchise?

THE SUM OF ALL FILMS

by Daniel Loria

n There is a simple brilliance to the poster for The Hunt for Red October.

Sean Connery’s face, colored in a red hue, stares at you from a pitchblack

background, with the top of a submarine slightly to the left corner

of his mouth. It’s one of those posters that tells you all you need to know:

Sean Connery is in this movie; there is also a submarine in this movie; do

you like Sean Connery? How about Sean Connery on a submarine? I like

to imagine filmgoers in 1990 gladly buying their movie tickets based on

the poster alone. Who cares about plot when there’s a chance to see Sean

Connery on a submarine?

The Hunt for Red October grossed $122 million to become one of the

hottest films of 1990. Of course, it also helped that The Hunt for Red

October was adapted from a best-selling book by Tom Clancy. The author

went on to write a series of novels featuring Jack Ryan, an important

character in Red October, thus opening the potential for a feature-film

franchise. With a hit film already in its hands, Paramount saw an opportunity

to turn Jack Ryan into the American James Bond.

Harrison Ford, the studio’s first choice for Ryan in The Hunt for Red

October, replaced Alec Baldwin in the role for 1992’s Patriot Games. The

second film in the Jack Ryan series grossed $83.3 million domestically.

Ford would continue to portray Ryan two years later in Clear and Present

Danger. The third entry became the most successful in the franchise, with

a $122.1 million take. Harrison Ford’s face dominated the poster of his

two Jack Ryan films, just as Sean Connery’s had in the poster for the first

installment of the franchise. Star power had helped establish Jack Ryan as

a moneymaker for Paramount, but the studio wouldn’t roll out another

Ryan adventure for another eight years.

Ben Affleck became the new Jack Ryan with the 2002 reboot The Sum

of All Fears. Released less than a year after the attacks of 9/11, The Sum

of All Fears became one of the first films to

explore terrorist threats in a new era

of American life. The Sum of All

Fears grossed $118.9 million

domestically, not a poor

result but nowhere near the

blockbuster potential of a franchise coming off three established hits.

Ben Affleck’s career would go into a nosedive soon thereafter, with his

name appearing across glossy tabloid magazines and his next films taking

critical and commercial beatings. The Jack Ryan franchise never really

took after the ’90s, with The Sum of All Fears relegated to the status of a

moderate hit rather than transitioning the franchise into a new decade.

The absence of a new Jack Ryan film since 2002 has made the Tom

Clancy brand more recognizable in the video game industry than in

cinema. Hollywood missed out on a great opportunity in building a

Tom Clancy cinematic universe to go along with the highly successful

Rainbow Six, Ghost Recon, and Splinter Cell video games inspired by the

author’s works. Paramount will try its hand at rebooting the Jack Ryan

franchise once again with the upcoming release of Jack Ryan: Shadow

Recruit, but how much of the property’s pre-awareness remains after all

these years?

Universal’s Jason Bourne franchise proved that the spy genre will

welcome an American hero, but even that series stumbled in its latest

box office outing. The Bourne Legacy tried to push the Jason Bourne films

to new territories by retaining all the ingredients of the formula—with

the exception of two crucial factors: neither the franchise’s star nor its

original protagonist was featured. Jeremy Renner replaced Matt Damon

in a spin-off that Universal hoped would continue the box office success

of the original trilogy. Audiences weren’t buying it; Legacy became the

worst performing Bourne film in the series, coming in more than $100

million under its immediate predecessor, The Bourne Ultimatum, in

North America.

Whether anyone under the age of 30 can still recognize Jack Ryan is

another matter altogether. Films titled on anonymous-sounding names

like John Carter and Jack Reacher both flopped at the box office despite

being based on popular literary characters. The title Jack Ryan: Shadow

Recruit at least gives new viewers a vague idea of what the film might be

about. Moreover, Shadow Recruit is the first film in the series not to be

based on a Clancy novel. The new film also raises questions in terms of

star power. Chris Pine has taken over the title role, but his profile is significantly

lower than that of Baldwin, Ford, and Affleck. While Pine has

enjoyed success as the new Captain Kirk in Paramount’s Star Trek reboot,

the actor has never opened a film on his own shoulders.

The iconic poster for The Hunt for Red October is one of the most

recognizable one sheets of the ’90s. Filmgoers looking at the poster for

Jack Ryan: Shadow Recruit will see an image of Chris Pine crouched down

and holding a gun. Will they see all they need to know, or will they ask

the most troubling question possible: Jack who?

BoxOffice is currently projecting a $26 million four-day opening

for Jack Ryan: Shadow Recruit and a domestic total in the $70 million

range.

Chris Pine as

Jack Ryan with

Keira Knightley as

Cathy Ryan

THE JACK RYAN SCORECARD

THE HUNT FOR RED OCTOBER

Alec Baldwin

PATRIOT GAMES

Harrison Ford

CLEAR AND PRESENT DANGER

Harrison Ford

THE SUM OF ALL FEARS

Ben Affleck

JACK RYAN: SHADOW RECRUIT

Chris Pine

$122,012,815

$83,351,979

$122,187,590

$118,907,992

$70,000,000*

*PROJECTED

34 BoxOffice ® Pro The Business of Movies JANUARY 2014


COMING

IN JANUARY

WIDE

n Boasting a whopping 91 percent at Rotten

Tomatoes, Her stars Globe-nominee Joaquin

Phoenix as professional letter writer Theodore

Twombly who is lost and alone after a

long-term relationship ends. The new operating

system on his computer features a Siri-like

female voice named Samantha (voiced

by Scarlett Johansson) that has the ability to

so customize its responses to Twombly that

he finds himself falling in love with Her.

DISTRIBUTOR Warner Bros. CAST Joaquin Phoenix,

Scarlett Johansson, Amy Adams, Olivia

Wilde, Rooney Mara DIRECTOR/SCREENWRITER

Spike Jonze GENRE Comedy | Drama | Romance

| Sci-Fi RATING R for language, sexual

content and brief graphic nudity RUNNING TIME

120 min. RELEASE DATE January 10

WIDE

THE LEGEND OF HERCULES

n It’s been 15 years since director Renny

Harlin’s last major hit (1999’s Deep Blue Sea)

and this version of the Hercules story will

have some competition when Dwayne “The

Rock” Johnson dons the sandals this summer

in Hercules: The Thracian Wars. This modestly

budgeted film, shot in Bulgaria, stars Twilight’s

Kellan Lutz as the mythical hero who is the

son of Zeus and a mortal woman, Alcmene

(Roxanne McKee, Game of Thrones).

DISTRIBUTOR Summit CAST Kellan Lutz, Gaia

Weiss, Scott Adkins, Roxanne McKee, Liam

Garrigan DIRECTOR Renny Harlin SCREEN-

WRITERS Daniel Giat, Giulio Steve, Renny

Harlin, Sean Hood GENRE Action | Adventure

RATING TBD RUNNING TIME TBD RELEASE DATE

January 10

WIDE

LONE SURVIVOR

n The true story of a failed SEAL Team

10 mission in Afghanistan (Operation Red

Wings), Lone Survivor is based on the memoir

of Navy Cross recipient Marcus Luttrell (Mark

Wahlberg). In addition to spending a year with

Navy Seals, writer-director Peter Berg (Battleship)

invited the real Luttrell to live with him

and act as a consultant while he developed the

script. Taylor Kitsch (John Carter) plays Medal

of Honor recipient Michael P. Murphy.

DISTRIBUTOR Universal CAST Mark Wahlberg,

Taylor Kitsch, Emile Hirsch, Ben Foster, Eric

Bana, Alexander Ludwig DIRECTOR/SCREEN-

WRITER Peter Berg GENRE Comedy RATING

R for strong bloody war violence and pervasive

language RUNNING TIME TBD RELEASE

DATE January 10

WIDE

DEVIL’S DUE

n The found-footage horror genre has a new

entry with Devil’s Due, a film assembled from

“home movies.” Newlyweds Zach and Samantha

McCall (Zach Gilford, Allison Miller) learn

that they experienced a “lost night” during their

idyllic honeymoon. When Samantha discovers

she is expecting, Zach decides to record the pregnancy.

As Samantha’s behavior becomes erratic,

it soon becomes clear that something is in store

for them that they weren’t expecting. Could it be

the Antichrist?

DISTRIBUTOR Fox CAST Allison Miller, Zach

Gilford, Sam Anderson DIRECTORS Matt

Bettinelli-Olpin,Tyler Gillett SCREENWRITER

Lindsay Devlin GENRE Horror RATING R for

language and some bloody images RUNNING

TIME 89 min. RELEASE DATE January 17

36 BoxOffice ® Pro The Business of Movies JANUARY 2014


WIDE

JACK RYAN: SHADOW RECRUIT

n The fifth film to feature the Tom Clancy character, Jack Ryan: Shadow

Recruit is not based on any Clancy novel, but is instead an original story

that reboots the series and delivers a younger Jack Ryan who is more

newbie spy than seasoned CIA analyst. Star Trek’s Chris Pine is the

fourth actor to play the role (see story on page 34) and features the film’s

director, Kenneth Branagh, as nefarious Russian business man Viktor

Cherevin.

DISTRIBUTOR Paramount CAST Chris Pine, Kevin Costner, Kenneth

THE NUT JOB

n Liam Neeson (Taken) brings his very particular set of skills to the animation

world this year with two films, February’s The Lego Movie and this

month’s The Nut Job. In this Canadian feature, Neeson voices a raccoon

while star Will Arnett (Arrested Development) voices Surly, a squirrel set

on cobbling together a gang of critters to rob Maury’s Nut Store and thus

set himself up in high style for the winter.

DISTRIBUTOR Open Road CAST Will Arnett, Brendan Fraser, Gabriel

Iglesias, Liam Neeson, Katherine Heigl DIRECTOR Peter Lepeniotis

Branagh, Keira Knightley DIRECTOR Kenneth Branagh SCREENWRITERS SCREENWRITERS Peter Lepeniotis, Lorne Cameron, Daniel Woo GENRE

Adam Cozad, David Koepp GENRE Action | Drama | Thriller RATING Animation RATING PG for mild action and rude humor RUNNING TIME

TBD Harkness_Android_iPad_Ad_half RUNNING TIME TBD RELEASE DATE 7.25x4.75" January (Box_Office_USA):Layout 17

1 02/10/2013 TBD RELEASE 10:34 DATE January Page 1 17

WIDE

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JANUARY 2014 BoxOffice ® Pro The Business of Movies 37


COMING IN JANUARY

WIDE

RIDE ALONG

n Fast-talking security guard Ben (comedian Kevin Hart, Grudge Match)

joins his cop soon-to-be brother-in-law James (Ice Cube, 21 Jump Street)

on a 24-hour patrol of Atlanta in order to prove himself worthy of marrying

Angela, James’s sister. Hart and director Tim Story also have Think

Like a Man Too in the hopper for this summer.

DISTRIBUTOR Universal CAST Ice Cube, Kevin Hart, John Leguizamo,

Bruce McGill, Bryan Callen, Tika Sumpter DIRECTOR Tim Story

SCREENWRITERS Greg Coolidge, Jason Mantzoukas, Phil Hay, Matt

Manfredi GENRE Action | Comedy RATING PG-13 for sequences of violence,

sexual content, and brief strong language RUNNING TIME 100

min. RELEASE DATE January 17

LTD.

LIKE FATHER, LIKE SON

n Ryota Nonomiya (Masaharu Fukuyama) is a successful businessman

driven by money. When he learns that his biological son was switched

with another child after birth, he must make a life-changing decision

and choose his true son or the boy he raised as his own. Like Father, Like

Son (Soshite Chichi ni Naru) won the Jury Prize at the 2013 Cannes Film

Festival where it drew the attention of Steven Spielberg and Dreamworks,

which has acquired the U.S. remake rights.

DISTRIBUTOR Sundance Selects CAST Masaharu Fukuyama, Yoko Maki,

Jun Kunimura, Machiko Ono DIRECTOR Hirokazu Koreeda SCREEN-

WRITER Hirokazu Koreeda GENRE Drama RATING TBD RUNNING TIME 120

min. RELEASE DATE January 17

WIDE

I, FRANKENSTEIN

n Mary Shelley’s 1818 monstrous creation returns to the screen for the

umpteenth time in this adaptation of Kevin Grevioux’s recent graphic

novel. Aaron Eckhart (The Dark Knight) stars as Adam, the reanimated

assemblage of corpses stitched together by Victor Frankenstein. In this

retelling, the creature finds himself embroiled in a battle between warring

demons and gargoyles. Underworld veteran Bill Nighy costars as demon

leader Naberius.

DISTRIBUTOR Lionsgate CAST Aaron Eckhart, Bill Nighy, Yvonne Strahovski,

Miranda Otto, Socratis Otto DIRECTOR/SCREENWRITER Stuart

Beattie GENRE Action | Fantasy | Sci-Fi RATING PG-13 for sequences

of intense fantasy action and violence throughout RUNNING TIME 93

min. RELEASE DATE January 24

LTD.

GIMME SHELTER

n Inspired by true events, Gimme Shelter stars an almost unrecognizable

Vanessa Hudgens (High School Musical) as a pregnant teen with an abusive

mother (an aganist-type Rosario Dawson) who leaves home to find the father

she never knew, a Wall Street broker (Brendan Fraser). Circumstance

brings her under the care and guidance of a hospital chaplain (James Earl

Jones) and the operator of a homeless shelter (Anne Dowd).

DISTRIBUTOR Roadside Attractions CAST Vanessa Hudgens, Brendan

Fraser, Rosario Dawson, James Earl Jones DIRECTOR/SCREENWRIT-

ER Ron Krauss GENRE Drama RATING PG-13 for mature thematic

material involving mistreatment, some drug content, violence and

language—all concerning teens RUNNING TIME TBD RELEASE DATE

January 24

38 BoxOffice ® Pro The Business of Movies JANUARY 2014


WIDE

THAT AWKWARD MOMENT

n Zac Efron (Me and Orson Welles), Miles Teller (The Spectacular Now),

and Michael B. Jordan (Fruitvale Station) play three friends commited to

staying single when one of them (Jordan) breaks up with his girlfriend.

Try as they might, women pop into the picture posing the question

“when does a hookup turn into a relationship?” The red-band trailer

promises raunch galore with Viagra jokes aplenty.

DISTRIBUTOR Focus Features CAST Zac Efron, Michael B. Jordan,

Jessica Lucas, Imogen Poots, Miles Teller, Parker Block DIRECTOR/

SCREENWRITER Tom Gormican GENRE Comedy | Romance RATING R

for sexual content and language throughout RUNNING TIME 94 min.

RELEASE DATE January 31

WIDE

LABOR DAY

n Up in the Air director (and four-time Oscar nominee) Jason Reitman

adapted the Joyce Maynard novel about single mother Adele (Kate

Winslet) who encounters a bloodied man (Josh Brolin) while shopping

with her teenage son (Gattlin Griffith) and takes him into her home only

to learn that he is an escaped convict. With the police on the pursuit over

the 1987 Labor Day weekend, Adele slowly begins to fall for the mysterious

man. Tobey Maguire narrates as the now-adult son.

DISTRIBUTOR Paramount CAST Kate Winslet, Josh Brolin, Gattlin

Griffith, Tobey Maguire DIRECTOR/SCREENWRITER Jason Reitman

GENRE Drama RATING PG-13 for thematic material, brief violence, and

sexuality RUNNING TIME 111 min. RELEASE DATE January 31

JANUARY 2014 BoxOffice ® Pro The Business of Movies 39


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. Hideaki Anno, Mirai Shida 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

BEARS

Fri, 4/4/14 WIDE

Fri, 4/18/14 WIDE

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, Bill Paxton Craig Gillespie PG Dra/Sport

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 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

THAT AWKWARD MOMENT Fri, 1/31/14 WIDE Zac Efron, Miles Teller Tom Gormican R Rom/Com Dolby Dig

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

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

DEVIL’S DUE Fri, 1/17/14 WIDE Zach Gilford, Allison Miller

Matt Bettinelli-Olpin,

Tyler Gillett

R Hor/Thr

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

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40 BoxOffice ® Pro The Business of Movies NOVEMBER 2013


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff NR 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

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

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, 12/25/14 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

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

THE LEGEND OF HERCULES Fri, 1/10/14 WIDE Kellan Lutz, Gaia Weiss Renny Harlin PG-13 Act/Adv 3D

I, FRANKENSTEIN Fri, 1/24/14 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie PG-13 Act/Hor/Thr

3D/IMAX/Dolby

Atmos/Quad

ENEMIES CLOSER

Fri, 1/24/14 LTD.

Jean-Claude Van Damme, Tom Everett

Scott

Peter Hyams R Act/Thr

NURSE 3D Fri, 2/7/14 LTD. Paz de la Huerta, Katrina Bowden Doug Aarniokoski NR 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 Tyler Perry, Nia Long Tyler Perry NR Com/Dra

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

JANUARY 2014 BoxOffice ® Pro The Business of Movies 41


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

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 R Dra/Sport

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

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 NR Hor/Thr

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

THE HUNGER GAMES:

MOCKINGJAY - 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

OPEN ROAD FILMS 310-696-7504

THE NUT JOB Fri, 1/17/14 WIDE Will Arnett, Brendan Fraser Peter Lepeniotis PG Ani/Com/Fam 3D/Dolby Dig

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

PARAMOUNT 323-956-5000

PARANORMAL ACTIVITY: THE

MARKED ONES

Fri, 1/3/14 WIDE Andrew Jacobs, Catherine Toribio Christopher Landon NR Hor

JACK RYAN: SHADOW RECRUIT Fri, 1/17/14 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr IMAX/Quad

LABOR DAY Fri, 1/31/14 WIDE Kate Winslet, Josh Brolin Jason Reitman PG-13 Dra Dolby Dig

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

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 R Hor

INTERSTELLAR

Fri, 11/7/14 WIDE

Matthew McConaughey, Anne

Hathaway

Christopher Nolan NR SF IMAX

42 BoxOffice ® Pro The Business of Movies JANUARY 2014


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

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

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

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

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 NR 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 NR Act/Adv/Dra 3D/Quad

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

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

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

BEWARE THE NIGHT 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

SONY PICTURES CLASSICS Tom Prassis / 212-833-4981

TIM’S VERMEER Fri, 1/31/14 EXCL NY/LA Tim Jenison, Penn Jillette Teller PG-13 Doc

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

JANUARY 2014 BoxOffice ® Pro The Business of Movies 43


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

JODOROWSKY’S DUNE Fri, 3/7/14 EXCL NY/LA Alejandro Jodorowsky Frank Pavich NR Doc

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

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

UNIVERSAL 818-777-1000

LONE SURVIVOR Fri, 1/10/14 WIDE Mark Wahlberg, Taylor Kitsch Peter Berg R Act/Thr Quad

RIDE ALONG Fri, 1/17/14 WIDE Ice Cube, Kevin Hart Tim Story PG-13 Act/Com Quad

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 James DeMonaco NR Hor/Thr

FAST & FURIOUS 7 Fri, 7/11/14 WIDE Vin Diesel, Dwayne Johnson James Wan NR Act/Cri

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

WARNER BROS. 818-977-1850

HER Fri, 1/10/14 WIDE Joaquin Phoenix, Amy Adams Spike Jonze R Rom/Com/SF Quad

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

44 BoxOffice ® Pro The Business of Movies JANUARY 2014


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

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

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

TRANSCENDENCE Fri, 4/18/14 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

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

3D/IMAX/Dolby

Atmos

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

NR Act/Adv/SF 3D

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

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

NOVEMBER 2013 BoxOffice ® Pro The Business of Movies 57


AD INDEX

CARDINAL SOUND & MOTION

PICTURE SYSTEMS

6330 Howard Ln.

Elkridge, MD 21075

cardinal@cardinalsound.com

www.cardinalsound.com

PG 48

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 29

ENPAR AUDIO

Stetson Snell

505-807-2154

505-615-2913

stetsonsnell@enparaudio.com

PG 40

HARKNESS SCREENS

Unit A, Norton Rd.

Stevenage, Herts

SG1 2BB UK

+44 1438 725200

www.harkness-screens.com

PG 37, 39

IRWIN SEATING COMPANY

3251 Fruit Ridge NW

Grand Rapids, MI 49544

866-464-7946

www.irwinseating.com

PG 35

KLIPSCH

3502 Woodview Trace, Ste. 200

Indianapolis, IN 46268

317-860-8100

www.klipsch.com

PG 27

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

MOBILIARIO S.A. DE C.V.

Calle del Sol # 3

Col. San Rafael Chamapa

Naucalpan, Estado de México

México CP 53660

877-8472-127

www.mobiliarioseating.com

PG 9

ODELL’S

8543 White Fir St. #D-1

Reno, NV 89523

odells@popntop.com

www.popntop.com

PG 46

OMNITERM

2785 Skymark Avenue, Unit 11

Mississauga, Ontario

Canada, L4W 4Y3

866-629-4757

www.omniterm.com

PG 23

PACKAGING CONCEPTS INC.

9832 Evergreen Industrial Dr.

St. Louis, MO 63123

John Irace / 314-329-9700

www.packagingconceptsinc.com

PG 41

PLUSRITE

2000 S. Grove Ave. Building B

Ontario, CA 91761

909-930-6868

www.plusriteusa.com

PG 31

PROCTOR COMPANIES

10497 Centennial Rd.

Littleton, Colorado 80127

303-973-8989

www.proctorco.com

PG 43

QSC AUDIO PRODUCTS, LLC

1675 MacArthur Blvd.

Costa Mesa, CA 92626

800-854-4079

www.qsc.com

PG 1

RETRIEVER SOFTWARE

7040 Avenida Encinas

Ste. 104-363

Carlsbad, CA 92011

760-929-2101

www.retrieversoftware.com

PG 44

SCRABBLE VENTURES

10550 Camden Dr.

Cypress, CA 90630

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 48

USHIO AMERICA, INC.

5440 Cerritos Ave.

Cypress, CA 90630

800-838-7446

www.ushio.com

READY THEATRE SYSTEMS

4 Hartford Blvd.

Hartford, MI 49057

Mary Snyder

865-212-9703x114

sales@rts-solutions.com

www.rts-solutions.com.com

PG 42

REALD

100 North Crescent Dr., Ste. 200

Beverly Hills, CA 90210

310-385-4000

realdglasses@reald.com

www.reald.com

PG 4-5

PG 11

WEST WORLD MEDIA

63 Copps Hill Rd.

Ridgefield, CT USA 06877

203-438-8389

PG 21

WHITE CASTLE

555 West Goodale St.

Columbus, OH 43215

614-559-2453

carrollt@whitecastle.com

www.whitecastle.com

PG 45

ON BLU·RAY January 7, 2014

Justin Timberlake and Ben

Affleck star in this highstakes

crime thriller. The lure

of easy money is the riskiest

bet of all. When Princeton

grad student Richie Furst

(Timberlake) believes he’s

been swindled by an online

poke site, he heads to Costa

Rica to confront gambling

tycoon Ivan Block (Affleck),

the man he thinks is responsible.

Rated R.

46 BoxOffice ® Pro The Business of Movies JANUARY 2014


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-

FOR SALE

STARLITE TWIN DRIVE-IN, WICHI-

TA, KS. Mar-Oct 2013 gross near $1.2

million excluding sales tax. Barco 4-K

digitals in 988 s/f booth/storage/

workroom. 26,000 Facebook Likes,

12,000 on weekly email list. 800 and

500 car lots provide unused capacity

most weekend nights. 24+ acres includes

2-acre undeveloped prime corner

and 2 acres undeveloped on 4-lane

connector to nearby Spirit (Boeing)

AeroSystems. Built in 1974, 7,720

s/f brick building has two full-service

lanes (4 registers), large restrooms in

A-1 condition, two large storerooms

downstairs, one upstairs, two offices,

nine-camera internet accessible security

system. All building areas have ample

refrigerated a/c and gas heat. All

6,732 s/f of main floor is “accessible”.

Large sprinklered lawn with manicured

landscaping, ideal for playground or

mini-golf. Three air-conditioned brick

box offices (6 lanes), metal scope-ratio

screens in excellent condition.

All original features fully maintained:

Speakers on all poles, checked weekly;

also FM stereo. All poles have color-coded

lights for parking control by

vehicle height. Perimeter lights (exit

arrows) every 75 feet around both

single-ramped, weed-free gravel lots.

Numbered center-aisle lights. No ambient

light problem. Hundreds of feet

of colored entrance driveway lights

welcome patrons to this large, unique,

pristine theatre. Long-term local management

flexible for future. Two types

of photos at www.starlitefun.com. Offers

over $900,000 considered. Jim

Goble 303-333-6625

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.

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

PREFERRED SEATING COMPANY, your

source for new, used and refurbished theater

and stadium seating. Buying and selling

used seating is our specialty. Call tollfree

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 weekends, evenings and holidays. Send

resume and salary history to movietheatrejobs@gmail.com

SERVICES

DULL FLAT PICTURE? RESTORE YOUR XE-

NON 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.

48 BoxOffice ® Pro The Business of Movies JANUARY 2014


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