Boxoffice - May 2016

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MAY 2016
BIG
DATA
SOCIAL MEDIA TRACKING
comSCORE WRITING THE NEXT CHAPTER
OF AUDIENCE TRACKING & ANALYTICS
MOVIO HOW DATA CAN REVOLUTIONIZE
THEATER OPERATIONS
QRIOUSLY A GLOBAL LOOK AT CONSUMER
TRENDS & INSIGHTS
SHARE DIMENSION CINEMA INTELLIGENCE TO
REVOLUTIONIZE BOOKING & SCHEDULING
SHOWTIME ANALYTICS CRUNCHING
NUMBERS ONE SCREEN AT A TIME
CINEMA
SHOWCASE
ENZIAN THEATER
MAITLAND, FLORIDA
Helena Bonham Carter
as Iracebeth of Crims,
the Red Queen in
Disney’s Alice Through
the Looking Glass
Opening May 27
CINEMACON RECAP
STUDIO PRESENTATIONS
SPEECHES & PANELS
LASER FOCUS
LASER PROJECTION
CONTINUES TO PROLIFERATE
The Official Magazine of the National Association of Theatre Owners

For decades audio technology has been at a stand still: until now.
Christie® Vive Audio is the revolutionary audio solution that matches
the awe-inspiring visuals Christie is known for. With rich, dynamic
sound, our planar ribbon driver technology brings the cinema
experience to life | viveaudio.com
© 2016 Christie Digital Systems USA, Inc. All rights reserved.

Daniel Loria
Editorial Director
Boxoffice®
The weeks around CinemaCon are a bit like a marathon—from
the byzantine challenges posed by scheduling meetings ahead of
the event, to the flurry of follow-up calls and e-mails that result from
those very meetings a week later. As tiring as it can be, it’s reassuring
to see that the industry remains vibrant, with plenty of energy and
new ideas to tackle the opportunities and challenges of tomorrow.
This issue of Boxoffice pays tribute to that entrepreneurial spirit,
covering our reactions to both the nine studio presentations and some of the most
compelling ideas discussed at CinemaCon 2016. You’ll also notice a considerably longer
Exhibition Briefs section, a result of all the news provided by the biggest event of
the year on the exhibition calendar.
No review of new ideas would be complete without looking at big data—how it has
influenced, and will continue to influence, our industry. We have once again included
a number of profiles on leading companies that are revolutionizing the industry by
unlocking the potential of data.
We also take a look at what some of our colleagues at Regal, B&B Theatres, and
Santikos have been up to in the last couple of months—as well as their plans for the
future. Hopefully you can find some valuable lessons in the following pages, just in
time for the summer movie season.
Daniel Loria
Editorial Director
Boxoffice Media
daniel.loria@boxoffice.com
MAY 2016 BoxOffice ® 3

MAY 2016 VOL. 152 NO. 5
Hello 3
Exhibition Briefs 8
Executive Suite
CinemaCon 2016: Five Key Takeaways
Charity Spotlight
A Look at Recent Events
Tech Talk
Cinema Technology: Live From L.A.—Barco takes its brand from
the projection booth to the marquee at Regal L.A. Live
Projection
Laser Focus: Laser projection continues its proliferation in North America
Tech Talk
Coming to a Smartphone Near You: Latest technology allows new ways to
communicate with patrons
Exhibitor Profile
Four Decades in Film Buying: Marcus Theatres vice president
Sonny Gourley looks back on a career in booking
Inside Your Theater
Built to Last: Remodels and new builds mean a big 2016 for B&B Theatres
Cinema Showcase
Enzian Theater: Maitland, Florida
CINEMACON RECAP
What Happened in Vegas 40
Studio Presentations 44
Alternative Content
Calendar of upcoming special events
BIG DATA
Social Media Tracking 101
The secret sauce in the BoxofficePro.com social media predictions
Showtime Analytics
Crunching numbers to deliver results, one screening at a time
Share Dimension
Cinema Intelligence hopes to revolutionize booking and scheduling
through the power of data
comScore
ComScore and Rentrak join forces to write the next chapter of
audience tracking and analytics
Movio
How data can revolutionize theater operations
Qriously
A global look at consumer trends and insights
The Audience Speaks
Qriously survey reveals fragmented global market and growth opportunities
3D Calendar
Sponsored by RealD
68
On Screen
Capsule previews of upcoming wide- and limited-release films
70
Booking Guide
Booking details for over 150 upcoming releases
82
Classifieds 88
18
20
26
28
30
32
36
38
51
56
58
60
61
62
64
65
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MAY 2016 BoxOffice ® 5

NO BULL.

JUST
GREENER
PASTURES.

NATIONAL AMUSEMENTS
SIGNS WITH USHIO
n Ushio is now the sole provider
of xenon bulbs to all National
Amusements locations worldwide.
“The consistent care and attention
to detail shown by the team
at Ushio is evident,” said Duncan
Short, vice president, U.S.A. and
international operations, National
Amusements Inc. “From
the factory floor to the executive
management, Ushio’s commitment
to their customers is matched by
the quality of xenon bulbs that
they produce. We at National
Amusements have always strived
to bring our customers the highest quality presentation
for which Ushio’s xenon bulbs are a perfect fit.
I am pleased to have such a dedicated partner in this
endeavor.”
“For almost 80 years National Amusements has
continued to be a cinema industry leader, bringing
extraordinary-quality experiences to their customers,”
said Koji Naito, corporate senior vice president,
Ushio Inc. “We know through supplying National
Amusements/Showcase for more than 20 years, that
it is the dedicated work of many individuals behind
the scenes which makes visiting a Showcase Cinemas
the great entertaining experience it is. We are proud
that these experts have selected global market-leader
Ushio to bring their big screens to life and are
honored that their confidence let them enter into an
additional three years of partnership with us.”
FANDANGO EXPANDS MOBILE INNOVATIONS,
INCREASES TICKET SALES
n On the heels of a record-breaking 2015, in which Fandango
grew its ticketing business 81 percent, the company reports continued
growth in the first quarter of 2016, with a 63 percent
increase in ticket sales, year-over-year.
Fandango enters the second quarter by
expanding its e-commerce network to now
include ticketing on its newly acquired digital
moviegoing destinations, Flixster and Rotten
Tomatoes, adding 20 million monthly users, for
a combined total of 63 million and more than 100
million app downloads.
“Fandango is experiencing tremendous ticketing
momentum with a healthy increase in sales,
expansion onto Flixster and Rotten Tomatoes, and
the introduction of new mobile technology to enhance
moviegoers’ experiences at their favorite theaters,” said Paul
Yanover, Fandango president.
With 70 percent of Fandango and Flixster customers using
their mobile devices to discover movies and purchase tickets, the
company has increased its development efforts to create new mobile
innovations, rolling out new mobile ticket technology that
allows consumers to simply show theater staffers an unduplicatable
ticket image on their mobile phones, thereby eliminating the
need for QR codes and barcode scanners.
Fandango’s new mobile ticket is being introduced at five theater
chains: Carmike Cinemas, Frank Theatres, Paragon Theaters,
Reading Cinemas, and the legendary TCL Chinese Theatres in
Hollywood.
In addition to the acquisition of Flixster and Rotten Tomatoes,
Fandango acquired premium on-demand video service
M-GO, which it rebranded in March as FandangoNOW. With
this new capability, Fandango plans to create innovative new
solutions for “super tickets” and movie ticket and home entertainment
products, adding even more value to theatrical ticket
purchases. “Super tickets” could provide moviegoers
the opportunity to attend special screenings,
pre-order digital downloads of movies in theaters,
or catch up at home with previous franchise installments
before going to the cinema to see the newest
release.
Fandango is also expanding its presence outside
of its recently acquired digital properties.
The company also announced the development
of a Fandango bot for Facebook Messenger
to provide fans quick and easy access to movie
information, trailers, show times, theater locations, and a link
to advance ticketing for all theatrical releases from their mobile
devices. The Fandango bot was introduced at F8, Facebook’s
annual global developer conference in San Francisco, with plans
to launch in May.
“We are thrilled to be the go-to moviegoer resource and
ticketer on Facebook Messenger, where we can serve millions of
entertainment fans on this exciting new platform,” said Yanover.
“The Fandango bot on Messenger will act like a personal concierge,
helping fans instantly discover movies and nearby theaters,
and, for the first time, connect to all Fandango show times and
ticketing through Facebook.”
The Fandango bot for Messenger will provide easy-to-use
prompts for moviegoers to quickly locate nearby theaters and the
movies playing at those theaters, along with trailers, film synopses,
ratings, running times, and direct access to advance ticketing
on Fandango.
8 BoxOffice ® MAY 2016

ATOM ADDS KEY EXHIBITION
PARTNERSHIPS
n Mobile ticketing start-up Atom Tickets announced
the addition of Regal Entertainment
Group and AMC Theatres, as well as
regional movie houses Studio Movie Grill
and Silverspot Cinemas, to its roster of
partnerships. The circuits join Landmark
Cinemas of Canada as Atom-enabled
circuits. Atom launched in select markets
across the U.S. and Canada earlier this
year. Atom is projected to support over
15,000 screens across the two countries
by the end of the year.
“We are excited to bring the best
of e-commerce to bear on the theatrical ticketing
space,” said Ameesh Paleja, Atom Tickets co-founder
and CEO. “Combining great recommendations,
personalization, and the best data-analysis techniques
available, we are able to connect customers with the
movies they will love and drive incremental audiences
to our partners.”
“AMC leads the industry in enhancing the moviegoing
experience, and through our partnership with Atom
Tickets, we will continue to extend that improved experience
to the ticket-buying process,” said Adam Aron,
CEO of AMC Theatres. “We believe Atom’s social and
mobile app will increase moviegoing frequency, especially
for AMC Stubs rewards-program members.”
Atom enables exhibitor partners to maximize their
revenue streams by using Atom’s social invitation
features and pre-ordering of tickets and concessions.
Moviegoers can use the free app to purchase tickets
and concessions, coordinate and invite friends without
having to pay for them, and skip the
lines at the theater.
“Through our partnership with Atom
Tickets, we are thrilled to be their first
national exhibition partner and first to
market with their innovative social and
mobile app,” said Amy Miles, CEO at
Regal Entertainment Group. “At Regal,
we continue to look for innovative ways to
enhance the moviegoing experience. With
Atom Tickets, we have found a partner that
provides our guests and members of our industry-leading
loyalty program, the Regal Crown Club, a
new way to purchase tickets and concessions in advance.”
“We’re thrilled to create multifaceted partnerships
with AMC and Regal to make Atom available to
consumers in all markets across the United States.
We look forward to working with Amy and the Regal
team, as well as Adam and the AMC team, to drive
results by enhancing the special moviegoing experience
that both Regal and AMC provide to their
patrons,” said Matthew Bakal, executive chairman
and co-founder of Atom Tickets. “In addition to the
big national brands, we’re also excited to bring our
platform to regionally important and forward-leaning
exhibitors Studio Movie Grill and Silverspot Cinemas,
as well as Landmark Cinemas of Canada, our first
full-circuit partner.”
The Atom App is now
available on both iOS and
Android platforms
VISTA LAUNCHES SCHEDULING APP
n Vista Entertainment Solutions has launched MovieTeam, a cloudbased
application that transforms staffing protocols for theaters.
Developed in partnership with Harkins Theatres, MovieTeam is the
result of more than a year of consultation, development,
and testing and is the latest premier offering
from Vista Entertainment Solutions.
MovieTeam enables interconnected, company-wide
management and scheduling of all cinema
staff—removing fragmented, frustrating, suboptimal
practices that have plagued large-circuit
exhibitors for decades. Seamlessly integrating the
needs of corporate HQ, cinema management, and cinema staff,
the product arms managers with all the information required to
optimize staff management, construct and communicate schedules,
monitor the inevitable variables, and respond to them in real time;
operational staff maintain total visibility of their shift obligations
as well as record and manage options related to their lifestyles or
preferences.
“MovieTeam is designed specifically for cinemas and the unique
staffing requirements that cinema exhibition demands,” said Derek
Forbes, president, Vista USA. “For a long time Vista customers
have requested a state-of-the-art technology solution for the crucial
staffing component of their business, one that
would integrate into their existing Vista Cinema
software package. MovieTeam meets those needs
and more. Having Harkins Theatres as our development
partner has ensured that the product meets
exacting standards. We’re delighted with the results
of our collaboration.”
“Due to the unique nature of cinema scheduling,
existing software products have never been able to meet our
needs,” says Racheal Wilson, Harkins senior vice president. “So we
were excited to be approached by Vista on this project. In our work
together for the past several years, Vista has demonstrated why
they are the leaders in cinema software. Their proven track record
has given us every confidence that MovieTeam will be an impactful
addition to the Vista cinema suite.”
MAY 2016 BoxOffice ® 9

EXHIBITION BRIEFS
Mac Premo is an artist based
in Brooklyn, New York. Premo
created the first Bucket
Board with Sanford Shapes,
fabricating skateboards out
of trash and giving them to
kids who otherwise would
not have boards. For more,
go to thebucketboard.org.
VIMEO ADDED
TO SPOTLIGHT’S
PRE-SHOW
n Vimeo announced
a partnership with
Spotlight Cinema
Networks to bring
short-form Vimeo
programming to
select movie theaters.
As part of the
partnership, one to
three short films will
receive theatrical
exposure each month
during Spotlight’s
20-minute pre-show
before each movie.
The shorts will be
specially curated from Vimeo’s Staff Picks Channel,
a constantly updated celebration of the best content
from creators on Vimeo.
Spotlight and Vimeo will also provide additional
reach for their premium advertisers through
cross-channel opportunities. Programming from
Vimeo Brand Studio, the company’s in-house studio
that creates content for brands, will be distributed
to Spotlight’s coveted audience of hip, upscale, adult
influencers. Spotlight will also have the ability to tap
into Vimeo’s in-house studio to create content that
will also air on Vimeo.
“Through today’s partnership with Spotlight,
Vimeo is able to offer new opportunities to our top
filmmakers creating cinematic content for brands
and provide theatrical exposure for select Staff Picks
shorts,” said Richard Bloom, VP, global business
development and brand partnerships, Vimeo.
“Spotlight’s educated, affluent audience and theaters
specializing in the best of independent films and
luxury cinema are very much in line with the Vimeo
audience and make them the perfect theatrical partner
for this program.”
“We’re thrilled to showcase the work of some of
the world’s most imaginative indie filmmakers in
the country’s leading art-house and luxury cinemas,”
said Michael Sakin, president, Spotlight Cinema
Networks. “This partnership provides cinema audiences
with entertaining content that has been curated
specifically for their sophisticated tastes.”
The partnership kicked off on April 15 with The
Bucket Board, a three-minute short from Vimeo
Staff Picks filmmaker Mac Premo about his quest to
manufacture sleek skateboards out of trash and old
plastic buckets.
VILMA BENITEZ
Vilma Benitez is CEO of
Bardan Cinema, a Miamibased
integrator and supplier
to large and small cinema
exhibitors located throughout
Latin America, the Caribbean,
and southeast U.S.
BARDAN PARTNERS WITH TK
ARCHITECTS
n Bardan Cinema has entered
a strategic partnership with TK
Architects to design and develop
state-of-the-art cinemas throughout
the Americas and Caribbean.
“We’re excited to bring new
ideas to our cinema operators,” said
Vilma Benitez, CEO of Bardan
Cinema. “The partnership with TK
made a lot of sense: our combined
expertise and commitment to
delivering the very best design, engineering,
and product lines will be
attractive to cinema owners looking
for a competitive advantage.”
TK Architects specializes in cinema and entertainment
design. This will be TK’s entrée into Latin
America.
The announcement comes on the heels of Bardan’s
agreements with Barco and Philips Lighting to work
closely in the Latin American and Caribbean regions.
With Barco, Bardan is marketing the company’s
interactive X20 Visual Communication Platform and
digital signage products to cinemas, retailers, hotels,
commercial properties, and live venues. And with
Philips Lighting, Bardan is expanding its exclusive
master distribution agreement to introduce and supply
the new digital cinema xenon long-life lamps to light
movie screens worldwide.
WANDA SELECTS DOLBY
n Wanda Cinema Line Corporation Ltd. is
planning to purchase more than 800 units of
Dolby digital cinema processors, including the
Dolby Atmos Cinema Processor CP850 and
the Dolby Digital Cinema Processor CP750, to
deploy in all of its new cinema screens in China
through the end of 2016.
“Dolby has always been a strategic partner
to Wanda with its proven track record of
providing quality products that deliver high
reliability and great performance,” said Jack
Wang, general manager, Information and Technology
Center, Wanda Cinema Line Corporation
Ltd. “We are glad to continue to leverage
Dolby’s strong expertise in cinema audio and
further expand our Dolby Atmos screens with
the recent orders of the Dolby Atmos Cinema
Processor CP850.”
“Dolby is delighted with its ongoing collaboration
with Wanda to bring amazing cinema
experiences to moviegoers across China,” said
Doug Darrow, senior vice president, Cinema
Business Group, Dolby Laboratories. “Dolby is
committed to supporting the cinema industry
through quality and innovation, and we look
forward to our ongoing efforts with industry
leaders like Wanda who look to offer spectacular
moviegoing experiences to consumers.”
10 BoxOffice ® MAY 2016

IMAX ADDS THEATERS IN INDIA
n IMAX Corporation and the Indian
exhibition chain INOX Leisure Limited
announced an agreement for five IMAX theaters.
The theaters will be added to existing
INOX multiplexes in the cities of Mumbai,
Bangalore, Delhi, and Kolkata. The agreement
represents the largest theater deal for
IMAX in India and brings the total number
of IMAX theaters in the country to 20, with
9 currently open and 11 contracted to open.
“We’ve always said India is potentially a
huge opportunity for us,” said IMAX CEO
Richard L. Gelfond. “Now is the time to
grow in this strategically important market,
and this deal serves as an important first
step.”
“We have built our business on our commitment
to create a premium customer experience,
and we view our partnership with
IMAX as an extension of this strategy,” said
Alok Tandon, CEO, INOX Leisure Ltd. “By
associating ourselves with the IMAX brand
and offering our guests a completely immersive
cinema experience, we will continue to
strengthen our position. We are particularly
excited about shaping the future of cinema
in India through such initiatives.”
CHRISTIE’S REMERS TO RETIRE
n Gerry Remers, president and COO of Christie Digital
Systems Canada Inc., will step down from his current
role in July. Following his departure he will continue to
assist Christie as special advisor to Jack Kline, chairman,
president and CEO of all Christie operating companies,
worldwide, for an indeterminate period.
Most recently Remers was responsible for leading Christie’s
global engineering, quality efforts, and manufacturing
operations, responsibilities encompassing his 16 years with
Christie and evolving from his five years as president of Electrohome
Projection Systems, a forerunner of today’s Christie
group of companies.
“In my time at Christie, supported by an admirable
workforce and my peers in the executive team, I was privileged
to be part of an amazing success story, growing the
company tenfold in revenues from 1999 to today, and
from 120 employees to our global base of 1,600,” said
Remers. “My new career will leverage the deep well
of experience and expertise gained during this time,
as I provide strategic consulting and advisory
services to firms looking to scale their global
operations.”
Ihor Stech, executive vice president of operations,
Christie Canada, will replace Remers
as chief operating officer, Christie Canada.
MAY 2016 BoxOffice ® 11

EXHIBITION BRIEFS
League of Legends
competition played between
two pro teams at Movie
Planet Cinema in San
Giuliano, Milan
CINEMECCANICA DEBUTS GAMING
PLATFORM
n Cinemeccanica debuted ESPARENA, the first
platform designed to support electronic games and
tournaments in cinema auditoriums, in early April
at Movie Planet Cinema in San Giuliano Milanese
in Milan, Italy, where League of Legends hosted two
professional teams of gamers and guest stars from the
gamer community.
In this setup, gamers can play and face their
opponents, share their excitement on the big screen, or
simply watch gaming competitions live.
ESPARENA allows a quick transition from a
standard cinema theater to an e-sports arena, opens
the cinema to new audiences, and increases revenues
thanks to video game competitions.
Cinemeccanica, a producer of cinema equipment,
has a presence in 90 countries.
CINELIFE AND NYFCS TO PROMOTE
FILMS AND EVENTS
n CineLife, a Spotlight Cinema Networks
app, has partnered with the New York Film
Critics Series (NYFCS) to promote soonto-be-released
films and live, in-theater
events featuring celebrity interviews
at the nation’s leading independent
cinemas.
Under the terms of the agreement,
the NYFCS receives a
branded space in CineLife,
Spotlight Cinema
Networks’ mobile app,
which features the
organization’s content.
In return,
the CineLife
logo is featured on the NYFCS’s website and e-news
blast. Additionally, in March, Spotlight Cinema
Networks began running a 20-second spot promoting
its CineLife app service in more than 55 theaters
participating in the New York Film Critics Series.
Now in its 20th year, the NYFCS features
advance screening of prestigious films followed by
live interviews with Hollywood’s elite conducted
by Rolling Stone and ABC Popcorn film critic Peter
Travers.
Spotlight Cinema Network’s CineLife app is a
free service showcasing independent theaters and
film for cinema enthusiasts and the first app serving
the art-house and independent market. CineLife
features a list of all current art-house and indie films
in theatrical distribution, show times, ticketing links,
special events, cast and plot summaries, reviews, and
information about upcoming releases.
12 BoxOffice ® MAY 2016

HARKNESS PARTNERS WITH HIGHLANDS
n Harkness Screens and Highlands Technologies Solutions announced
an agreement that recognizes Harkness Screens as the
exclusive global partner and commercial licensee of Qalif light-measurement
products for commercial cinema.
Developed by HTS with key technical inputs from Harkness, the
Qalif range encompasses a number of tools designed to allow cinema
exhibitors to improve, maintain, and manage presentation quality in
cinema.
Commenting on the announcement, Harkness CEO Mark
Ashcroft said, “We are delighted to have secured this exclusive global
license, allowing us to further integrate Qalif technology into our
Curolux screen monitoring platform. We’ve been committed to
supporting cinema exhibitors in their drive to improve the cinematic
experience for moviegoers, and with the Qalif suite of tools, we
are now able to provide a platform that can monitor and maintain
presentation quality in a way that up until recently only a traditional
projectionist could.”
Harkness has also confirmed that existing HTS partners Cine-
Active Solutions and Labodigital will become nonexclusive principal
resellers for the U.S. and Latin America respectively.
BRETT RESNICK JOINS ALLURE
n Allure and its Christie Experiential Network (CEN) has appointed
veteran theatrical distribution executive Brett Resnick (pictured) as
vice president of studio relations.
In his new position, Resnick will guide CEN strategies and activities
as a key part of its continuing national rollout. He comes to the
company with 20 years of distribution experience, which began at
MGM, and most recently with 20th Century Fox, guiding the release
of over 300 titles including Avatar; Star Wars: Episode I, II, and III;
X-Men: The Last Stand; X-Men: Days of Future Past; Independence
Day; and, most recently, Deadpool. Resnick also spearheaded the
partnership between Fox and Fathom Events, bringing classics such
as The Sound of Music, Planet of the Apes, and The King and I back to
the big screen.
CEN installations
will feature interactive
and 3D content
delivered on brilliant,
animated digital
posters and experiential
displays, ranging from
stand-alone units to
award-winning Hero
Video Walls with digital
panels arranged in an 8
x 14-foot herringbone
pattern. The displays
will demonstrate Christie’s
proven expertise in
delivering sophisticated,
highly effective advertising
campaigns using
the latest innovations
in digital technology
to engage with theater
audiences and enhance
exhibitors’ competitive
advantage.
MAY 2016 BoxOffice ® 13

EXHIBITION BRIEFS
NEW BRAND AND MISSION FOR SANTIKOS
n Santikos Entertainment, formerly Santikos Theatres,
has a new corporate image, name, and mission. The
rebranding reflects the evolution of the company
and the vision for its future as a social
enterprise.
Santikos, as part of the estate of the late
John L. Santikos, was bequeathed to the John
L. Santikos Charitable Foundation in 2015, the
largest single charitable
donation in the history of
San Antonio and one of
the largest in the United
States that year. Santikos
Entertainment now exists
for the sole benefit of the
communities in which it
operates. The dollars spent on
movie tickets and amenities are
funneled back into the local community in the form of donations,
sponsorships, grants, and programming that educate,
cure, support, and otherwise enhance lives of the citizens
that support Santikos Entertainment.
“We all have a stake in creating a vibrant
and prosperous community,” said David M.
Holmes, Santikos Enterprises president and
CEO. “You can see a movie anywhere, but every
time you see a movie at Santikos you become
a vital part of our charitable
legacy,”
Santikos has also
redefined its mission to
“provide unparalleled
entertainment that creates
a lasting benefit in our
communities.” The company’s
new tagline is Be a Part of
the Legacy.
LYONS IS FATHOM’S
‘OFFICIAL HOST’
n Fathom Events, distributor of alternative content to cinemas,
has named film critic and sports and entertainment correspondent
Ben Lyons as the “Official Host” of Fathom Events.
Lyons will engage audiences in person, providing a historical
retrospective on the evolution of cinemas and appearing in
Fathom’s original pre-show content. As the new brand ambassador,
Lyons will also present a monthly series reporting on
recent Fathom Events and will host and curate Q&As
and special live events.
“Fathom is providing something truly unique
for audiences, and I’m thrilled to be a part of
their evolving entertainment platform,” said
Lyons. “Passionate film, sports, and entertainment
fans can experience the content they
love in a whole new way with Fathom’s
diverse programming lineup.”
Fathom is best known for in-theater
entertainment events including classic
rereleases such as Pretty in Pink, live
broadcasts from the Metropolitan
Opera, major sporting events, music
concerts, and art exhibitions.
Said John Rubey, CEO of Fathom
Events, “Ben is an entertainment
expert and a dedicated
fan, which speaks to the core of
Fathom’s brand.”
PHOTO: GAGE SKIDMORE
14 BoxOffice ® MAY 2016

SHARE DIMENSION OPENS L.A. OFFICE
n Share Dimension, a business intelligence and
predictive analytics solution provider for cinema
exhibitors, has opened an office in Los Angeles and
made several new appointments, including Christiane
Ducasse as vice president, sales and business development,
North America. Share Dimension has also
named new members of its finance team, located in
Europe. Dennis Siemelink will be global finance controller,
and Simona Bota, finance administrator. Matt
Klosinski, account manager and product specialist, is
also joining the U.S. office in Los Angeles.
“With customers all around the world, and offices
in the Netherlands, Romania, and the U.K., we continue
our expansion in the Americas and establish our
presence in the U.S. market to support our American
and Canadian customers,” says Claudiu Tanasescu,
CEO of Share Dimension. “Christiane brings over 20
years of experience in theatrical distribution and digital
cinema, and I am thrilled that she is leading our sales
effort in collaboration with our sales channel partners.”
Ducasse’s experience in the entertainment industry
includes eight years at SmartJog US, a French pioneer
in SaaS and digital cinema electronic delivery services.
She was president of the Los Angeles office, where
she managed sales, marketing, partnerships, and U.S.
studio relations. More recently she was president of
Nova Mediatech.
MOVIEPASS DOUBLES
ATTENDANCE
n MoviePass recently released third-party
data that measured how frequently Movie-
Pass subscribers went to the movies during
a 12-month study that was conducted
throughout 2015. The study revealed that
MoviePass subscriptions drove a 111 percent
increase in attendance.
MoviePass partnered with Mather Economics,
an expert in subscription analytics,
to quantify the effect that a MoviePass
subscription has on theatrical attendance.
The study compared the pre–MoviePass attendance
rates of customers who belonged
to an exhibitor’s loyalty program to their
attendance rates after joining MoviePass.
The results showed: An average of 111%
incremental lift in attendance behavior; A 50% increase in midweek attendance;
75% of MoviePass subscribers are under the age of 35, with an average age of 26;
Average subscription lifetime was 20 months with sustained incremental behavior.
“This trial confirms quantitatively that the subscription business model Movie-
Pass has created is delivering real value to movie studios, theaters, and audiences,”
said Mather Economics president Matt Lindsay.
Says Matthew Marolda, chief analytics officer at Legendary Pictures, “We’re big
believers in MoviePass because of their data-driven approach to subscription, which
helps us to better understand our most avid moviegoers and more effectively drive
traffic to the theatrical window.”
MAY 2016 BoxOffice ® 15

EXHIBITION BRIEFS
4DX COMES TO THE CARIBBEAN
n CJ 4DPLEX has entered into a new
partnership with Caribbean Cinemas.
The agreement will bring 4DX
technology to two movie theaters in
Puerto Rico and the Dominican Republic.
With these openings, 4DX will
be available in the Caribbean Islands
for the first time.
Caribbean Cinemas, the largest
motion picture exhibitor in the Caribbean
Islands, runs its 57 theaters with
a total of 463 screens in Caribbean
nations including Puerto Rico, Dominican
Republic, Trinidad and Tobago,
Aruba, St. Lucia, St. Maarten, Antigua,
St. Kitts, St. Thomas, St. Croix, and
Guyana.
The first 4DX location for Caribbean
Cinemas is scheduled to open
this month at the Montehiedra Towne
Center in San Juan, Puerto Rico,
which was recently renovated to be
equipped with high-end cinema technologies.
Caribbean Cinemas next
plans to open a 4DX location at VIP
Multiplex in Dominican Republic.
“As a theater chain that prides
itself on being cutting edge, we are
very excited to be partnering with CJ
4DPLEX and offer the immersive fivesense
cinematic experience to our
customers with these two launches.
We’ve learned that state-of-the-art
facilities, new buildings, remodeled
facilities, and new technology are
drivers for attendance,” said Caribbean
Cinemas CEO Robert Carrady.
CEC POWERED BY OMNITERM
n CEC Theatres, a family-owned business that currently operates 19 theaters with
151 screens, has selected Omniterm theater management software (TMS) for its
circuit.
“With the rapid changes in technology, we decided to look for a theater management
POS provider rather than to continue developing our own,” said Tony Ross,
VP Finance, CEC Theatres. “After comparing the top choices in the market we
selected Omniterm based on their software, experience, and the relationship built
during the evaluation stage.”
According to Greg Carter, director of operations for CEC Theatres, the upgrade
from the company’s preexisting in-house solution has allowed them to concentrate
on what they do best: cinema exhibition. “It was a very hard decision for us to move
away from our own solution,” said Carter. “Omniterm TMS gives us a wholly integrated
solution that will enable us to launch new programs and functionality that
previously were on the drawing table.”
In addition to the standard box office, concessions, and kiosk applications, CEC
is using the system to deploy circuit-wide loyalty and gift card programs and provide
customers the ability to purchase tickets online and on their smartphones.
MOVIETICKETS.COM SIGNS LANDMARK CINEMAS
n MovieTickets.com has entered into a deal with Canada’s Landmark Cinemas,
which has locations throughout western Canada, Ontario, and the Yukon Territory.
This new relationship will continue MovieTickets.com’s expansion into Canada,
where it now offers advance tickets for nearly 75 percent of screens, representing
over 90 percent of the country’s box office on any given weekend.
“We look forward to increasing our presence in Canada to include Landmark
Cinemas,” said Joel Cohen, CEO of MovieTickets.com. “Our own expansion
within the Canadian market builds on our international growth strategy; this is
especially valuable in a country where we are the only destination that aggregates
advance ticketing from multiple theater chains.”
Bill Walker, COO of Landmark Cinemas Canada, added, “MovieTickets.com
is a great partner in Canada and will help extend convenient ticketing platforms to
our guests.”
16 BoxOffice ® MAY 2016

Landmark Cinemas is the second-largest motion
picture theater exhibition company in Canada, and the
10th-largest in North America. This deal adds an additional
45 theaters and 312 screens to MovieTickets.
com, bringing the company’s global footprint to nearly
29,000 screens.
NEW DIRECTOR AT FRANKLIN DESIGN
n Franklin Design Inc. (FDI), a Mississippi company
owned by Pam and Bobby Franklin, has hired Steve
Zimmerman as its new director of operations. He will
oversee the operations of both Franklin Design Inc.
and Franklin Design Int. Inc. Franklin Design has
provided design services to the cinema industry for
nearly 30 years.
“I am excited about the vision that Pam and Bobby
have created for Franklin Design Inc.,” said Zimmerman,
“and feel I can help to achieve this vision, while
also being instrumental in maintaining the quality of
products and services that have made Franklin Design
a trusted leader in the industry.”
“We are pleased to have Steve join our Franklin
family,” said Bobby Franklin, company president. “His
strengths in building and understanding the relationship
values our company embraces is as vital to us as is
his wealth of knowledge and experience in what we do
in the industry.”
RECORD YEAR FOR DCDC
n Digital Cinema Distribution Coalition
(DCDC), the North American theatrical
content distribution organization founded
by Warner Bros., Universal, Regal,
Cinemark, and AMC, has posted major
across-the-board gains in all key categories
during its second full year of operation.
Additionally, DCDC reported
it had made nearly 400,000 deliveries
of features and other content, including
live and prerecorded events, to theaters
nationwide through December 2015.
In its first direct year-to-year comparisons,
DCDC finished 2015 with double- and triple-percentage
increases in every significant category, including
the number of screens, exhibitors and major
studios, and leading independent content providers.
The surge also extends to delivery of features and to
special prerecorded and live events.
New content-provider customers added in the
last year include BY Experience, Bleecker Street,
EuropaCorp, Gathr Films, Group 1200 Media, Pure
Flix Entertainment, Shorts International, SpectiCast,
Tugg, and The Weinstein Company. Exhibition customers
range from the large multiplexes to drive-ins
and art houses. n
MAY 2016 BoxOffice ® 17

EXECUTIVE SUITE
n The global motion picture industry came together
in Las Vegas on April 11–14 for CinemaCon 2016.
With admitted bias, we believe this was the most
successful motion picture industry convention ever.
CinemaCon 2016 featured record registration numbers,
a sold-out trade floor, more studio presentations
than ever before, important educational programming,
and, of course, plenty of high-level private meetings
CinemaCon 2016
FIVE KEY
TAKEAWAYS
by John Fithian, President and CEO, NATO
DEADPOOL
$760m
worldwide
SOURCE: BOXOFFICEPRO.COM
and fun!
CinemaCon 2016
also established some
very important themes
that merit highlighting
here in NATO’s official
magazine. Five of those
themes follow.
1
Major Studio Product Looks
Great for the Foreseeable
Future
After a record domestic box
office in 2015 of $11.1 billion (up
7.5%), and another global record
of $38.3 billion, some prognosticators
had predicted a down year in 2016. Yet the
industry’s growth continues. Box office in the U.S. and
Canada was up a strong 12.7 percent in the first quarter
of 2016, with a trio of summer-type blockbusters
early in the year—Deadpool, Zootopia, and Batman
v Superman. Now the second quarter is off to a great
start with the massive opening of The Jungle Book.
At CinemaCon, the major studios demonstrated
that this strength will continue throughout 2016 and
into 2017 and beyond. Delegates thrilled to product
presentations by the major studios including Para-
mount, Warner Bros., Sony, Disney, Universal, Fox,
and Lionsgate (in their order of appearance at the
show). During the week, distributor and exhibitor
stock prices rose, as Wall Street analysts strengthened
their forecasts for future box office. And of course the
delegates had fun with more stars during the week
than ever before at CinemaCon.
2
Two New Movie Suppliers
Strengthen the Show and the
Industry
Most major studios have
focused more and more on
tentpole blockbusters. Exhibitors
around the world benefited from
a record-breaking five billion-dollar blockbusters in
2015. At the same time, though, the industry needs
mid-budget and sophisticated adult fare to appeal to a
broad range of audiences. CinemaCon 2016 brought
two new suppliers of movies to the stage—STX Entertainment
and Amazon Studios. STX’s self-described
midsize movie strategy will bring more than a dozen
original new movies to the big screen each year.
Similarly, Amazon made big news with its
appearance at CinemaCon. Some NATO members
questioned us about the appearance of an Internet
company at the convention. But as their presentation
progressed, Amazon made it clear they won’t be another
Netflix, and that they are committed to a theatrical
release window with very interesting movies.
3
The Theatrical Window Is
Important: Third Parties
Will Not Decide Movie
Distribution Models
At NATO we continue to
believe that exclusive theatrical
release windows drive success in
theatrical markets and in ancillary movie markets as
well. Exclusive theatrical windows make new movies
into events. Success there establishes brand value and
bolsters revenue in downstream markets.
To be sure, more sophisticated window modeling
may be needed for the growing success of a modern
movie industry. But those models will be
developed by distributors and exhibitors in
company-to-company discussions, not by
third parties.
18 BoxOffice ® MAY 2016

We were pleased to see support for theatrical
windows throughout the week at CinemaCon. Before
making big news by announcing four upcoming
Avatar movies, filmmaker James Cameron stated that
“it’s essential for movies to be offered exclusively in
theaters on their initial release.” Director Todd Phillips
added, “Why are we in such a rush to turn movies
into television? Movies are special.” Warner Bros. chief
Kevin Tsujihara said on the Colosseum stage that “we
are not going to let a third party or middleman come
between us.”
4
Teenagers’ Support for
the Cinema Is Strong and
Growing
At CinemaCon the Motion
Picture Association of America
released its annual Theatrical
Market Statistics. One key
finding involves teenagers, who remain the strongest
segment of moviegoers. In 2015 per capita ticket sales
for Americans ages 12 to 17 was 7.3, with the highest
growth rate of any age demographic. That demographic
represents only 8 percent of the U.S. population,
but a stellar 16 percent share of movie tickets
purchased. Teenagers constitute not only our most
frequent guests, but they are also the highest spenders.
Teenagers have the highest rate of support for 3D and
premium large format screens too.
5
Diversity in Movies Drives
Better Business
A strong youth audience for
cinema signals future industry
growth as we develop another
generation of moviegoers. Another
bright sign for the future is
that diverse audiences around the globe are making
their voices heard. Historically, three of the biggest
cinema markets were the United States, Europe,
and Australia. And in the old days those territories
weren’t nearly as diverse as they are today. Now, the
overseas theatrical markets with the fastest growth
rates are found in Asia and Latin America. And
here in the U.S., Hispanics have the highest rate
of cinema visits and are the fastest-growing part of
American demographics.
No doubt the construction of state-of-the-art cinemas
in all cultures and neighborhoods has enabled
this growth. And there is another factor as well. The
more that movie casting looks like the world, the
more the world goes to the movies. Consider the
results for Furious 7. In the United States, a majority
Caucasian country, white folks accounted for only
40 percent of the tickets sold for that movie. And
globally the diverse cast of that franchise has helped
to drive record sales. At CinemaCon this year we
championed the diversity of our industry, not just
because it’s the right thing to do, but because diversity
matters for business.
CinemaCon 2016 indeed served to establish
some important themes. But it is committed individuals
and organizations that make the convention
possible—and that establish a platform for those
themes. I want to thank the professional CinemaCon
team of Mitch Neuhauser, Matt Pollock,
Matt Shapiro, and Cynthia Schuler, who
work hard all year to produce a great
show. Volunteer member-leaders offer
essential guidance and support to that
professional team. CinemaCon board
members Rob Del Moro of Regal and
Steve Zuehlke of Cinemark top the list. And of
course NATO’s chairman, John Loeks of Celebration!
Cinema, and our vice-chairwoman, Amy Miles
of Regal, contribute significant leadership to the
show as well.
CinemaCon and NATO also deeply appreciate
our sponsors throughout the week. The most significant
sponsor, and continuously steadfast supporter
of CinemaCon and NATO, has been the Coca-Cola
Company. Thanks to Stefanie Miller and her team
for their tremendous support.
Finally, the show is about the delegates. We appreciate
so much the 5,000-plus industry professionals
who come to Vegas each year.
See you again in Vegas for CinemaCon 2017
March 27–30! n
5
OVER
100
AS OF APRIL 25, 2016
DEADPOOL
$361m
BATMAN V
SUPERMAN: DAWN
OF JUSTICE
$320m
ZOOTOPIA
$317m
THE JUNGLE BOOK
$195m
KUNG FU PANDA 3
$142m
SOURCE: BOXOFFICEPRO.COM
MAY 2016 BoxOffice ® 19

CHARITY SPOTLIGHT
A LOOK BACK AT
RECENT EVENTS
Compiled by Erica Lopez
Executive Director, Variety—
the Children’s Charity of the United States
VARIETY OF DC
ZOOTOPIA
SCREENING
n More than 150 tickets were
purchased for Variety of DC’s
screening of Zootopia at the AMC
Courthouse in Arlington.
Attendees picked up free
popcorn and soda, courtesy
of AMC, and then attended
a dessert reception in the upper
lobby for delicious treats.
Evan Paprocki, a senior PT from
Children’s Hospital in D.C., joined
organizers onstage prior to the movie and
talked about the huge impact mobility bikes
have on the physical, mental, and emotional
well-being of kids with disabilities. Sponsored
by Coca-Cola and Dolby, the event
made a net profit for the charity of
more than $9,000.
VARIETY OF THE
UNITED STATES
ADAPTIVE BIKE
PRESENTATION
AT CINEMACON
n In partnership with
Variety’s entertainment
industry supporters,
Variety of the United
States granted a specially
designed adaptive bicycle
to six-year-old Las Vegas
resident Gretchen Templeton
at the All-Industry
Breakfast. Gretchen is
unable to ride a typical
bike, but her new
adaptive bike, which cost
$1,000, is outfitted to her
needs so she can ride it
safely and independently.
It will be a fantastic way
to exercise and participate
in outdoor activities with
her family. Her parents
are thrilled that Gretchen
can finally ride bikes with
her four-year-old sister,
Avrie.
20 BoxOffice ® MAY 2016

YOUNG VARIETY OF NEW
YORK 2ND ANNUAL OPEN
YOUR HEART
n Approximately 150 young professionals
from the tristate area were
treated to unlimited Brooklyn Brewery
beer and tasty food from local vendors.
There were amazing raffle prizes
including VIP tickets and a meet and
greet with Larry Wilmore. As an added
bonus, this year guests flocked to the
Bosco photo booth where they were
able to immediately share their experiences
on social media and download
their photos. The event raised more
than $3,000.
VARIETY OF TEXAS PEACEABLE KINGDOM RETREAT
FOR CHILDREN, ALTERNATIVE SPRING BREAK
n Students (above) from University of Michigan, Northeastern University, and
University of Texas sent students for an alternative spring break to help make an
impact on the kids who spend their days at Variety’s Peaceable Kingdom Retreat
for Children.
VARIETY
OF TEXAS
MARCH
2016 REIN
RABAKUKK
HEART OF
VARIETY
FUND
MEETING
n Variety of Texas
approved $32,000
in funding for Texas
children with
special needs in
March. Nine-month-old Ava Martinez (left) of Houston,
Texas, was among the recipients who received the
necessary funds to purchase a cranial helmet to help
reshape the flatness in her head, which prohibits child
development.
VARIETY OF TEXAS VARIETY NIGHT AT
THE AUSTIN SPURS GAME
n Through the Variety at Work program, 200 kids with special
needs attended the Austin Spurs basketball game. The Variety
at Work program allows families who have children with special
needs to get out into their community without the financial
burden. Meet Lydia and Jack Shurtz, (right).
VARIETY OF TEXAS PEACEABLE KINGDOM
RETREAT FOR CHILDREN
n Baylor’s Scott and White Hospital brought teens whose
medical needs require frequent stays in the hospital to Variety’s
Peaceable Kingdom Retreat to enjoy a much needed weekend in
the Texas Hill Country.
VARIETY OF TEXAS SENSORY FRIENDLY
DAY AT HOUSTON CHILDREN’S MUSEUM
n Through the Variety at Work program, 50 children were
invited to experience a Sensory Friendly Day at the Houston
Children’s Museum, taking in all of the exhibits with lower lighting
and sound.
MAY 2016 BoxOffice ® 21

CHARITY SPOTLIGHT
VARIETY OF
MANITOBA
HEART BOWL
n Variety friends and supporters
joined us at Laverendrye Bowling
Lanes in support of Variety’s kids for a
fun afternoon of bowling, good food,
and prizes. Hosted by Variety’s own
alumnus Donovan Alexander, this
event was a great success and raised
awareness for Variety Manitoba.
VARIETY
OF MANITOBA
AT THE WINNIPEG
HOME & GARDEN SHOW
n Variety’s volunteers helped at the
Winnipeg Renovation show at RBC Convention
Centre by selling 50/50 tickets and
raised money for Variety’s kids all weekend.
This annual event brings thousands of
people to the RBC Convention Centre
where Variety’s volunteers are always
available to help them and
welcome them to the
show.
VARIETY OF
PITTSBURGH
“LIFE-CHANGING” TOUR
FOR KIDS
n Variety of Pittsburgh presented
more than 150 pieces of adaptive
equipment including bikes, strollers,
and communication devices to local
kids in Pennsylvania and West Virginia.
The tour started at Saint Francis
University in Loretto, Pennsylvania,
and will have more than 12 stops
through May 9.
22 BoxOffice ® MAY 2016

VARIETY OF PHILADELPHIA VEGAS AT VARIETY
n Vegas at Variety is one of Variety of Philadelphia’s biggest fund-raising
events of the year. Ticket price included dinner, drinks, $25 in chips, and
a night of gaming for chances to win great prizes or unique silent auction
items all to help our children with special needs.
VARIETY OF FLORIDA
CHECK PRESENTATION
n Variety of Florida president Bob
Winters and director of fundraising
Richard Goldstein presented a $3,000
check to the Guadalupe Center for the
Early Education Program.
VARIETY OF IOWA
SAVOR DES MOINES
n The evening featured a sampling of
some the most intriguing appetizers
and cocktails from the best restaurants
around Des Moines. The evening included
a silent auction and a raffle for
a 55-inch TV. More than 20 restaurants,
bars, breweries, and wineries
participated.
VARIETY OF FLORIDA
9TH BENEFIT WINE TASTING
EVENT
n This fund-raising event featured varieties
of wine, hors d’oeuvres, dinner, dessert, a
silent auction, and lots of enjoyment—all
raising approximately $20,000 for the children
of central Florida.
MAY 2016 BoxOffice ® 23

CHARITY SPOTLIGHT
UPCOMING EVENTS
VARIETY OF TEXAS
“A NIGHT AT THE DERBY” GALA—BENEFITING
VARIETY’S PEACEABLE KINGDOM RETREAT
FOR CHILDREN
May 7
Killeen, Texas
varietytexas.org
Watch the Kentucky Derby and
support Variety’s Peaceable
Kingdom Retreat in style. The
evening will include a live auction,
raffle, interactive photo booth,
live betting games, and more.
To include your events in future editions of this article,
please send your listings to numbers@boxoffice.com.
VARIETY OF MANITOBA
COME ONE COME ALL GOLD HEART GALA
May 7
Club Regent Event Centre
Manitoba, Canada
varietymanitoba.com
Join Variety of Manitoba for a fun carnival-and-circus-themed
evening with games, live auction, friends, and
great food. We are very excited that this sold-out event will
be graced with a special performance by The Guess Who!
The gala evening is going to be the greatest dinner of the
year taking place Under the Big Top.
VARIETY OF ILLINOIS
ANNUAL CARNIVAL CLOSEDOWN
May 7 & 14
Aurora, Illinois
Variety families enjoy two private carnival events thanks to
this generous donation by Fantasy Amusements: for two
hours each Saturday the carnival is closed to the public,
rides are run at slower speeds at no cost, parents can take
as much time as they need to transfer children from wheelchairs
to ride carts, and lines are kept short to keep the environment
from being overstimulating. Everyone is a winner
at games and each child receives a complimentary stuffed
animal prize and concessions (siblings too!).
VARIETY OF DC’S 2ND ANNUAL GOLF
TOURNAMENT
May 11
Mount Vernon Country Club
Alexandria, Virginia
varietydc.org
Join Variety–the Children’s Charity of the National
Capital Region as we host our 2nd Annual Golf Tournament
and Luncheon that will raise funds for children
with mobility issues in the D.C., Maryland, and Virginia
area. Last year’s event was a huge success, and we are
hoping to build on that momentum in order to raise
even more this year.
YOUNG VARIETY OF PHILADELPHIA
HAPPY HOUR
May 12
Pagano’s Market & Bar
2100 Market Street
Philadelphia
varietyphila.org
Join our lively after-work crowd at a
popular downtown venue. A rotation
of local celebrity bartenders will be
on hand to mix you a drink or pour
you a beer so you can unwind after a
long day, all for Variety–the Children’s
Charity. Outdoor bar/seating will be
open, weather permitting.
24 BoxOffice ® MAY 2016

VARIETY OF PHILADELPHIA
AWARE TRAIL RUN/WALK AND SPRING
FLING PARTY
May 14
Variety Club Camp & Developmental Center
2950 Potshop Rd.
Worcester, Pennsylvania
runsignup.com/Race/PA/Worcester
Variety Aware Run/Walk
varietyphila.org
Help us raise funds and build AWAREness about the many
programs and amenities offered here. Runners, walkers and
spring-flingers will see first-hand what a gem Variety’s 80-
acre facility is. The timed trail run is a 4-mile course around
the property; walkers have their choice to walk 1 to 4 miles;
Spring-flingers can enjoy, food, beer and soft drinks, live
music, and family-fun activities.
VARIETY OF PITTSBURGH
2016 HIGHMARK WALK FOR A HEALTHY
COMMUNITY
May 14
Stage AE in Pittsburgh’s North Shore
Pittsburgh
varietypittsburgh.org
Variety of Pittsburgh is one of the chosen charities participating
in this fun-filled, inclusive event.
VARIETY OF IOWA
MILLER LITE GOLF
INVITATIONAL
May 19
Echo Valley Country Club
Norwalk, Iowa
varietyiowa.com
Join us for Variety’s annual
golf event. The invitational
is four-person best ball with
a two-putt maximum. The
day includes breakfast by
Hy-Vee, lunch by Fareway,
complimentary gifts, flight
prizes, games and hole-in-one prize opportunities. Reservations
are due by May 6.
VARIETY OF PHILADELPHIA
80TH ANNIVERSARY CELEBRATION
May 20
Philadelphia Zoo
varietyphila.org
Variety families are invited to purchase tickets to an exclusive
night at the zoo to help us
celebrate 80 years of serving
children with disabilities. VIP
tickets for a special event
portion of this celebration also
available.
VARIETY OF DETROIT
SIGNATURE GALA “A STAR IS BORN”
May 20
Emagine Entertainment Royal Oak
Detroit
Variety is thrilled to honor Shinola Detroit for its commitment
to philanthropy and the revitalization of Detroit.
Guests will enjoy an evening of fabulous fare and beverages,
entertainment by Ben Sharkey, casino tables, and more as
they support Variety core programs serving children with
special needs. Tickets available by calling (248) 258-5511.
VARIETY OF TEXAS
VARIETY DAY AT MORGAN’S WONDERLAND
May 25
San Antonio, Texas
varietytexas.org
Through the Variety at Work program, children with special
needs, along with their families and friends, are invited to a
day of fun in the sun at the world’s first accessible family fun
park. For free tickets, go to https://www.eventbrite.com/e/
morgans-wonderland-tickets-24627487478.
VARIETY OF PITTSBURGH
30TH ANNUAL GOLF INVITATIONAL
June 6
Fox Chapel Golf Club
Pittsburgh
varietypittsburgh.org
Variety of Pittsburgh will host its annual Golf Invitational, an
outing to change the lives of children with disabilities.
VARIETY OF NEW YORK
YOU’VE GOTTA HAVE HEART 2016
June 8
Highline Ballroom
New York, N.Y.
varietyny.org
Variety of New York and the Motion Picture Club will honor
Steve Bunnell, general sales manager for Universal Pictures,
and Lisa Bunnell, VP head film buyer for Landmark Theatres,
for their incredible accomplishments and contributions to
the film industry!
VARIETY OF DETROIT
KOVAN GOLF CLASSIC
June 13
Birmingham Country Club
Birmingham, Michigan
The Variety Jonathan Kovan & Dr. Bradley S. Kovan Golf
Classic will return to the Birmingham Country Club to
support children in our community with special needs. The
annual Variety/Kovan Golf Classic includes 18 holes of golf
with golf cart and door prize, as well as breakfast, lunch,
hors d’oeuvres, cocktails, strolling dinner, and a silent auction
to raise funds for Variety’s core programs for children.
Information available by calling (248) 258-5511. n
MAY 2016 BoxOffice ® 25

TECH TALK
CINEMA
TECHNOLOGY
LIVE FROM L.A.
Barco takes its brand from
the projection booth to the
marquee at Regal L.A. Live
SHELBY RUSSELL
Vice President, Marketing
AEG / L.A. LIVE
by Daniel Loria
n The movie capital of
the world just got a bit
bigger. In April, Regal
L.A. Live became the first
theater in the world to
carry the Barco Innovation
Center branding,
as the Belgian cinema
technology company
continues its aggressive
expansion into consumer-facing
offerings in the
post-digital conversion
era. That means the 14-screen multiplex will feature
all of the latest technology from Barco’s growing array
of products—including an interactive lobby, laser
projection, immersive sound, and Barco Escape, the
company’s panoramic triple-screen format.
Although transformative, these changes are more
of an upgrade than a renovation for a theater that
hasn’t shown signs of aging in its seven-year history.
Regal L.A. Live has been one of the most high-profile
theaters in Los Angeles since opening in 2009 as part
of real estate group AEG’s sprawling downtown Los
Angeles entertainment hub, which includes the Staples
Center and multiple dining and shopping destinations.
Its primary auditorium, for example, known as The
Premiere House at L.A. Live, is a breathtaking two-story
hall that seats over 800 guests and hosts more than
20 red carpet movie premieres per year. The cinema
also includes other innovations that aren’t tied to Barco’s
branding, such as immersive 4DX seating and a
recently installed expanded concessions
menu. With this partnership,
Barco and Regal L.A.
Live have created a state-of-theart
premium movie experience in
the heart of Los Angeles. “Regal
L.A. Live: A Barco Innovation
Center represents a new step in
the movie theater industry for
business and technology,” says
Shelby Russell, vice president,
AEG & L.A. Live marketing.
“Together with Barco, we will
be continually committed to
bringing audiences at L.A. Live
the best theater experience they
can find anywhere.”
The Barco Lobby Experience
is the first impression customers
get of Regal L.A. Live’s recent
changes, as digital displays
and a lighting system welcome
patrons inside the theater. All of
the lobby’s lights and displays
combine to deliver movie-specific
marketing opportunities at
different intervals, creating a sort of experiential movie
trailer before customers even step inside an auditorium.
“We have had a phenomenal response from our
guests, who are truly amazed and awed by the Barco
Lobby Experience,” says Russell. “We see tremendous
potential for increasing ticket sales and engaging
patrons while creating a new entertainment experience
that they can’t get anywhere else.” The goal here is to
drive advance ticket sales at decision-making points
for consumers while maximizing in-theater marketing
investment from studios inside the cinema.
Once seated, audiences are able to enjoy a film with
state-of-the-art laser projection and immersive sound
technology. Currently only two of the theater’s 14
screens feature Barco’s Flagship Laser projector, with
the remaining halls scheduled to be equipped with the
company’s Laser Phosphor projectors later this year.
Having seen customers identify and actively
seek out IMAX screens around the world, cinema
technology providers have made significant inroads in
extending their brand identities outside the projection
booth. Immersive seating companies such as D-Box,
MediaMation, and 4DX are all exploring similar
avenues to better highlight their respective cinema
experiences, while Dolby has ingrained itself with
AMC’s premium large format label, Dolby Cinema
at AMC Prime, to drive consumer recognition and
demand. The partnership between Regal L.A. Live and
Barco, however, marks a new step in consumer-facing
branding in the United States; we are no longer seeing
premium technology touted in select auditoriums but
throughout the entire location itself. n
26 BoxOffice ® MAY 2016

PROJECTION
It didn’t take long for Santikos Entertainment to be convinced by laser projection. The
regional circuit, which operates 10 cinemas in the Houston and San Antonio areas, began its
transition away from xenon lamp digital projectors after setting up its first laser system in
December 2014. A mere 18 months following that first install, Santikos made a bold move
by announcing that all of its screens would be converted to laser beginning in May, with
the inauguration of the country’s first all-laser complex, the 16-screen Casablanca Theatre.
LASER
FOCUS
Laser projection continues
its proliferation in
North America
n The Santikos announcement
is a watershed moment for laser
projection in the United States, the
first circuit-wide commitment from
a chain to feature the technology
across all of its screens. Santikos
doesn’t consider the decision a
leap of faith but sees it as one way
to best leverage the technology in
its marketing efforts in a highly
competitive exhibition region. “We
didn’t really promote laser because it would have
put us in between a rock and a hard place—you
can’t tell guests that laser is the latest and
greatest technology, but you can only enjoy
it in one screen,” says Santikos president Art
Seago. He also notes that although guests
weren’t made aware of the laser technology,
the reaction was overwhelmingly positive
for the auditorium where it was installed.
It served as the proof-of-concept trial they
needed to commit the rest of their screens to
laser. “It’s really hard to brag about having the
best technology when only a small number
of your screens are equipped with it.”
Santikos decided to go with
Barco, a long-time technology
partner, for the laser
projection across its circuit.
“Having a quality exhibitor
choose our gear says a
tremendous amount for
Barco,” says Scott Friedberg,
director of sales
at Barco. “They’re also
willing to be pioneers;
they weren’t willing
for anybody else to
figure stuff out—they
wanted to be first.”
The most
effective sales pitch
for laser projection
remains its low cost
of maintenance
by Daniel Loria
despite being a value-added commodity for audiences.
“It’s a level of quality that no one has seen before,” Seago
emphasizes. “All our audiences can enjoy the same
light output, the same crisp color from day one to the
end of life of the projector at any of our locations.
There are no more weird four-week cycles of bulb
lights where the movie looks great on the first day and
starts to diminish on the second day so you need to
replace the bulb and start the cycle over again in four
weeks. Our guests will no longer experience that once
we convert our entire circuit into laser.”
It’s that same angle that Cinemeccanica is taking
in marketing Cinecloud Lux, a laser light source that
is adaptable to any DLP digital projector, which was
introduced to the market in December 2013. “The key
factors that are driving the switching from xenon illumination
to laser are the running-costs savings and the
opportunity to improve the quality of the projection,”
says Pier Carlo Ottoni, sales and marketing director at
Cinemeccanica. “With our solution we demonstrated
to our customers that it is more convenient switching
to laser illumination instead of remaining with xenon,
in particular if the lamps are 4.5 kW power or higher.
We have installations in which the cinema pays a
monthly fee to lease the equipment that is less than the
amount they were paying in a month for the xenon
lamp running costs.” Business is growing worldwide
for the company, which has already installed 15 cinemas
over the past two years.
Increased brightness is another important factor for
exhibitors considering laser projection, particularly in
the context of how it can potentially revitalize consumer
interest in 3D programming. Stuart Bowling, director
of content and creator relations at Dolby, believes
laser can help drive consumers back to 3D more often
by addressing their most common complaints about
the format. “One of the technical challenges 3D has
always had are the light levels,” he says. “When images
are projected at such a low light level, the contrast and
color saturation diminish to a point that it becomes
disengaging to the viewer. Having the capability of
laser based projection, we can now deliver 3D movies
at full brightness at 14 foot lamberts. Images look far
more vibrant, more color saturated, more engaging,
and it’s a much better experience.”
ART SEAGO, PRESIDENT OF SANTIKOS ENTERTAINMENT
28 BoxOffice ® MAY 2016

Christie’s senior director of product management,
Don Shaw, extends that argument to 2D screenings,
especially as it concerns the recent investment
from exhibition in private-label premium large
format offerings. Shaw sees laser projection as a
leader among the many distinguishing technologies
available to exhibitors today. “In general,” he says,
“it’s an ideal time for exhibitors to start looking
very closely at laser technology—today for premium
large format screens, and with an eye to future laser
technology advancements that will bring RGB laser
projection to a broader range of cinema screens.”
The observation comes from experience; in December
2015, South Korean giant CJ CGV became the
first exhibitor in the world to install the company’s
RGB laser projection system, designed to feature
more wavelength diversity to address speckle issues
on silver screens.
Rich McPherson, senior product manager for
NEC’s Digital Cinema Projectors, says he believes
the benefits of laser also apply to the event-based film
slates of today’s movie studios. “The new high-profile
tentpole films will absolutely benefit from laser
projection, whether RGB laser or laser/phosphor,” he
says. “The biggest reason for this is the built-in redundancy
of the laser diodes, which will help prevent the
possibility of a black screen. Other advantages include
an extremely slow decay in brightness when compared
to lamp-based systems,
along with a better white/
color uniformity in the
image.”
Investment behind
the booth has cooled as
the overwhelming majority
of global screens has
already converted to digital
projection. Instead,
exhibition is in a period
of heavy investment in
innovations like recliner
seating, larger screens,
and expanded concessions.
That only makes
the inroads into laser projection by global leaders such
as CJ CGV all the more compelling, considering the
ever-expanding footprint they carry across several
international markets. No less relevant, however, is
the impact and timing of Santikos Entertainment’s
decision to fully commit to laser technology. If laser
was an emerging technology five years ago, today it is
already being seen as a viable distinguishing factor for
entire circuits. The message is clear: laser projection is
no longer considered strictly a premium offering but
is increasingly seen by the industry at large as a new
standard for the cinema experience. n
The Santikos Palladium AVX
theater in Richmond, Tex.,
features 22 screens, VIP
seating, sports bar, a 16-lane
bowling alley, and more. Six
of the auditoriums feature
giant 85-foot screens.
MAY 2016 BoxOffice ® 29

TECH TALK
COMING TO A
SMARTPHONE
NEAR YOU
LATEST TECHNOLOGY
ALLOWS NEW WAYS
TO COMMUNICATE
WITH PATRONS
by Edward Douglas
30 BoxOffice ® MAY 2016

One of the most difficult tasks facing exhibitors these days
is customizing the film-going experience to consumers’
individual and unique tastes. The challenge has grown as
movies compete with mobile devices that provide hours
of entertainment. The upside is that as consumer technology evolves,
so does the technology used to reach them.
Beacons are emerging as a useful way to interact and communicate
with audiences via their mobile devices. A beacon is a
battery-powered device roughly the size of an air freshener—small
enough to remain unnoticed by patrons and easily installed via
adhesive strip. In recent months beacons have turned up in museums
and at baseball stadiums for the purpose of interacting with patrons
through propriety apps downloaded to their devices.
A few exhibitor-support companies have been exploring how beacons
can be used to deliver content and information to both their own
moviegoing patrons and customers in the theater’s general vicinity.
Webedia Entertainment (formerly West World Media, owned
by Boxoffice parent company Webedia US) is one of the pioneers
in the area, having just rolled out its “white label” exhibitor app
developed with a third party. It allows patrons with the app to watch
trailers, buy tickets and concessions, and earn rewards—and beacon
integration will play a part in how exhibitors can interact with mobile
devices using this app.
“We’ve built in functionality for beacons to help them communicate
with their in-theater customers,” says Webedia Entertainment’s
SVP and chief marketing officer James Devin. “We’re definitely interested
in how they can be used by the theaters to better market their
features. We’re not focusing as much on the walk-by customer but
on once they get in there, on understanding the heavy traffic areas of
their theater and drawing attention to less heavy traffic areas or to the
concessions stand, or even just drawing attention to their app.”
Users have the option to disable or opt out of receiving messages
and advertising on their apps, although vendors hope to offer enough
incentives so they won’t do so. These include discounts on concessions
or even skipping the concessions line altogether—customers
can place orders, pay from their devices, and pick up their orders
when ready. Anyone who has missed the beginning of a movie because
of a long concessions line should be able to appreciate that.
On the advertising and marketing side, Screenvision’s chief
strategic development officer, John McCauley, notes how the growth
of moviegoing audiences has rekindled interest among advertisers to
reach that captive audience. “Agencies and brands have challenged
our sector to come up with interesting ways to extend the engagement
of the onscreen impact,” he explains. “In today’s environment,
it represents a lot of unique opportunities to package the power of
the technology with the desire of the brands to extend and enhance
the engagement and the entertainment value for the moviegoers.”
Having just signed a deal with Mobiquity Networks in late January,
Screenvision hopes to deliver multiple beacons to 300 locations
by the end of April, targeting high-traffic locations in Mobiquity’s
network of malls using the MovieTickets.com app.
“The exhibitors are excited because it provides them with the
data of their consumers they’ve never had before,” says Screenvision’s
executive VP of exhibitor relations, Darryl Schaffer. “They’re then
also able to push messages about a loyalty program or concession
discounts to their consumers in a way they haven’t been able to.”
The beacons themselves are fairly low maintenance to the exhibitor,
as they’re pre-programmed and include software that monitors
whether it’s working properly. If necessary they can be replaced
quickly and easily at very little cost.
Cinema advertising company Spotlight Cinema Networks is taking
a different approach, recently partnering with The Tone Knows to
expand its services to mobile devices using a tone sent directly from
on-screen advertising to its CineLife app, currently available only for
iOS but soon to be available for Android phones as well.
“We’re very conscious that we have three clients that we serve: the
exhibitor, the patron, and the advertiser,” Spotlight president Michael
Sakin explains. “Being on your cell phone or smartphone inside
an auditorium has always been a big no-no in the cinema world.
We never want to take away from the cinema experience. The Tone
Knows was intriguing because it’s a silent tone, and you can delay the
message we’re sending through the smartphone until after the movie,
so you’re not ruining the experience for other patrons.
“It really was seamless so our exhibitors don’t have to worry,” he
continues. “It was the first time we felt that taking the advertising
from the big screen onto the smartphone handheld device made
sense, because it was not taking away from the experience—it was
adding to the experience.”
This method is also hardware-free, so no beacons need to be
installed nor batteries changed.
Beacons can be used to collect consumer data from the apps,
allowing exhibitors to specifically target users based on their interests,
rather than sending random messages and advertising.
“There’s definitely some early signs the data coming from the beacons
is very valuable,” Screenvision’s McCauley says. “We’re now all
trying to work together to figure out what’s the best way to use that
for programming and extending the story from the screen through
the beacons.”
It may raise patron privacy issues, however. Devin, for one, is
less gung-ho about Webedia Entertainment’s use of this consumer
data. “We’re starting more on the Beacon 101 level, more to engage
the audience at the theater and capitalizing on the relatively wow
buzz factor without seeming too much like Big Brother. It’s really
important to start off with a fun, supportive message versus a hard
sell. If it’s done right, it will be fun, but the first thing we have to do
is get it rolled out into one of these theaters and see how people are
interacting with it.”
It may seem premature
to gauge the effectiveness
of beacons against other
brands of marketing,
but Devin seems
optimistic about
the technology.
“That’s what I’m
looking forward
to,” he says. “Not
just the marketing
message,
but making the
theatergoing experience
more fun and
engaging, especially
for the clients we
work with. It builds
loyalty and helps
the loyalty programs and
makes the whole experience
of going to movies a lot
more fun.” n
Strategically
located beacons
communicate
with patrons via
bluetooth and
custom apps
MAY 2016 BoxOffice ® 31

EXHIBITOR PROFILE
FOUR DECADES
IN FILM BUYING
Marcus Theatres vice president of film
Sonny Gourley looks back on a career
in booking
by Daniel Loria
Film booking has traditionally been crucial in ensuring the success
of both distribution and exhibition—two sectors that have seen
transformational changes over several years. Sonny Gourley
began his career in the cinema business in the mid-1970s with AMC
Entertainment, a professional relationship that spanned 37 years
and led to several high-profile roles such as executive vice president
of film marketing, head film buyer, and president of film programming.
Gourley joined Marcus Theatres in 2012, establishing a West Coast
office for the midwestern circuit in his native Los Angeles. Boxoffice
asked Gourley how film booking has changed during his long career.
I’m assuming you didn’t just walk into the film department of a
circuit. What was your first job in exhibition?
I entered the industry back in 1975, when I went to what
I believe was the first four-plex in Philadelphia to sell the
theater manager a copy machine. The manager didn’t
end up buying the machine, but he hired me instead,
and that’s how I became assistant manager for an
AMC location in Philadelphia. I had always been
interested in the film-buying side. I had majored
in English in college and had taken some film
courses, so I let them know, and after four years
of managing a theater they moved me into the
film-buying department at their New Jersey
office in 1979.
What was the booking process like in
those days?
From the film-buying standpoint, there
weren’t as many movies back then, and the
films didn’t go through as many runs nationally.
We would see what was available
and would bid on those movies instead
of just licensing them, and you found
yourself not only evaluating these
movies like you do today but also
bidding for them in order to play
them in whatever your territory
was. The big difference now is that
we simply license the pictures
and the studios decide which
theaters they want to play, but
there’s no longer this elaborate
bidding system.
32 BoxOffice ® MAY 2016

What do you think contributed to the
industry shifting to the system we have
in place today?
The shift came when we started having more
movies come out and getting more runs on
those pictures. A picture would roll out slowly,
but now most movies will take 2,500, 3,000, or
4,000 runs on a picture. Once the number of
productions came up I think the studios realized
that with all the marketing they were spending,
it was better to play more theaters. The distribution
side felt it was better to have more runs on a
movie and get their investment back quicker.
The other big shift in your career came more recently,
when you moved from a national circuit at AMC to a
regional one at Marcus. Does the job change significantly
when you’re programming for a specific region as opposed
to the country as a whole?
I think the main difference you see comes with genres; there are
certain movies that do better on a market share basis in the Midwest.
For example, here at Marcus we do very well with female-oriented
and faith-based movies. There are certain genres we’re on the lookout
for, and when we get those movies we put them on more screens and
achieve a higher market share. All the movies play, and good movies
do well everywhere, but there are genres that
do better in the Midwest than they do on the
coast, and vice versa. It’s just the type of clientele
that we have.
The industry has been moving away
from a seasonal release calendar, with
more event movies being released
throughout the year. Does that affect
admissions on certain titles in a region
like the Midwest, where snow can affect
foot traffic coming into a theater?
There’s something to that yes, with major
storms coming through, but once those big
storms settle down you have people coming out to the movies. I don’t
think the weather is that much of a factor because there’s pent-up
demand once a movie is out, and you get the chance to get out of the
house and go to a theater. That’s another one of the big changes; it
used to be a summer-and-Christmas business, and now we have big
films coming out 52 weeks a year for the most part. Some weeks
are better than others, sure, but lately we’ve had a hit every month to
start off the year. American Sniper last January, Deadpool this February,
Batman v Superman in March, Furious 7 last April—if a film is marketed
correctly, it can do business throughout the country in any month
of the year.
(continued on next page)
MAY 2016 BoxOffice ® 33

EXHIBITOR PROFILE > SONNY GOURLEY, MARCUS THEATRES
In addition to $5 Tuesdays,
Marcus Theatres offers
other value pricing options:
$6 RealD 3D Tuesdays, $5
Student Thursdays, and
Young at Heart Fridays—
discounted tickets for
afternoon moviegoers 60
and over.
We’ve written about Marcus’s $5 Stimulus
Tuesday program, where $5 gets you a ticket,
popcorn, and soda. Have you seen an uptick
in any particular genre or types of titles on
those days?
You definitely see that there are customers out
there, loyal moviegoers, who take advantage of the
Tuesday movie bargain. We haven’t necessarily seen
a change in any individual movie—they’ll come out
to see any genre, especially family films, on that day.
I think it’s something that allows customers to get in
the habit of going to the movies.
Event cinema has really grown from an
alternative to a viable programming option,
particularly on weekdays. Are there any
specific strategies you look at when it comes
to programming it?
We’re playing more content now than we ever
have, and I’m sure that’s not just at Marcus—people
at other circuits would say the same thing. This part of
the business has really taken off, led by the Met Opera,
and there are other players that are also doing well and
filling a void during the week. We’re glad to have it;
it’s all about increasing attendance and getting more
people interested in coming to the cinema. We’ve done
a great job here at Marcus thanks to my colleague
[Marcus CEO] Rolando [Rodriguez] in increasing our
attendance every year, not only in having more people
come to the movies but having them come more often.
That’s something you can see through our loyalty program:
an attendance-driven approach where we want
to have people come to our theaters habitually.
With more content, more movies, being made
available, how do you approach independent
titles that might not have the same marketing
muscle behind them as a studio release?
There’s obviously a big audience of baby boomers
out there that is starting to look at the Oscar season as
early as September. As we see movies pick up awards,
we try to get them in as many of our mainstream cinemas
as quickly as possible to develop that audience.
It’s not just the Oscar season, but that’s primarily when
we have baby boomers looking for different types of
movies to come see. Our goal is to bring those movies
to the suburbs and promote them
to allow enough capacity for these
movies so people can get accustomed
to seeing more independent
product. It’s a big goal for us, to
get these runs out to our mainstream
cinemas as early as possible.
And it’s working out very well;
there’s a big audience out there for
independent film outside of just
the Oscar season.
What have been some of
the biggest surprises you’ve
seen at the box office in the last couple of
years?
Nobody last year thought Jurassic World would
make $208 million in its opening weekend, and then
to follow that up with Star Wars: The Force Awakens—
we all knew it was going to do great, but a $248 million
opening weekend is something we never dreamed
of. My favorite part of the business is forecasting,
trying to figure out what these movies are going to do,
and I love the fact that this business is so unpredictable.
Deadpool is another recent example. Nobody had
that movie opening anywhere near $150 million for
the four-day opening weekend, and sure enough it hit
a nerve with customers and just exploded. It’s amazing
how social media can sell a movie that people like really
quickly, but if a movie isn’t so good it can really hurt
that movie that first weekend. The word spreads in a
hurry. You used to be able to sell a movie for a week
or two, but nowadays the quality of a movie stands on
its own and the customers tell you right away if they’re
interested or not.
Genres tend to be cyclical in popularity. What
type of film is performing particularly well
today?
The most popular movies right now are comic
book adaptations, Marvels and DC. I would also say
that animated family movies continue to be very well
received. The smaller movies, like romantic comedies
that aren’t dependent on special effects—those can
present challenges. If they don’t get Oscar recognition,
it becomes tougher for the studios to get them
recognition and marketed out to the mainstream.
Nowadays the other big trend is that movies are made
for global audiences, so something like a comedy,
with humor that we would only get here in the U.S.,
that presents a challenge for the studios.
Crouching Tiger, Hidden Dragon came out
almost 15 years ago—a foreign art-house
genre movie that ended up selling out
theaters at suburban malls. Since then,
however, we have seen very few foreign films
with that level of success in North America.
Do you think that will change as audience
demographics in the U.S. change, or is it
34 BoxOffice ® MAY 2016

something we’ll see more of
on a film-by-film basis?
That’s another one of those
areas that are so unpredictable
in our business. I think it works
more on a film-by-film basis. I
don’t see a trend of those movies
doing business as much in the
United States. The ones that
are really good, however, like
Instructions Not Included, they
tend to break through on their
own. It depends on the marketing
campaign helping the right movie
at the right time.
Moviegoing has changed significantly throughout the
years, and you’ve had a front row seat at many of those
changes. Which contemporary innovation do you like
best when you go to the movies today?
I was there with AMC back in the mid-90s when stadium
seating came out, and I think recliners are the biggest innovation
making the biggest impact since that time. At Marcus we call
them DreamLoungers, and I love them. I love the environment,
especially when it’s paired up with today’s sound systems. Good
sound and a comfortable seat are a great combination, then you just
need to throw in a good movie. Something else our own customers
are really responding to in our circuit are our Take 5 Lounges, a
place where people can come in and enjoy a drink before or after
the show. Some of our theaters have Big Screen Bistros as well,
where customers come and have dinner in our theaters. Our overall
challenge is creating the right environment to get people to make
the choice to get out of the house and come to the movies. It’s
a product-driven business: the theaters are doing their part with
bigger screens and better seats, and studios are spending bigger
budgets and trying to get movies that appeal to a wider audience.
Even niche movies, they’re being targeted for a limited audience but
in great concentration. It’s very difficult now that customers have a
lot of different options of how to spend their time, so it’s great that
the movies had their biggest year ever last year. It just shows that
moviegoing is alive and well as long as both sides of the equation
do their jobs. n
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MAY 2016 BoxOffice ® 35

INSIDE YOUR THEATER
n Box office hits like Zootopia and Batman v Superman
proved to be ideal bookends in a rejuvenating
March for B&B Theatres. While many of the circuit’s
patrons were busy packing away winter coats and
sweaters and shopping for new spring wardrobes, B&B
took advantage of the warmer weather to debut a new
look of its own at its Hutchinson Mall 8 location. The
renovations to the Hutchinson,
BUILT
TO LAST
Remodels and new builds
mean a big 2016 for
B&B Theatres
by Daniel Loria
Kansas, theater included multiple
top-of-the-line upgrades that made
it the company’s largest remodel to
date—a record it won’t be able to
hold for very much longer.
B&B has several more remodels
and new builds remaining on its
schedule, representing a period of
investment for the Missouri-based
circuit that will culminate with
a flagship 14-screen theater and
corporate office in Liberty, Missouri, that begins
construction this fall. Two more remodels are planned
for locations in Vicksburg, Mississippi, and Emporia,
Kansas—both of which are expected to boast
similar upgrades to those unveiled at Hutchinson this
March. That means a revamped concessions area, new
carpeting, digital signage, updated sound systems,
and recliner seating among other enhanced features.
“We’ve had success with recliners in other Kansas
communities; we did a recliner remodel in Junction
City in November of 2014, and it was a huge success,
so we thought it made perfect sense for the community,”
says Brock Bagby, B&B director of programming
and business development, about the Hutchinson
remodel. Recliner seating has been so successful across
the circuit that B&B is looking to add screens in
some locations, as evidenced in Junction City earlier
this year. With four of that location’s
auditoriums already hosting recliners,
B&B went ahead and leased space
next door so they could add a fifth
screen to the location.
Recliner seating isn’t the only
premium offering in B&B’s new
builds and remodels. “Anywhere we
can, we are bringing in our premium
luxury offering, Grand Screen,” Bagby
says. “In Hutchinson we didn’t have
enough ceiling height to install a
Grand Screen. We’re really careful not
to convert something and call it that
unless it’s done right. We don’t want
people going to one Grand Screen and
then going to another one in a different
location and having a completely
different experience. They need to
meet certain specs to make sure our
customers know that they’re getting
their money’s worth for every Grand
Screen experience.”
An expanded menu is also part of B&B’s strategy.
Marquee Suites is the chain’s dine-in concept, already
present in three of its locations and popping up across
the circuit on a market-by-market basis. B&B is also
installing bars in select locations, featuring USB slots
and Wi-Fi access designed to keep patrons inside their
doors before, during, and after a movie. “In every
remodel we try to expand our food options. Some
places we have room and we put in a full kitchen, and
others we put in self-enclosed fryers, and in some cases
where codes or space are a concern we’ll just expand
the concessions area,” explains Bagby. “We’re building
more and more to the self-serve option: from soda to
butter to candy. We’re looking to expand that out even
further with multiple self-serve options. Customers
seem to react well to it.” A new build expected to open
in early 2017 in McComb, Mississippi, will host a full
kitchen and Marquee Bar but no dine-in service, an
example of B&B’s versatile approach to their expanded
concessions strategy.
Bagby says he is most excited, however, for B&B’s
upcoming flagship location in Liberty, Missouri—
which will also house the company’s corporate offices.
The land for the new Liberty location has already been
acquired with an expected opening in summer 2017.
According to B&B, the smallest screen in the new
iteration of the Liberty Theatre will be bigger than the
largest screen in the current location. “We could have
built a 16- or 18-screen cinema in the same footprint,
but we wanted to make each screen as big as possible,”
says Bagby. “We’re beyond excited. We’ve redrawn
the plans twice now, but we think we’re finally done
and happy with them. It’s going to be the grandest
thing we’ve ever built. I think it’ll be one of the nicest
theaters in the industry.” n
36 BoxOffice ® MAY 2016

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CINEMA SHOWCASE
Screens
Capacity 230
Seating &
Concessions
Top Titles
2015
Contributor: Valerie Cisneros, Marketing Manager
INSIDE THE THEATER
1 (now fund-raising for two additional screens)
Unlike your average theater with stadium seating, we
have four tiered sections with tables and chairs, even
some booths and couches, where we serve made-to-order
meals and beverages from our extensive menu.
Where to Invade Next
Grandma
The End of the Tour
Me and Earl and the Dying Girl
History
Enzian was founded in 1985 by Tina Tiedtke, and
the Tiedtke family is still involved today. Enzian
was founded to fulfill a need for access to great independent
cinema in the Central Florida community.
Our audience is incredibly diverse and well-educated.
We serve as a community gathering place; we are a
“third place” for many, an important element in a community:
the “first place” is home, the “second place” is
work, and, for many people, we’re that “third place.”
Programming
Enzian has been the only full-time art house in
the Orlando area for over three decades. Not only do
we play the cream of the crop of the highest-profile
specialty titles from the alternative distributors, but
we have many special programs that distinguish us
from all of the other commercial houses in town: the
Florida Film Festival, Cult Classics in 35 mm only (as
we have the last working 35 mm projectors in Central
Florida), Saturday Matinee Classics, Peanut Butter
Matinees (family films), free outdoor Popcorn Flicks in
Winter Park, our Science on Screen series, free KidFest
Summer Film Series, National Theatre Live, Summer
Opera & Ballet series, South Asian Film Festival,
38 BoxOffice ® MAY 2016

Central Florida Jewish Film Festival, Brouhaha Film
& Video Showcase (for Florida filmmakers only), Midnight
Movies, Music Mondays, Manhattan Short Film
Festival, Sundance Shorts, Meet the Filmmaker events,
and many other one-off special events throughout the
year.
Grassroots Marketing
Community collaborations are big for us. We love
partnering with other arts and nonprofit organizations
in Central Florida to bring our patrons fun
and valuable learning experiences paired with films.
As far as grassroots efforts are concerned, we do a
lot of cross-promotions, we send out weekly e-blasts
to nearly 40,000 subscribers, and we make monthly
calendars, so our patrons can take them home, stick
them on the fridge, and see what we have going on.
We’re also very active on social media, which is very
helpful in spreading the word and creating buzz about
upcoming events. We also negotiate media partnerships
with local media to give us in-kind or discounted
advertising, which is very beneficial for us.
Membership
The Enzian Film Society is our membership
program and it is very successful, with roughly 2,000
members. Members receive benefits like discounted
tickets, free popcorn, and the most-coveted benefit,
the ability to reserve tables in our theater. n
MAY 2016 BoxOffice ® 39

CONFERENCE RECAP
WHAT HAPPENED IN VEGAS
BOXOFFICE RECAPS CINEMACON 2016
by Daniel Loria
PHOTOS: RYAN MILLER/CAPTURE IMAGING
There was an electric energy throughout Caesars Palace
in Las Vegas this April, when over 3,500 registered
delegates and more than 5,000 attendees congregated
for the most important event of the year on the exhibition
calendar. While it’s always good to reconnect with
colleagues at CinemaCon, doing so following a record
year of box office—both in North America ($11.1 billion)
and globally ($38.3 billion)—is even better. Strong first
quarter figures for 2016 helped brighten the mood even
further: a 12.7 percent bump in Q1 box office thanks to the
staying power of Star Wars: The Force Awakens and big
outings from titles like Deadpool, Zootopia, and Batman v
Superman: Dawn of Justice.
n With momentum reinforcing exhibition’s relevance
in today’s hyper-evolving mediascape, it would have
been understandable if conversation had dwelled
entirely on last year’s accomplishments. Instead, the
overarching dialogue at CinemaCon 2016 focused on
the future, with attendees providing intriguing insight
into how the theatrical experience will continue to
evolve in the coming years.
Coming on the heels of a record year, the months
ahead represent a compelling opportunity for cinemas
to further distinguish themselves as premier entertainment
destinations. The industry-wide investment on
in-theater improvements is a sign that exhibition is already
addressing this challenge. Premium large format,
luxury seating, and enhanced concessions offerings
are all trends Boxoffice has covered with increasing
frequency—spurred by their adoption by multinational
circuits and family-owned single-screens alike.
NATO President John Fithian focused on consumers’
positive reactions to these features during his State of
40 BoxOffice ® MAY 2016

the Industry address, noting that 2015 was a chance to
entice audiences who hadn’t visited a movie theater in
a while and therefore “a great time to show off the new
amenities our members can offer.”
Corrine Thibaut, Coca-Cola’s international
customer director for cinema and leisure, echoed this
sentiment during one of the panels, stressing that an
uptick in admissions creates an incentive to recruit
new audiences by showcasing exhibitors’ focus on the
theatrical experience. For Thibaut, exhibition can only
benefit from reminding audiences that individual cinemas
are part of a unique and memorable experience,
just as important as the movie itself. “We need to
create spaces that sit at the heart of the community,”
agreed Jon Barrenechea, project development manager
of Picturehouse Cinemas, citing Starbucks’ success in
developing a brand concept that consists of people
spending time inside their doors. “We need to create
that for our cinemas: a space that feels like a part of
peoples’ lives.”
This adds up to a more intimate cinemagoing
experience, one that is seeing the rise
of what David Hancock, IHS Technology’s
director of film & cinema, calls “premium
small format”—boutique locations with a
focus on the latest technology and amenities
but without the screen count of a
multiplex. Hancock considers the
future of exhibition closely tied
to the “experience economy,”
offering consumers value-added
premiums to differentiate and
customize their night out at
the movies.
That doesn’t necessarily
mean we’ll be seeing smaller
screens any time soon. IHS
Technology reported nearly
2,000 premium large format
screens worldwide by the end of
2015, a number that is set to increase
in the coming years. Cinema technology
companies Barco and Dolby have
been catalysts of that growth, offering
exhibitors a suite of their premium
offerings—CinemaBarco and Dolby
Cinema—in order to bring the latest in
sight and sound to a theater near you.
Dolby Cinema, for example, has already
racked up more than 200 sites worldwide
(including commitments) with 38 released
or announced titles since its launch
in 2015. Dolby Atmos, the company’s
immersive-sound format, continues to
pick up steam and already numbers more
than 1,600 screens in over 60 countries
(including commitments) with more
than 400 announced titles.
Barco, meanwhile, has been stealing
headlines since announcing its Escape
panoramic-screen format, which it expects to reach
3,000 screens globally in the next five years, counting
on China to represent a big chunk of that growth.
That goal would have seemed lofty before Cinema-
Con, but the company’s efforts in securing high-profile
releases in the Escape format have already begun
to pay off. Barco announced partnerships with two
production companies, Cross Creek Pictures and
Fundamental Films, to produce multiple upcoming
titles in their Escape format. Barco’s big fish, however,
was the announcement that Paramount’s Star Trek
Beyond would be released in Escape this summer. A
sturdy content pipeline will be crucial for the panoramic-screen
format to flourish, and Barco executives
expect Escape releases to create demand for their technology
with eight titles planned for release in 2017
and twelve titles to come in each subsequent year.
South Korean exhibition giant CJ CGV entered
CinemaCon just after acquiring Turkey’s leading
circuit, Mars Cinema, as it plans to increase its
worldwide screen count. CJ’s role in the industry
is largely defined by its innovative cinema
technologies as well as its CJ 4DPLEX division,
which is currently rolling out its own
panoramic-screen format, ScreenX, along
with its established immersive-seating offering,
4DX. ScreenX has since grown to a total
80 screens in South Korea and a
combined 11 screens in the United
States, China, and Thailand since
its 2015 launch. The company
expects that tally to go up to
270 screens worldwide by 2017
and 1,000 by 2020. ScreenX
has focused on Asian titles so
far, a reflection of the company’s
present footprint, but
that can change if CJ CGV
looks to accelerate its activities
in North America—a plausible
scenario considering the circuit’s
ambition.
CJ hopes ScreenX will succeed
as a circuit-agnostic premium
offering, similar to what its immersive-seating
technology, 4DX,
has achieved in recent years. 4DX
is currently available at 233 sites
across 37 countries and is expected
to grow to 800 sites by 2017 despite
strong competition from companies
like D-Box and MediaMation,
which have also experienced significant
growth overseas. MediaMation,
for example, recently announced an
agreement to install its 4D seats in 15
to 20 of Dadi Cinema Group’s China
locations by year’s end.
China is proving
JOHN FITHIAN
to be a crucial market
Filmmaker of the Decade
Frank Marshall holds court
Moshe Greidinger, CEO
Cineworld Group, receives
the Global Achievement
Award in Exhibition and
Duncan Clark, President of
Distribution at Universal
Pictures International
Rich Gelfond, IMAX, and
Veronika Kwan-Rubinek,
President of International
distribution Warner Bros.,
during the International Day
Luncheon
MAY 2016 BoxOffice ® 41

What would CinemaCon
be without panels? Here
moderator Anita Watts from
ReactorNet, Cinema Solutions
Inc., leads “Dinner, Drinks and
a Movie: Dine-in Theaters
Continue to Raise the Bar,
Per-Caps and Customer
Experience and Service.”
for any company in the film industry, a territory
that in the words of MPAA Chairman Chris Dodd
“is firmly on course to become the world’s largest
film market within the next few years.” This applies
well beyond box office power, as evidenced by the
high-profile investment from China’s Wanda Group.
In just three years, Wanda has acquired AMC and
Carmike, the second- and fourth-biggest circuits in
North America, creating a global powerhouse with a
combined screen count that exceeds 10,000 auditoriums.
Wanda isn’t the only global player looking
to have a bigger presence in the U.S.; leading
international circuits like Mexico’s Cinépolis
and South Korea’s CJ CGV have begun
making inroads in North America with
new builds of their own. John Fithian
views this foreign investment in North
American exhibition as “a statement of
faith in the growth of our business,” a reassuring
message of the enduring
strength of exhibition.
That strength
would be even greater
without the adversity
posed by piracy issues
worldwide, one of the
primary concerns
for both NATO
and the MPAA
alike. During
his State of the
Industry address,
MPAA Chairman
Chris Dodd cited
a recent study by
Carnegie Mellon University
that found that box
office receipts would be 14
CHRIS DODD
or 15 percent higher without online piracy, a figure that
jumps to 20 percent if a film is pirated ahead of release.
“I would love to tell you that we’re going to wipe this
out. I doubt it,” he admitted at a press conference following
his remarks. “But if we could reduce it substantially,
when you’re losing something like $1.5 billion a
year in the United States, that’s money that can go into
the production of more films and benefit our industry.”
The best source to stop piracy remains inside the
theater: although postproduction leaks and uploads of
screeners do occur, Fithian says that “90-plus percent
of piracy comes from sophisticated recording devices
inside cinemas around the world.” NATO works with
the MPAA and cinema chains globally in educating
and training theater employees to locate and deter
piracy before it occurs. “We are winning by degrees,”
Fithian said. “Every day we push out a good copy,
that’s millions of dollars for our industry. Damage
comes down by the millions.”
Studios and exhibitors have worked in unison
to help mitigate the effects of piracy, a collaboration
many in the industry expect to continue as the conversation
about release windows intensifies. “NATO’s
members overwhelmingly declared that the preservation
of theatrical windows constitutes the highest
priority for the industry, and our members intend to
execute that plan,” said Fithian during his State of the
Industry address, adding that while “more sophisticated
window modeling may be needed for the growing
success of a modern movie industry, those models will
be developed by distributors and exhibitors in company-to-company
discussions, working together on smart
windows that can grow the pie for everyone.”
Fithian’s call for collaboration was echoed throughout
the week’s events. “We spend too much time
slicing the pie instead of thinking of ways of making it
bigger,” said Ian Shepherd, chief commercial officer of
Odeon & UCI, during a panel on synergies between
exhibition and distribution. Niels Swinkels, EVP of
international distribution at Universal Pictures Inter-
42 BoxOffice ® MAY 2016

national, added that both exhibition and
distribution already share a mutual goal:
“Making people that already come to the
cinemas come more often, and making
people come back to the cinemas when
they haven’t been coming.”
Successful collaborations between distribution
and exhibition aren’t limited to combating piracy.
Swinkels brought up highly effective advance-ticketing
campaigns for Universal releases like Les Miserables
and Fifty Shades of Grey, where studios coordinated a
marketing effort to ensure full houses well in advance
of a film’s release.
In fact, ticketing emerged from CinemaCon as
the most likely aspect of exhibition to be transformed
in 2016. Mobile ticketing app Atom Tickets drew
attention ahead of the event, coming into CinemaCon
with the support of major players like Disney, Fox,
and Lionsgate. The app enables consumers to find
films and buy tickets as a group, as well as purchase
concessions without waiting in line. Atom announced
two cornerstone deals in its young history at the event,
partnerships that will bring its service to AMC and
Regal locations nationwide. Fandango also announced
several innovations of its own, including ticketing
capabilities through its recent acquisitions, Flixster
and Rotten Tomatoes, and a scannerless mobile ticket.
MovieTickets.com and Fandango now both offer their
own respective scannerless tickets, likely signaling an
end to the cost and hassle of the bulky scanners at the
ticket counter. Fandango’s most compelling innovation,
however, is its partnership with Facebook, which
will result in a Facebook Messenger bot that consumers
can use to find show times and purchase tickets
directly through the social media platform. Printed
tickets themselves are also ripe for change, with CGV
and i-Aurora each showcasing their photo ticket technology
at the CinemaCon tradeshow. Photo tickets are
booths, located in the theater lobby, that allow patrons
to print a ticket with their picture on it, essentially
Nikkole Denson-Randolph,
VP, Special and Alternative
Content, AMC Theatres,
speaks during the Movies for
Grownups panel.
bringing the fun of a photo booth to
the box office.
Whereas audiences can expect to
see transformative changes in ticketing,
there was still one unresolved
issue on the table that industry leaders are keen
to see addressed. “One issue that our country
continues to face—an issue that affects many
industries from many sectors—is the need to
do a far better job of reflecting, recognizing,
and cultivating the great wealth of diversity
within our society,” Dodd said during his
address. “To state the obvious, we can and
must do a better job.”
Demographic trends at the box office signal
that there’s more than just a goodwill incentive
to embrace diverse casting—there’s an economic
imperative to it as well. “The overseas theatrical
markets with the fastest growth rates
are found in Asia and Latin America. And
here in the U.S., Hispanics have the highest
rate of cinema visits,” Fithian said during
his own address. Hours later, while meeting
the press, Fithian reiterated his stance. “I keep
referring to Furious 7 as an example because I remain
convinced the reason that franchise became a global
box office success is the diversity of its cast—from
the first to the seventh installment. That says a lot
about what diversity in casting can do in terms of
driving the business, not to mention that it’s simply
the right thing to do.”
As many audience members have already realized,
the moviegoing experience is undergoing an evolution.
Time will tell which innovations truly prove
to be transformative and which will be looked back
on as mere trends. Regardless of the outcome, the
one conclusion from CinemaCon 2016 couldn’t be
any clearer: the cinematic experience remains a hit
with today’s audiences; now it’s time to focus on the
moviegoers of tomorrow. n
Sylvester Stallone made an
appearance on behalf of STX
Entertainment to promote his
new partnership with
the distributor.
MAY 2016 BoxOffice ® 43

CINEMACON 2016
THE STUDIO
PRESENTATIONS
OUR REACTION TO THE RECORD-SETTING
9 STUDIO PRESENTATIONS
by Shawn Robbins
Another CinemaCon is in the books and, as usual, the major film studios
brought out some of the best releases they have to offer through the
rest of 2016 and beyond. The annual meeting of the exhibition industry
has become a reliable way to learn which films could have an impact at
the box office.
By the end of this year’s convention, we came away very encouraged by
a number of films from every studio and their potential to help deliver
another big year. It’s still questionable whether 2015’s record $11.1 billion
domestic gross can be topped, but if enough of these films succeed
critically and commercially—with a few unexpected hits along the way—
we can’t rule out 2016’s chances to come close.
Here’s our studio-by-studio breakdown of highlights from CinemaCon
2016’s presentations:
AMAZON STUDIOS
An unlikely studio to appear at CinemaCon, Amazon made
a point to get in front of exhibitors and prove why it belongs in
the conversation with a highlight reel of several very promising
films. The biggest standout was MANCHESTER BY THE SEA, a
drama starring Casey Affleck and Michelle Williams in a classic
relationship-driven story in the vein of Kramer vs. Kramer. One
scene highlighted the emotional complexity of their characters—
and excellent chemistry between the two actors—almost
immediately sparking talk of awards-season potential.
Amazon Studios also highlighted writer-director Nicholas
Winding Refn’s next film, THE NEON DEMON. Commercial potential
may be limited, but there’s no doubt the film looks like another bold
creative venture for the auteur filmmaker whose Drive became an
under-the-radar box office success and cult hit back in 2011. Other
standouts on their slate included ELVIS & NIXON and the Jane
Austen adaptation LOVE & FRIENDSHIP.
44 BoxOffice ® MAY 2016

ELLE FANNING AS JESSE
IN AMAZON STUDIOS’
THE NEON DEMON
MAY 2016 BoxOffice ® 45

CINEMACON > THE PRESENTATIONS
DISNEY
Coming Soon, in a Galaxy Far, Far
Away
Disney opted for a light
presentation reel this year. They
kicked things off by screening
the ROGUE ONE: A STAR WARS
STORY trailer, which played as
strongly among attendees as it
had already been doing with its
worldwide online release just
a week prior. It goes without
saying that this is expected to be
a major box office player come
December.
BENEDICT CUMBERBATCH AS MARVEL’S
DR. STEPHEN STRANGE
Closing out the Disney show,
CAPTAIN AMERICA: CIVIL WAR
received its first full screening
after the world premiere held
in Hollywood the night before.
Reactions were in line with the
film’s excellent reviews, and as
of this article’s writing, we’re
forecasting that the 13th Marvel
Cinematic Universe title will be
2016’s highest-grossing film
domestically and internationally,
with potentially one of the highest
opening weekends of all time.
Heroes in Tights
On the Marvel side of things, the first trailer for
DOCTOR STRANGE debuted and it looks like yet
another Marvel success. The film’s visual aesthetic is
drawing comparisons to Batman Begins and Inception,
and star Benedict Cumberbatch’s already significant
global popularity should help it follow in the footsteps
of Guardians of the Galaxy and Ant-Man to become the
Marvel Cinematic Universe’s next big sub-franchise. We’re
optimistic about its blockbuster potential and will be
watching upcoming trailer releases very closely.
Family Friendly Fare
Following a well-received showing of THE BFG trailer
(Steven Spielberg’s next film, slated for release this
summer), Pixar screened the first 27 minutes of FINDING
DORY. Needless to say, the studio looks to have delivered
another of their specialties—a character-driven sequel
much like the Toy Story films. It’s certainly the frontrunner
to be this year’s top-grossing animated film, which
is saying something following the success of parent
Disney’s Zootopia. If reviews prove strong, it should even
become one of the year’s top performers all around.
DIEGO LUNA (STANDING) , RIZ AHMED (SEATED),
FELICITY JONES, DONNIE YEN, JIANG WEN, AND IN
ROGUE ONE: A STAR WARS STORY
46 BoxOffice ® MAY 2016

CINEMACON > THE PRESENTATIONS
FOX
The Academy
Fox took the stage with a long reel of its upcoming releases—
many of which should deliver the studio another strong year. First
up on the schedule, new footage from X-MEN: APOCALYPSE
received great reactions and supported our continued
expectations for another box office winner in the franchise.
Director Bryan Singer is back following his celebrated return to
the series with 2014’s Days of Future Past—which became a huge
crowd-pleaser and the best reviewed film of the franchise.
Apocalypse is said to be the conclusion of a trilogy within
the series, begun by First Class and continued with Days of
Future Past. It’ll be tough following Captain America: Civil War’s
seemingly inevitable storming of the box office in early May, but the
great marketing, popcorn-friendly action sequences, and renewed
goodwill of the X-Men movies should help Apocalypse enjoy
another strong box office run.
Fireworks on the Fourth
A brand-new trailer for INDEPENDENCE DAY: RESURGENCE
made its debut at CinemaCon. While we’re still somewhat
conservative in our long-run expectations, the crowd’s
response was generally favorable. A healthy opening box
office is expected come late June as the twenty-yearsin-the-making
sequel looks to ride the current wave of
nostalgia-boosted franchise follow-ups.
Also
Notable
Other
notable
features
included positive
reactions to MIKE
& DAVE NEED
WEDDING DATES,
the latest ICE AGE:
COLLISION COURSE trailer,
and MISS PEREGRINE’S HOME
FOR PECULIAR CHILDREN.
Lastly among footage unveilings,
the first teaser for ASSASSIN’S
CREED debuted to generally positive
reactions. Stars Michael Fassbender
and Marion Cotillard lead the video game
adaptation, which is set for a Christmas
release this year as it hopes to mark a
turnaround in the generally disappointing
history of video-game-to-film adaptations.
OLIVIA MUNN AS BETSY BRADDOCK / PSYLOCKE
IN FOX’S X-MEN: APOCALYPSE
Awards Contender
Fox Searchlight’s THE BIRTH OF A NATION was a
major player at CinemaCon, not only showcasing its
full trailer but seeing writer-director-star Nate Parker
receive the convention’s Breakthrough Director of the
Year award. Its early October release positions it for both box office
and awards-season success. While similar films like 12 Years a Slave
didn’t quite become major box office performers, this one seems to
have more of a wide commercial appeal. We’ll certainly be keeping a
close eye on it as release approaches.
Big Sequels
Closing things out in a fairly big way, Fox saved a couple of
announcements just for CinemaCon—the first being that not only
is a Deadpool sequel officially in the works, but that the first film’s
entire creative team will be returning for it.
The big climax, however, was marked by James Cameron
taking the stage, to everyone’s surprise. Cameron spoke
passionately about his firm support of the exhibition industry
and his commitment to maintaining a viable theatrical
release window. Then came the big reveal, as he closed
out the presentation with the announcement that his
planned AVATAR sequels will number four instead of the
previously confirmed three. He continues to promise a
massive expansion of the franchise’s universe—literally,
by partnering with Disney for a new Avatar theme park in
Orlando; and figuratively, by incorporating new characters,
themes, and settings into future sequels—which he hopes
will follow in the blockbuster footsteps of the original
2009 film. The release dates for the four sequels are
currently set for Christmas 2018, 2020, 2022, and 2023.
48 BoxOffice ® MAY 2016

LIONSGATE
Lionsgate’s presentation was relatively short this year,
but it did feature intriguing trailer debuts. The first was
NERVE, a thriller starring Emma Roberts and Dave Franco
that should appeal to teen and young-adult audiences
that drove films such as Unfriended and The Purge.
Coming off the success of Whiplash, the trailer for
Damien Chazelle’s next film—LA LA LAND—also sparked
interest. Starring Emma Stone and Ryan Gosling, the
musically layered film with a Los Angeles setting could
become an awards contender later this year.
PARAMOUNT
Turtle Power
Paramount kicked off this year’s lineup
on the convention’s opening night with
TEENAGE MUTANT NINJA TURTLES: OUT
OF THE SHADOWS. Nostalgia-driven fans
and those who enjoyed the original 2014
big-screen version will be drawn to the
introduction of the franchise’s classic villains,
Bebop and Rocksteady. While we don’t
expect this sequel to match the box office
performance of the previous entry, it should
still turn out to be a solid hit among family
crowds in early June, thanks to the brand’s
revival in recent years.
Gritty Sci-Fi
The first look at Denis Villeneuve’s STORY
OF YOUR LIFE made its debut, and it was
arguably the standout of Paramount’s
evening. The filmmaker behind the critically
acclaimed Sicario and Prisoners looks to
have yet another potential winner on his
hands with this sci-fi drama starring Amy
Adams and Jeremy Renner.
Also Notable
More first looks included JACK
REACHER: NEVER GO BACK and the
studio’s RINGS reboot, each showing
promise to become mid-range
performers this fall. We also had our
first look at ALLIED, a World War II
romantic thriller starring Brad Pitt and
Marion Cotillard, which will hope to
become an awards contender—or at
least counterprogramming for adult
audiences this holiday season.
Surprisingly, the studio didn’t
screen any new footage or trailers
for this summer’s STAR TREK
BEYOND, but instead used its stage
time to present J.J. Abrams with
CinemaCon’s Showman of the Year
award.
MAY 2016 BoxOffice ® 49

CINEMACON > THE PRESENTATIONS
SONY
Another Space Odyssey?
Sony came out swinging
with the worldwide debut of
footage from PASSENGERS,
a sci-fi/drama thriller starring
Jennifer Lawrence and Chris Pratt and
directed by The Imitation Game’s Morten
Tyldum. Even though it featured incomplete
visual-effects work, the Kubrickian tone
of several scenes drew high praise. In
fact, Passengers remained one of the
most buzzed-about films long after all
the presentations were complete. With its massive star
power and holiday release, the film should deliver on its
early promise to become a major box office player.
Life of Billy
Ang Lee’s next feature, BILLY LYNN’S LONG
HALFTIME WALK, was another standout from the studio.
Based on a true story, the emotional drama should play
MAYA RUDOLPH VOICES MATILDA
IN SONY’S THE ANGRY BIRDS MOVIE
strongly with military families and casual
audiences alike. This is Lee’s follow-up to Life
of Pi, and with its holiday release the studio
clearly expects both box office success and
awards contention. We do, too.
Also Notable
Among other highlights from Sony
were new footage from Paul Feig’s
female-ensemble GHOSTBUSTERS,
THE ANGRY BIRDS MOVIE, the
R-rated animation SAUSAGE FEST
from Seth Rogen and company, horror/thriller DON’T
BREATHE, and the next adaptation from Dan Brown’s
Robert Langdon novels, INFERNO, reuniting star Tom
Hanks and director Ron Howard. Closing out their
presentation, Sony announced that their upcoming
2017 Spider-Man film—produced in conjunction with
Disney’s Marvel Studios—will be titled SPIDER-MAN:
HOMECOMING.
MELISSA MCCARTHY, KATE MCKINNON, KRISTEN WIIG,
LESLIE JONES STAR IN SONY’S GHOSTBUSTER’S REBOOT
50 BoxOffice ® MAY 2016

ALTERNATIVE CONTENT CALENDAR
ABRAMORAMA abramorama.com • tom@abramorama.com
ALL'OPERA - LA CENERENTOLA Tues, 5/24/16 Opera
ALL'OPERA - LA FAVORITA Tues, 7/12/16 Opera
ALL'OPERA - LA FANCIULLA DEL WEST Tues, 8/9/16 Opera
FATHOM EVENTS fathomevents.com • 855-473-4612
CLIMATE HUSTLE Mon, 5/2/16 Political Documentary
COME TO THE GARDEN - ON STAGE! Tues, 5/3/16 Inspirational
THE MET: LIVE IN HD - ELEKTRA ENCORE Wed, 5/4/16 Opera
RIFFTRAX LIVE: TIME CHASERS Thurs, 5/5/16 & Tues, 5/17/16 Comedy
CANELO ALVAREZ VS. AMIR KHAN Sat, 5/7/16 Sports
GRATEFUL DEAD MEET-UP AT THE MOVIES 2016 Wed, 5/11/16 Concert
ART & ARCHITECTURE: PAINTING THE MODERN GARDENS: MONET TO MATISSE Thurs, 5/12/16 Art Exhibition
TCM BIG SCREEN CLASSICS: FERRIS BUELLER'S DAY OFF Sun, 5/15/16 & Wed, 5/18/16 Comedy
THE ABOLITIONISTS Mon, 5/16/16 Documentary
A STORY WORTH LIVING Thurs, 5/19/16 Inspirational
THE SHAKESPEARE SHOW: RECORDED LIVE FROM THE ROYAL
SHAKESPEARE COMPANY
SOLEDAD O’BRIEN PRESENTS:
THE WAR COMES HOME - THE NEW BATTLEFRONT
Mon, 5/23/16
Tues, 5/24/16
Performing Arts
Documentary
KISS ROCKS VEGAS Wed, 5/25/16 Concert
ONE NIGHT FOR ONE DROP Tue, 6/7/16 Performing Arts
ART & ARCHITECTURE: TEATRO ALLA SCALA: THE TEMPLE OF WONDERS Thurs, 6/16/16 Art Exhibition
2016 DCI TOUR PREMIERE Thurs, 6/23/16 Sports
TCM BIG SCREEN CLASSICS: WILLY WONKA & THE CHOCOLATE FACTORY Sun, 6/26/16 & Wed, 6/29/16 Family
RIFFTRAX LIVE: THE MST3K REUNION SHOW Tues, 6/28/16 & Tues, 7/12/16 Comedy
ART & ARCHITECTURE: ST. PETER’S AND THE PAPAL BASILICAS OF ROME Thurs, 7/14/16 Art Exhibition
TCM BIG SCREEN CLASSICS: PLANET OF THE APES Sun, 7/24/16 & Wed, 7/27/16 Sci-Fi
TCM BIG SCREEN CLASSICS: NATIONAL LAMPOON’S ANIMAL HOUSE Sun, 8/14/16 & Wed, 8/17/16 Comedy
TCM BIG SCREEN CLASSICS: THE KING & I Sun, 8/28/16 & Wed, 8/31/16 Musical
LABYRINTH 30TH ANNIVERSARY Sun, 9/11/16 & Wed, 9/14/16 Fantasy
TCM BIG SCREEN CLASSICS: DR. STRANGELOVE Sun, 9/18/16 & Wed, 9/21/16 Comedy
TCM BIG SCREEN CLASSICS: THE SHINING Sun, 10/23/16 & Wed, 10/26/16 Horror
TCM BIG SCREEN CLASSICS: BREAKFAST AT TIFFANY’S Sun, 11/27/16 & Wed, 11/30/16 Comedy
TCM BIG SCREEN CLASSICS: FROM HERE TO ETERNITY Sun, 12/11/16 & Wed, 12/14/16 Drama
ROYAL OPERA HOUSE roh.org.uk/cinemas • cinema@roh.org.uk
FRANKENSTEIN Wed, 5/18/16 Ballet
WERTHER Mon, 6/27/16 Opera
NORMA Mon, 9/26/16 Opera
COSÌ FAN TUTTE Mon, 10/17/16 Opera
ANASTASIA Wed, 11/2/16 Ballet
LES CONTES D’HOFFMANN Tues, 11/15/16 Opera
SPECTICAST specticast.com • 866-996-2842
STRATFORD FESTIVAL HD - THE ADVENTURES OF PERICLES Sun, 5/8/16 Theater
STRATFORD FESTIVAL HD - THE TAMING OF THE SHREW Sun, 5/29/16 Theater
MAY 2016 BoxOffice ® 51

CINEMACON > THE PRESENTATIONS
STX
ENTERTAINMENT
Upstart STX delivered its first-ever
CinemaCon presentation in a prime-time spot,
immediately following the event’s annual stateof-the-industry
address. Despite being less
than two years young, STX presented a slate
that left many continuing to be impressed
by the company’s low-budget/high-margin
direction.
Mom-semble
Among a handful of standout films on
STX’s upcoming slate, this July’s BAD MOMS
showed noteworthy breakout potential. With
an ensemble cast starring Mila Kunis, Christina
Applegate, Jada Pinkett Smith, Kathryn Hahn,
Kristen Bell, and Bridesmaids writer Annie
Mumolo, the raunchy R-rated comedy is one
of the few titles this summer aimed squarely at
women. Its trailer played very strongly to the
convention crowd. Definitely a title to watch
out for.
A Tale of Two Nations
STX also screened one scene and full trailer
for THE FREE STATE OF JONES, a Civil War
drama starring Matthew McConaughey. Its
mid-summer release is a strategic way to give
adult audiences something of interest amid a
season of big popcorn films, and from what
we saw, the picture has definite potential to
connect.
Teen Comedy Throwback
Another highlight of their schedule was
THE EDGE OF SEVENTEEN, a coming-of-age
dramedy starring Hailee Steinfeld. The tone
of the film’s trailer is reminiscent
of classic John Hughes films,
with a modern appeal that could
turn it into a success among teen
and young-adult crowds. Woody
Harrelson also stars—his trailer scenes
delivered big laughs from attendees.
MATTHEW MCCONAUGHEY STARS IN
STX ENTERTAINMENT’S THE FREE STATE OF JONES
Also Notable
The studio gave first looks at DESIERTO,
from father-son duo Jonás and Alfonso
Cuarón, and THE FOREIGNER. The former
of those two titles is a survivalist thriller
starring Gael García Bernal and Jeffrey Dean
Morgan, while the latter is a 2017 actiondrama
release starring Jackie Chan. Both are
on our radar, particularly the latter, which
could appeal strongly to fans of the Taken
franchise.
52 BoxOffice ® MAY 2016

SATURDAY NIGHT LIVE’S BOBBY MOYNIHAN VOICES MEL
THE PUG IN UNIVERSAL’S THE SECRET LIFE OF PETS
UNIVERSAL
Bourne Is Back
Universal chose to focus on a specific section of
its upcoming slate during this year’s presentation.
The highlight was the exclusive debut of a full JASON
BOURNE trailer. If there was any doubt that Matt Damon
and director Paul Greengrass could recapture the actionpacked
thrills of their previous work in the franchise, it
was overcome by the end. This looks to be a significant
box office performer on opening weekend in late July,
and with strong reviews it could potentially challenge The
Bourne Ultimatum’s status as the series’ top earner.
Fully Illuminated
Another highlight was
THE SECRET LIFE OF
PETS, the next original
concept from Illumination
Entertainment, the
animation studio behind
Despicable Me and Minions.
The teaser has already
been playing strongly to
audiences in theaters since
last year, and the latest
footage increased our
expectations for this to
EMILY BLUNT STARS AS THE GIRL ON THE TRAIN
become their next breakout hit. With a hilarious concept
and an ensemble voice cast featuring the great Louis
C.K. and Kevin Hart, four-quadrant appeal is virtually
guaranteed.
Illumination also screened the opening scenes of SING,
another original film slated for release this Christmas.
Musical lovers and audiences that propelled Into the
Woods into holiday-hit status should turn out for this
one. It features an ensemble voice cast led by Matthew
McConaughey.
Also Notable
Kevin Hart debuted the
trailer for his next comedy
concert film, KEVIN
HART: WHAT NOW? to
positive reactions. Another
highlight was the trailer
debut of THE GIRL ON THE
TRAIN, adapted from the
bestselling novel. That title
is aiming for Gone Girl–like
success with its October
release, and the first
footage definitely looks
promising.
MAY 2016 BoxOffice ® 53

CINEMACON > THE PRESENTATIONS
WARNER BROS.
The Bad Guys
Warner Bros. launched with the full SUICIDE SQUAD
cast onstage to present the latest trailer for the DC
film, slated for an August release. The film continues to
build buzz months out from release, and we think the
excitement is spreading beyond fans to more casual
viewers. As a comic book adaptation that’s not quite
like anything we’ve seen before, it looks well primed to
become a big box office hit for WB and DC. If the
momentum continues and reviews turn out
strong come August, the impact could
resemble the breakout successes of
Deadpool and Guardians of the Galaxy.
Fright Night
THE CONJURING 2’s new trailer
debuted for CinemaCon attendees,
and director/horror master James Wan
looks to have assembled another
winner for the genre. It’s tough
to say whether the sequel can
match the long-run box office
haul of 2013’s original, but we’re
expecting a big opening weekend
this June.
Just for Laughs
Another potential early
summer standout on
WB’s slate is CENTRAL
INTELLIGENCE, a comedy
starring Dwayne
Johnson and Kevin
Hart. That duo is
one of the smartest
pairings imaginable
right now, as
each one possesses a sizable and demographically diverse
fan base. If the film delivers on the trailers’ promises, look
for this to play well all summer long.
Writer-director Shane Black’s THE NICE GUYS also
made an impression—a 1970s-set dark comedy with Ryan
Gosling and Russell Crowe that generated big laughs
among those in attendance. It has definite sleeper-hit
potential as a mid-May release, an R-rated alternative to
summer’s tentpoles.
Todd Phillips’s WAR DOGS trailer was another big
winner that drew hearty laughs from the CinemaCon
crowd. The Hangover director has put together
Jonah Hill and Miles Teller in a based-on-a-truestory
flick we think will have a healthy run later in
the summer.
Back to Hogwarts?
The first trailer for FANTASTIC BEASTS
AND WHERE TO FIND THEM screened to a
generally positive reception. It wouldn’t
be fair to expect this prequel/spin-off
to equal the performance of others
in the Harry Potter franchise, but if
it’s a strong film it should be high
on the list of family-movie choices
this holiday season.
Also Notable
Other notable titles included
the romantic drama adaptation
ME BEFORE YOU and horror
flick LIGHTS OUT. The former
could be a strong date-night
option this summer, while
the latter boasts sleeper-hit
potential with its late July
release.
OSCAR-WINNER EDDIE REDMAYNE STARS
IN JK ROWLING’S POTTERVERSE FANTASY
FANTASTIC BEASTS AND WHERE TO FIND THEM
54 BoxOffice ® MAY 2016

One of the distinct benefits of tracking social media for all major theatrical releases is
that it allows us to spot trends and nuances within the data that help us draw conclusions
about entire genres, seasons, and stars. The flip side, however, is that the social
media landscape is constantly changing, which can call into question those very same
SOCIAL MEDIA
TRACKING 101
The secret sauce in
the BoxofficePro.com social
media predictions
The BoxofficePro Report
provides daily social media
activity data via e-mail.
conclusions.
by Alex Edghill
n What is often the
most difficult to wrap
our heads around is that
pre-release demand for
films fluctuates. Four
weeks out, tracking
might suggest that a film
will open to $20 million;
if it then actually makes
$10 million on release, it
doesn’t necessarily mean
tracking was off. It could
mean that another variable changed—whether it be
competition from another film, the weather, or early
critical reviews—and affected the audience’s desire to
see the film.
Over the past seven years, our team at BoxofficePro.com
has come up with various social media
markers that greatly help predict grosses as far out as
possible—you could call it a secret sauce—that have
become the cornerstones of our long-range forecasts.
These include, but are not limited to: expansion
ratios in the weeks leading up to release, genre and
target audience, and sentiment.
Expansion of (or an increase in) both tweets and
likes in the weeks leading up to release is a great
marker of the public’s awareness of a given film.
Simply put, this is a way to measure a film’s buzz on
social media, and it tells us whether that buzz has
effected a film’s bottom line at the box office. This is
especially useful for films that have a built-in audience,
such as book adaptations or star vehicles. These
types of films have a very vocal, often relatively small
base of fans (often referred to as “fanboys”), who
inflate buzz in their anticipation of the release.
The hallmark of these types of films is a weak
expansion from four, three, or two weeks out up
to their week of release—a marker that generally
indicates a film’s difficulty in expanding beyond its
core audience. Examples of this include Tomorrowland,
which had a four-week ratio of 1.64 (measured
Monday to Sunday) ahead of its release. That is to
say, it only saw 1.64 times the number of tweets in
the four weeks leading to its debut. Other examples
include In the Heart of the Sea (1.96), Point Break
(1.97), and Ted 2 (2.31). On the other end of the
spectrum, we saw promising early buzz in the same
metric for vastly more successful films such as Mad
Max: Fury Road (24.78), The Visit (21.73), and Jurassic
World (16.35).
It’s also important to understand genre and target
audience before social media numbers begin to make
sense. Films can behave very differently according
to their genres, mostly because of demographics
and their respective social media usage patterns. For
instance, a film appealing primarily to young kids
will have less buzz than a teen-friendly coming-ofage
story—fortunately, eight-year-olds don’t have a
particularly strong social media presence.
For the ease of comparison, we attach numeric
values to the opening grosses of a film and its
number of likes or tweets leading up to release. Then
by grouping together films of similar genres and considering
their averages, we see a clear pattern start to
emerge. For instance, horror films tend to have the
greatest number of tweets for each box office dollar
(often 20,000 tweets for each $1 million in box
office revenue for its Monday to Sunday release-week
totals), while films targeting older males and families
generally have the lowest (under 3,000 tweets per
$1 million). Knowing these trends helps us spot hits
and misses well ahead of time; it’s rarely ever a good
sign if a horror flick has poor social media numbers,
whereas if a family film is posting huge numbers
over and above similar competition, it’s most likely
reaching outside its main demographic—always a
good sign ahead of release.
Lastly, sentiment involves looking specifically at
the positive and negative tweets for a new release.
This can give useful insight into how well its trailers
are received by audiences in real time. It is also a
marker of how trailers were received across the life
of the marketing for a film, letting us see if progress
is being made on improving sentiment. A good
example is Batman v Superman: Dawn of Justice,
which had 5 to 1 positive to negative sentiment for
its first trailer last July. That doubled to 10 to 1 by
the release of its final trailer ahead of an extremely
successful opening weekend. Since its release, however,
sentiment has fallen to an average of below 5,
which anticipated the film’s drop-off in subsequent
weekends.
No one metric is ever a silver bullet, and that
certainly applies to those listed above. A well-timed
promotional interview can artificially inflate a film’s
social media buzz, while quantifiable elements such
as screen counts or unpredictable factors like inclement
weather can override the conclusions reached
from months of pre-release tracking. Overall, however,
the markers discussed in this article are important
complements to the insights derived from our team
of analysts at BoxofficePro.com. n
56 BoxOffice ® MAY 2016

P R O F I L E
SHOWTIME ANALYTICS
Crunching numbers to deliver results, one screening at a time
Interview with Richie Power, CEO, Showtime Analytics
It’s been a year since we last checked in—
what’s new at Showtime Analytics?
It’s been a crazy 12 months since launching at
CinemaCon last year; the response from the industry
has been amazing. In addition to building some more
products for launch at CinemaCon this year, we’ve
worked on some really interesting and innovative
projects and spent our time traveling around the
globe, spreading the good word of analytics
in the cinema space.
Tell us more about your guided
analytics platform.
Our guided analytics platform is
essentially a place for all players from
within the cinema industry to store,
model, and visualize their data. Having
worked in many other industries,
we would say one of the main barriers
for an organization to successfully
implement analytics is cost, more specifically
infrastructure, and resource
costs.
Our data platform is designed to
take away all of these infrastructure
and resource barriers by offering a platform
as a service (PaaS) solution, whereby
RICHIE POWER
we collect, store, host, and manage data solutions for
our clients. Customers use our pre-built data connectors,
which automatically collect and merge data from
key systems such as point-of-sale, ticketing, loyalty,
staffing, theater management systems, mobile apps,
and an ever-growing number of external data sources
such as weather, social media, critic reviews, and so on.
Once the data is securely managed on our platform,
clients can choose to use one of our existing
products or work with our analytics team to build and
host their own solutions on our secure and scalable
data platform. Our clients are across the entire cinema
value chain: exhibitors, studios, service suppliers,
major brands, and point-of-sale/software suppliers.
Based on this feedback, we have rebranded our guided
analytics platform as “Powered by Showtime, your
data—our platform.”
What are the different ways/areas that
exhibitors can benefit from using Showtime
Analytics?
We believe passionately that to really gain the
benefits from your data, analytics needs to be adopted
throughout your organization—it needs to become
cultural. In our experience of other industries, there
are too many examples of large companies setting up
central analytics departments of a small number of the
chosen few and expecting this to drive results. Analytics
can’t be a department—it’s a way of life!
Our mission at Showtime is to put analytics into
the hands of everyone within the organization, from
the management teams, back office departments, and
the staff at a specific site location—because ultimately
analytics can help everyone be more effective in their
day-to-day job. A lot of traditional analytics providers
charge on a per-user basis, making it expensive to
give analytics capability to an entire company. Our
approach is different—we don’t follow this model,
because we want to encourage everyone in the organization
to embrace analytics. In our experience, and
that of our customers, adopting this organization-wide
analytics approach will lead to significant cost reduction,
increased user engagement, and ultimately an
enhanced decision-making process throughout the
entire company.
Can you share some feedback from some of
your clients?
From our insights product, the main feedback we
get on a daily basis is the accessibility of information,
and not just in a traditional I-can-see-my-data-anywhere-on-any-device
basis. Customers love the fact
that their data is brought to life in a highly visual,
user-friendly, intuitive style, which immediately
58 BoxOffice ® MAY 2016

identifies the insights required and speeds up the decision-making
process.
Our big launch at CinemaCon 2016 is our new
Showtime Engage product, focused on providing leading-edge
customer analytics capabilities to the industry.
Our Engage customers are very excited about the fact
that they can communicate with customers on a tailored,
individual, personal basis, and that the decision
engine is constantly learning and adapting to different
customer behaviors, moving away from a traditional
blast-all-customers-with-the-same-marketing-strategy
approach.
In recent months we have key clients who are using
our data science forecasting capabilities, seeing increased
revenue generation through proactive data-driven interventions.
Like many tech providers, our goal is to make our clients’
lives easier and make our products a core part of their working
lives—examples like this really let us know that we are starting to
achieve these goals.
RICHIE POWER WITH HIS SHOWTIME ANALYTICS TEAM IN DUBLIN
It took awhile for other industries to adopt data metrics to
impact their businesses. Where do you think cinema is in
terms of adopting lessons from big data?
We often talk about a concept called the “analytics maturity
curve,” whereby we describe an analytics journey as a marathon not a
sprint, moving from operational reports to visual analytics, predictive
analytics, and ultimately to industry-wide collaborative analytics.
When we launched last year, cinema as an industry was only getting
to grips with the concept of data, with many people wanting to
jump into the big data world at the sexy predictive end of the cycle,
ignoring the building blocks required on which to build a successful
solution.
When looking to jump into the analytics world, our advice would
be to start small. Look for a small specific business challenge that you
would like to solve, identify the metrics that can be used to measure
improvement, and start to analyze the data that you have relating to
the area of interest. You’ll be amazed how putting focus on specific
data can highlight trends and patterns and ultimately inform you of
the changes you need to make or adjust to see improvement. Then
once you are a believer, come talk to Showtime, and we’ll help you
change the world through data! n
MAY 2016 BoxOffice ® 59

P R O F I L E
SHARE DIMENSION
Cinema Intelligence hopes to revolutionize booking and
scheduling through the power of data
Interview with Claudiu Tanasescu, CEO and Founder, Share Dimension
Claudiu is Tanasescu Share
Dimension’s founder and
CEO and brings more than 15
years of technical expertise
gained through working with
multinationals Philips and
Canon, as well as strategic
ICT project development
and entrepreneurial skills
honed as founder and CEO of
Share Dimension. He holds a
Telecommunications degree
from Polytechnic University
in Timisoara, Romania and a
degree from Oulu University
of Applied Science, Finland.
Vista recently acquired a stake in Share
Dimension. How does this deal affect
the scope and impact of your
services?
We developed this product with a
global market in mind, and obviously you
can’t talk about a global market in the cinema
industry without the United States.
We were just waiting for the right partner
at the right moment to expand to the
U.S., and both those conditions were
realized with Vista when they
acquired a 50 percent stake
in the company. It became
an important
opportunity to
expand and a huge
opportunity to
look at all of the synergies between our products. This
applies not only to linking Vista with our offerings,
but also feeding back our own analytics and forecasts
into Vista modules. We see a lot of synergies between
our products, and we’re of course benefitting from
Vista’s global footprint.
Cinema Intelligence is your forecasting,
planning, and scheduling solution. What sector
of the exhibition business do you believe can
it influence the most?
One of the things that we’re working very hard on
is to leverage the power of big data and our forecasting
module. We are looking at films anywhere between
three weeks, six months, and up to a year prior to their
release. We want to leverage that into what we call
“long-term booking,” a functionality where cinemas
will be able to plan programming weeks in advance
through our forecasting module. We are finally at
that point where people can plan up to four weeks
in advance where to schedule their new releases and
holdovers, all with an exact screen count, giving exhibitors
a much more powerful tool to start engaging
with studios and exhibitors. We empower exhibitors in
that discussion and negotiation through our analytics
and data.
Why is film booking primed for a shift in
strategy in North America?
A lot of booking decisions tend to be made by either
a studio agreement or a gut decision by the booking
team. We’ve done a comparative study of the U.S.
and European markets, looking at a similar-sized multiplex,
and found that in the U.S. they were running
an average of 14 different films, whereas in Europe
they averaged 28—double that amount. That means a
lot more choice for moviegoers. It also means that you
see the lifetime of each movie last longer—a film can
last around three to five weeks in a U.S. theater, while
in Europe that goes into 10 to 12 weeks. You can earn
revenue for another eight weeks on a given film just by
optimizing your schedule and keeping that product in
the market. By identifying those movies and extending
them, you are also extending their earning potential.
Another aspect we see a lot in Europe is a shift
from admission-based scheduling into what we
call profit-based scheduling. Instead of optimizing
admissions, you optimize the net profit of each show.
To build that, you look at the total box office for that
particular show time, you subtract the rental fees you
pay to the studio, and you add concessions sales on
top of it. At the end you end up with a dollar amount
that you can compare between show times. That’s
something that data analytics and forecasting can help
with, and we want to be part of that process; our module
is able to forecast admissions at the moment, and
we’re working to integrates POS (point-of-sales) and
concessions systems so we are able to add a significant
difference in a theater’s net profit. n
60 BoxOffice ® MAY 2016

P R O F I L E
comSCORE
ComScore and Rentrak join forces to write the next chapter of audience tracking
and analytics
Interview with Paul Dergarabedian, Senior Media Analyst, comScore
How does the comScore and Rentrak merger complement
your offerings to the cinema industry?
By combining comScore’s unparalleled digital platform measurement
with Rentrak’s industry-leading worldwide theatrical box
office data, we effectively tie together all aspects of how audiences
consume filmed entertainment and how they search for content on
virtually every device everywhere in the world. As we say, “comScore
is precisely everywhere.”
Do you believe audience measurement has fully reached
its potential? Or are there still a lot of untapped benefits
for the cinema industry?
ComScore analytics have the potential to tie together audience
theatrical moviegoing habits with their consumption of digital content
on their mobile devices
and in their homes to
form a complete picture
of how, when, and
where they are seeking
entertainment. There
are enormous untapped
benefits for the industry
that can come from
the harnessing of this
exclusive comScore
information to create
more effectively targeted
marketing campaigns
and enact proactive
rather than reactive advertising
strategies. And
it gives content providers
the ability to actually
connect with audiences
that are seeking out the
theatrical moviegoing
experience.
Can you tell us more
about Swift and
how can it can help
exhibitors manage
their businesses? Is
there any feedback
from clients that you
can share with us?
Swift is a product
that provides efficiencies
within the film
exhibition/distribution
ecosystem by allowing
theaters to report their
Join...
Elizabeth Banks
Max Handelman
Morgan Freeman
Ian Bryce
Sarah Treem
Michael London
Gary Lucchesi
Noah Hawley
Molly Smith
Nick Meyer
Nonny De la Pena
Courtney A. Kemp
Ben Relles
official box office figures to distributors in a one-stop shop. Swift is
a tool that will gather pertinent transactional details from exhibitors
and then provide collated data to each distributor of record
for their own films. The result will be a reduction in manual entry
when exhibitors create their reports and when distributors receive
the reports as well as a streamlined and consistent methodology for
all participants. Studios are thrilled with the idea of eliminating
data entry chores while loading more granular data than they are
currently able to. Exhibitors have been instrumental during our
development process, and we’ve been able to accommodate their
need for a consistent approach to box office reporting, easy delivery
of these reports, and having Swift act as an electronic file cabinet
for historical records.
ProducedByconference.com
Russell Simmons
America Ferrera
Steve McQueen
Basil Iwanyk
Clay Newbill
Amy Baer
Lori McCreary
DJ Roller
Dalia Ganz
Ted Schilowitz
John Landgraf
Robert Stromberg
Marshall Herskovitz
June 4 - 5 Sony Pictures Studios
What can we expect
from your company
in the coming year—
any new products or
services we can look
forward to?
In addition to
the Swift launch, we
are excited about our
upcoming analytic tool
called Forecast. Designed
by the data-science
team at Gower
Street Analytics and
using robust data sets
provided by comScore,
Forecast will allow distributors
to “forecast”
the potential box office
performance of all films
in individual markets
on a week-by-week basis
up to a year into the
future. Using multilayered
machine-learning
algorithms and advanced
analytics, we’ve
produced a product that
allows studios to find
the best possible release
data for each title within
their slate for each
of the major markets
globally. 2016 will see
the launch of this product
for North America,
the U.K., Mexico, and
Australia. n
MAY 2016 BoxOffice ® 61

P R O F I L E
MOVIO
How data can revolutionize theater operations
Interview with Will Palmer, CEO, Movio
Can you walk us through how you work with data?
We’ve got two sides to our focus when it comes to exhibition: we start with data
and then continue by finding more sources of data we can use to analyze and build
a more comprehensive profile of our customers. We have released a social media
module that a number of exhibitors are now using. It basically attaches their
social media accounts to their cinema’s loyalty accounts and allows us to track
social actions and see if they lead to a box office transaction. For example, if
a tweet is sent out from an exhibition chain or studio telling people about an
upcoming release and is then retweeted, we can then track to see if the person
who retweeted also purchased a ticket for that movie. It paints a clearer picture
on ROI when it comes to social media campaigns. There are few measurable
social media tools that can link to sales in any industry. I think this can be a
particularly powerful tool as we expand it; we’ve released it for Twitter and
Facebook and the next stage is to look at Instagram and Snapchat.
At the other end of our data business is our SMS module. SMS has had a
bit of a renaissance for a couple of reasons. One of them is that it’s now about
15 percent of the price it was two years ago, making it cost-effective. The
second part is that the open rates on SMS are so high—when was the last time
you didn’t open an SMS?—so you are getting north of 90 percent of engagement
from the communication. That’s a very high penetration for a relatively
low cost. This was able to become hugely popular because push notifications
have effectively been abused—people can just turn them off but they don’t
typically turn their SMS off. So we have an SMS module that several major chains
are now using, and the advantage for them is that they can now find and target a
specific group of people through SMS and track to see if that communication led to
a box office transaction.
What is your global reach with these services? Are you seeing more growth in
any particular region?
We’ve grown worldwide to have quite a presence throughout Asia and more recently in
EMEA. In Europe we have clients in Switzerland, Turkey, U.K., Ireland, Norway, and
several other countries that have really taken to Movio over the past year. Around
54 percent of cinemas in the U.S. that have more than 20 screens use Movio.
What is Movio Media and what does it address in this
industry?
We entered into data-sharing agreements with exhibitors
that are already Movio cinema customers. We take
anonymized data and put it into an aggregated platform,
which basically has some 15 million avid filmgoers in
it, and what we end up with is a report that gives us
a definitive sample of the U.S. moviegoer. Movio
Media can therefore provide the audience profile for
any film. We’ve built this really amazing tool that
allows you to look at comparable audiences for
comparable titles. So if I want to look up what
sort of title matches with a similar audience
that turned up to see Batman, Movio Media
can come up with the audience that
will overlap with that other film.
It has taken off in the U.S. and
it has created a revenue stream
for cinemas to commercialize
62 BoxOffice ® MAY 2016

their data without losing control of it. Studios have always
wanted to interact directly with moviegoers, but
that relationship has always primarily existed between
the exhibitor and the moviegoer. Movio Media gives
the studio a chance to see the campaign and notify an
exhibitor with a specific message for a film without
having to go with a specific message to each individual
cinema; it’s all done in one central place. I think we’ve
done 24 films for the major studios over the last six or
seven months and paid part of the revenue back to the
cinema chains. It’s still very much in the early days,
but so far it’s been very exciting and successful.
What is your advice for exhibitors that haven’t
yet devised a data strategy?
The first thing they have to do is keep their data
in order. You start by collecting data, something every
major chain now has. You need to start by finding
some way of collecting data and information about
individual customers. Regal and AMC have had these
systems for a long time but others haven’t. By now
every cinema chain has realized that they have two key
assets: one is brick and mortar (where they run their
cinemas), and the other is the data they have on their
customer base. They’re both uniquely theirs and can
help each other grow simultaneously: building more
cinemas by growing their customer database. Once
they’ve got that database they need to start working to
commercialize it in a way that doesn’t negatively affect
the consumer. You need to use it to get the right message
to the right person at the right time. Our concept
is that all communications still run through a cinema’s
program, so when you receive a communication that’s
coming from a client, that data must always remain in
the ownership and control of the cinema. As soon as
they give it away, they lose control of it; it’s really important
for them to retain ownership of that information.
Movio has created a vehicle where we can set up
a campaign, do a deal with a studio, and get the right
offer to the right people, but it’s all executed through
the individual cinema’s programs. I think those are the
key things: building their own database, getting key
points that have ROI value, and then commercializing
that data in a way they can gain value from. If you just
give your database to a VOD company, guess what’s
going to happen in the future?
What do you anticipate will be the biggest
change in the industry derived from big data?
The biggest change will be accelerating the ticket
purchasing process by creating online ways for mobile
transactions. Mobile will be key to the next stage
of the cinema evolution. I was just in China, and
there’s been a huge step forward in mobile ticketing
there, and that will continue to gain importance for
a number of reasons. One: it’s convenient; customers
can transact quicker. And two, it enables you to capture
all the data information you need to capture a
consumer’s purchase behavior—which is a lot harder
to do from a point-of-sale. That’s why I think the way
that cinemas approach their mobile strategy will be
the biggest change we’re going to see. And once we
see all this data coming in, a number of new things
will come from it. It’s not just marketing that will
change, it’s also the programming of films because
you’ll be able to measure interest in different films
ahead of their release, allowing exhibitors to come
up with scheduling that matches their programming.
Many of these operational tasks will be drawn from
the data and information coming in. Automated
mobile ticketing will be that big change we’re going
to see in the next three years. If you look at China, it
looks like they’re already paving the way for the rest
of us in this matter. n
Movio Media aggregates
moviegoer data to provide
you with audience insights as
well as highly-targeted, costeffective
campaign solutions.
Download the Movio
Overview PDF or request a
demo at Movio.com.
MAY 2016 BoxOffice ® 63

P R O F I L E
QRIOUSLY
A global look at consumer trends and insights
Interview with Alexandre Sagakian, VP Research & Data
Sagakian is an online
market research veteran
and tech entrepreneur
originally from Paris. A few
of his achievements include
founding one of the first
DIY online survey platforms
in 2000 and running the
first Techstars accelerator
program in London.
Tell us a bit about
the history of the
company. When did
it start and what
mission did you have
in mind?
Qriously is a data and
intelligence platform that
accesses the mindsets of
billions of people all over
the world by running
short in-app surveys on
mobile devices. Answers
to those survey questions
are used to unearth
valuable insights and
engage relevant audiences.
We were founded in
2010 with the mission of understanding what today’s
consumers are thinking at a particular moment in time
and over time. We have raised over $10 million from
top-tier VCs in the U.S. and the U.K. to build our
technology and our ad, data, and intelligence products
for our customers in marketing, finance, and politics.
How can exhibitors and studios benefit from
your services?
Exhibitors can use us to gather critical insights to
drive more traffic into their theaters and improve overall
moviegoer experience; get an independent measure
of moviegoers’ intentions to see upcoming movies
by demographic group to optimize their buying and
scheduling strategy at a local/regional level; test new
offers that might appeal to moviegoers and increase
customer traffic or high-margin concessions sales;
and benchmark moviegoers’ satisfaction and profiles
against main competitors in all key dimensions.
Studios can better adapt their movie offerings and
optimize their promotion and advertising budgets;
track awareness, engagement, and intention to see
upcoming movies on a weekly basis up to 12 months
ahead of their release; track the fast-moving home
entertainment trends (video streaming, DVD) to
better adapt their strategy; test new movie concepts
or trailers on a large group of moviegoers; and use our
image-based survey capabilities to test film-marketing
creative.
What are the benefits of your mobile interview
methodology?
There are three main benefits over traditional methods
such as panels. International: by using the mobile
ad infrastructure we have access to 100-plus countries,
making comparisons between countries quick and
easy. In an increasingly global movie industry, this is a
key advantage. Representativeness: we have access to
1.2 billion devices and can usually reach 50 percent of
the population in developed countries. This means we
can be more representative of the market, especially
on key movie audiences, like males between 13 and
24 who are very hard to reach. Speed: we can gather
tens of thousands of interviews per day, meaning we
literally collect consumer opinions in real time. This
allows us to pick up any trend or get instant feedback,
for example, following an event, trailer drop, movie
release, DVD release, and so on.
This kind of access allows studios to measure
consumer behaviors faster and more accurately as
entertainment and platform options multiply. This
will not only yield greater advertising efficiency but
can inform content, identify untapped audiences, and
much more.
Tell us more about your international
capabilities and how you run international
surveys?
We can run surveys in pretty much any country
where there is a mobile ad infrastructure, which is
more than 100. Right now there is no other platform
that can roll over surveys in so many countries using
the same sampling and interview method. So we offer
the best way to compare international markets.
For each country we need to take into account the
smartphone penetration rate and our reach to figure
out how representative we can be. We also localize
questionnaires to local languages and culture. For
example, an ethnicity/race or income question might
be OK in the U.S. but not in some European or Asian
markets.
How do you believe big data can transform
the cinema industry in the coming years?
There is no question big data plays an increasing
role in the cinema industry, from improving box office
predictions to measuring ROI of P&A spend and
better understanding moviegoers’ preferences.
But big data alone is often not enough. It might
answer what (what people watch, what people want)
and how (which channel) but not who (demographic or
moviegoer profile) and, most important, why (why people
like a movie, why they prefer to watch it on DVD).
That’s why we believe in a mixed approach, combining
big data and survey-based data to get a holistic view of
the consumer. We’re actually working on partnerships
with some big data analytics companies in the movie
space, so stay tuned for more news coming soon. n
64 BoxOffice ® MAY 2016

THE AUDIENCE SPEAKS
Qriously survey reveals fragmented global market and growth opportunities
Compiled by Alexandre Sagakian, VP Research & Data, Qriously / a.sagakian@qriously.com
Methodology
In a special report for Boxoffice magazine, data
and intelligence company Qriously carried out its largest
ever international moviegoer-habits survey across
the United States and eight major overseas markets:
the U.K., France, Russia, Japan, China, India, Mexico,
and Brazil. Qriously surveyed respondents in these
nine countries from February 26 to March 9, 2016,
interviewing a total of 13,500 participants over the age
of 13, including nearly 7,000 via their mobile devices.
Those who responded via their mobile devices used
Qriously’s programmatic sampling platform, which
weighted results to be representative of gender, age,
and region in each country
Mexico and France Top Moviegoing Frequency
More than half of Americans, French, and Mexicans
have been to the movies at least once over the
last six months. Women tend to go to the movies
more frequently than men. Over the last six months,
Chinese, Russian, Mexican, and Brazilian moviegoers
are the ones who went the most frequently to the
theaters.
Quality of Movies Remains a Critical Factor
“Better movies” is cited as one of the top reasons
moviegoers have been more often to the movies over
the past year, but lack of good movies is also a top
reason to go less often. Movie quality seems to be a
highly subjective matter
depending on movie
genre preferences. Taking
a deeper look, it appears
that action/adventure
84%
80%
fans are the most likely
to be relatively satisfied
with the increasing movie
quality over the last year,
and thriller/suspense
and animation/kids fans
are the most likely to
complain about a lack
of good movies. From a
demographic perspective,
men tend to complain
more about the lack of
good movies, whereas
women tend to complain
about price.
Besides better movies,
the main reason moviegoers
went more often
to the theater over the
KEY SURVEY HIGHLIGHTS
The growing number of home-entertainment options is the No. 1
threat for movie theaters, especially in Russia and Mexico.
Higher ticket price is driving down moviegoing frequency
in Western countries. Discounts could drive attendance up
(especially for younger audiences) but are still uncommon.
American, Mexican, and Brazilian moviegoers are the biggest
consumers of food and drink.
The overwhelming majority of sessions are still standard, except
in China and Russia where 3D and IMAX are very popular.
Almost half of moviegoers in the U.S. decide on their movie of
choice on the day. Mexican, Brazilian, and Japanese moviegoers
are especially prone to deciding at the theater.
U.S. theaters could drive additional foot traffic by offering more
comfortable seating and food delivered to seats, while U.K.
audiences responded favorably to last-minute seat discounts.
Overall, people think the movie experience has gotten slightly
better over the last five years. Russians, Mexicans and Brazilians
are the most positive.
% MOVIEGOERS WHO BOUGHT FOOD / DRINK DURING LAST VISIT
73%
66% 65%
Brazil Mexico USA Japan Russia UK China India France
63%
61%
60%
44%
MAY 2016 BoxOffice ® 65

THE AUDIENCE SPEAKS
past year is if they have someone to go with. This
stresses the impact of social context on moviegoing
habits. Going to the movies is a social experience for
many people. We can also see some interesting regional
drivers: more discounts on tickets in the U.K., more 3D/
IMAX movies in Japan, and more convenient locations in
Mexico.
Action/Adventure is Top Genre
On average, action/adventure is the genre that is most enjoyed,
followed by comedy. (Thriller/suspense is a distant third, along with
romantic comedy and other genres).
Some countries show a preference for particular genres, relative to
other countries:
• U.S.: comedy, action/adventure, drama
• U.K.: comedy, drama, thriller/suspense
• Japan: drama, documentary
• China: romantic comedy
• India: romantic comedy, musical
• Mexico: action/adventure, horror, animation/kids
• Brazil: action/adventure, horror
Moviegoing Is Primarily a Social Activity
Going to the movies is a highly social activity. More than 90
percent of moviegoers were accompanied during their last visit to the
theater. Two countries stand out: Japan has the highest percentage of
solo moviegoers (15%) and India has the lowest (5%).
Moviegoers mostly go with their partner/spouse (especially in
China, where nearly half of respondents had accompanied their partner/spouse
during their last visit to the theater). Going to the movies
with friends is also very common (especially in China and India).
Large parties (4+) are more commonplace in India as they tend to go
more often with friends, siblings, and co-workers.
On the other hand, France seems to have a very specific pattern
for family visits (highest proportion of parents with their children, as
well as a high proportion of sibling groups).
% MOVIEGOERS DECIDED ON THE MOVIE ONCE AT THE THEATER
(LAST VISIT)
32.1%
26.5%
21.9%
17.8%
12.2%
11.1%
Overall, men tend to go more frequently by themselves or with
friends. Women tend to go more often with their children.
9.9% 9.4%
5.6%
Mexico Brazil Japan Russia France China USA UK India
Two in Three Moviegoers Buy Concessions at the Theater
On average, during their last visit, two in three moviegoers
bought some food and drink at the theater. Brazil, Mexico, and
the U.S. are the top three countries, with the highest proportion of
in-theater food and drink consumption. On the other hand, France
has a strikingly low proportion with just 44 percent having bought
food or drink during their last visit. Men are more likely to buy food
or drink items. Customers 25 to 44 years old are the most likely to
have bought food or drink items during their last visit at the theater,
whereas moviegoers 45 and older are the least likely to have purchased
concession items.
As one would expect, popcorn and soft drinks top the list of most
popular concessions bought at the movie theater. Additionally, there
are very strong regional trends, and some foods tend to be particularly
popular in specific countries:
• Popcorn: U.S., Brazil, Mexico
• Chocolate bar: U.K., Brazil
• Ice cream: U.K.
• Nachos/chips: Russia, Mexico
• Candy: U.S., U.K., France
• Hot food: U.K., India
• Soft drinks: U.S.
• Hot drinks: U.K., China, India
• Alcoholic drinks: U.K., Japan
Women tend to enjoy hot drinks at the theater more than men.
Young people (

on 3D and India on IMAX. 3D is definitely not very popular in
India and the U.S., and IMAX is especially unpopular in France and
Brazil.
Many Moviegoers Decide on Movies the Same Day
The majority of moviegoers decided which movie to see either on
the same day (47%) or three-plus days before (28%). The fact that
almost half of moviegoers only decide on the movie at the last minute
might explain why it’s sometimes hard to predict the box office based
on stated intentions one or two weeks ahead of the release.
Some countries show a specific decision pattern:
• Last-minute decision makers (at the theater): Mexico, Brazil, Japan
• Early decision makers (same day): India
• Early decision makers (before the day): U.K., Japan
The Real Strength of Theaters over DVD/VOD is the Social
Experience
As we know, for each new movie, consumers face the hard choice
of going to see it at the theater earlier or waiting to see it later on
DVD/VOD. We wanted to figure out what motivates moviegoers to
see movies in theaters, rather than choosing to wait.
The main driver is not so much the movie theater experience
(big screen) but the social aspect of going to the movies (sharing).
Moviegoers want to see it with friends and family and share it with
a bigger crowd (atmosphere). The time factor is usually not a key
reason, except for some in Japan and China, where roughly a quarter
of moviegoers indicate that they don’t like waiting longer to see a
movie. Younger audiences are also significantly more time sensitive.
Choosing a Theater Is All about Proximity, Show Times,
and Price
Assuming a movie is available in several theaters, we wanted to
better understand what made moviegoers pick a specific theater. We
found that convenience is the main criterion (distance to theater
and ease of parking), especially in the U.S., U.K., France, and Japan.
Movie show times (23%) comes in second place and is particularly
strong in France and Japan. Ticket price is next (20%).
The number of movies showing at a theater is an important
factor in India, which
makes sense as 60 percent
decide on the movie
on the same day. Enhanced
seating options
and variety of food and
drink are also key factors
in India.
A higher proportion
of Chinese moviegoers
(22%) tend to choose
a theater based on their
3D or IMAX viewing
capabilities. Onsite entertainment
offerings are
also taken into account
in Russia and India. Brazilian
moviegoers seem
more sensitive to the
price of food and drinks.
TOP REASON FOR GOING TO THE MOVIES VS DVD/VOD
WANT TO SEE IT ON A BIG SCREEN
WANT TO SEE IT WITH FRIENDS / FAMILY
TO ENJOY THE ATMOSPHERE IN THE THEATER
CAN’T WAIT LONGER TO SEE THE MOVIE
TO FINANCIALLY SUPPORT MOVIES THAT I LIKE
I DON’T BUY DVDS / HAVE VOD
TO AVOID SPOILERS
TO BE PART OF THE SOCIAL CONVERSATION
Theaters Can Drive Additional Foot Traffic with New
Offerings
When asked what new offers could drive them to go more often
to the theaters, respondents chose price-related offers first (57%)
followed by better service (36%) and better comfort (32%).
Offer preferences were very specific to each market:
• Double-feature promotions are in high demand in Brazil, France,
and Mexico but not at all in the U.K., India, or Japan.
• Bundled deals from nearby entertainment venues is appealing in
Mexico and France.
• Unlimited monthly subscription would be a good driver in France
but not in Japan or India.
• Last-minute cheap seats would be very popular in the U.K. and
Russia but not in China or India.
• The ability to select a specific seat is appealing to Japanese moviegoers.
• Food delivered to seats gets strong interest in Mexico and the U.S.
• Homelike seating (recliners, sofas, etc.) is very popular in the U.S.
and Japan.
• Greater variety of food and drink options appeals, particularly to
Mexican moviegoers.
The Overall Theater Experience Has Improved over the
Last 5 Years
Overall, most moviegoers say that the theater experience has
improved.
It’s particularly true in less mature markets like Mexico and Brazil.
In developed markets such as the U.S., U.K., or Japan, sentiment has
also slightly improved.
Women are more likely to say their moviegoing experience has
gotten significantly better over the last five years. n
For any question about this survey or detailed results per country,
please contact Qriously at: research@qriously.com.
OTHER
9.3%
9.1%
7.8%
7.5%
6.8%
18.4%
24.8%
23.8%
42.6%
MAY 2016 BoxOffice ® 67

COMING SOON IN 3D
CAPTAIN AMERICA: CIVIL WAR
MAY 6 · DISNEY
CAST Chris Evans, Robert Downey Jr.
DIR Anthony Russo, Joe Russo
GENRE Act/Adv
SPECS 3D/IMAX/Dolby Atmos
THE ANGRY BIRDS MOVIE
MAY 20 · SONY/COLUMBIA
CAST Jason Sudeikis, Josh Gad
DIR Clay Kaytis, Fergal Reilly
GENRE Ani/Com/Fam
SPECS 3D/Dolby Dig
ALICE THROUGH THE LOOKING GLASS
MAY 27 · DISNEY
CAST Johnny Depp, Mia Wasikowska
DIR James Bobin
GENRE Adv/Fan
SPECS 3D/IMAX/Dolby Dig
X-MEN: APOCALYPSE
MAY 27 · FOX
CAST James McAvoy, Michael Fassbender
DIR Bryan Singer
GENRE Act/Adv
SPECS 3D/Dolby Atmos
TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS
JUNE 3 · PARAMOUNT
CAST Megan Fox, Stephen Amell
DIR Dave Green
GENRE Act/Adv
SPECS 3D/Dolby Atmos
WARCRAFT
JUNE 10 · UNIVERSAL
CAST Travis Fimmel, Paula Patton
DIR Duncan Jones
GENRE Act/Adv/Fan
SPECS 3D/IMAX/Dolby Atmos
FINDING DORY
JUNE 17 · DISNEY
CAST Ellen DeGeneres, Albert Brooks
DIR Andrew Stanton
GENRE Ani/Adv/Fam
SPECS 3D/IMAX/Dolby Dig
INDEPENDENCE DAY: RESURGENCE
JUNE 24 · FOX
CAST Liam Hemsworth, Jeff Goldblum
DIR Roland Emmerich
GENRE Act/Adv/SF
SPECS 3D/IMAX/Dolby Atmos
THE BFG
JULY 1 · DISNEY/DREAMWORKS
CAST Mark Rylance, Ruby Barnhill
DIR Steven Spielberg
GENRE Adv/Fan/Fam
SPECS 3D/Dolby Dig
68 BoxOffice ® MAY 2016

ALSO UPCOMING IN 3D
2016
JUL 1 WARNER BROS. THE LEGEND OF TARZAN
JUL 8 UNIVERSAL THE SECRET LIFE OF PETS
JUL 15 SONY/COLUMBIA GHOSTBUSTERS
JUL 22 FOX ICE AGE: COLLISION COURSE
JUL 22 PARAMOUNT STAR TREK BEYOND
AUG 5 WARNER BROS. SUICIDE SQUAD
AUG 12 DISNEY PETE’S DRAGON
AUG 19 PARAMOUNT BEN -HUR
AUG 19 FOCUS FEATURES KUBO AND THE TWO STRINGS
SEP 9 LIONSGATE/SUMMIT THE WILD LIFE
SEP 23 WARNER BROS. STORKS
NOV 4 DISNEY DOCTOR STRANGE
NOV 4 FOX/DREAMWORKS ANIMATION TROLLS
NOV 11 SONY/TRISTAR BILLY LYNN’S LONG HALFTIME WALK
NOV 18 WARNER BROS. FANTASTIC BEASTS AND WHERE TO FIND THEM
NOV 23 DISNEY MOANA
DEC 16 DISNEY ROGUE ONE: A STAR WARS STORY
DEC 21 UNIVERSAL SING
2017
JAN 13 WARNER BROS. GEOSTORM
JAN 13 PARAMOUNT MONSTER TRUCKS
JAN 27 SONY/SCREEN GEMS RESIDENT EVIL: THE FINAL CHAPTER
FEB 10 WARNER BROS. THE LEGO BATMAN MOVIE
FEB 17 UNIVERSAL THE GREAT WALL
MAR 10 FOX/DREAMWORKS ANIMATION THE BOSS BABY
MAR 10 WARNER BROS. KONG: SKULL ISLAND
MAR 17 DISNEY BEAUTY AND THE BEAST
MAR 24 WARNER BROS. KING ARTHUR
MAR 31 PARAMOUNT/DREAMWORKS GHOST IN THE SHELL
APR 7 SONY/COLUMBIA SMURFS: THE LOST VILLAGE
MAY 5 DISNEY GUARDIANS OF THE GALAXY VOL. 2
MAY 19 OPEN ROAD THE NUT JOB 2
MAY 26
DISNEY
PIRATES OF THE CARIBBEAN:
DEAD MEN TELL NO TALES
JUN 2 FOX/DREAMWORKS ANIMATION CAPTAIN UNDERPANTS
JUN 16 DISNEY CARS 3
JUL 7 SONY/COLUMBIA SPIDER-MAN: HOMECOMING
JUL 21 FOX FERDINAND
AUG 11 SONY/COLUMBIA THE EMOJI MOVIE
SEP 22 WARNER BROS. THE LEGO NINJAGO MOVIE
NOV. 3 DISNEY THOR: RAGNAROK
NOV 10 UNIVERSAL DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS
NOV 22 DISNEY COCO
DEC 8 SONY/COLUMBIA THE LAMB
DEC 15 DISNEY STAR WARS: EPISODE VIII
DEC 22 FOX/DREAMWORKS ANIMATION THE CROODS 2
2018
FEB 9 WARNER BROS. UNTITLED WARNER ANIMATION PROJECT
FEB 16 DISNEY BLACK PANTHER
FEB 16 FOX/DREAMWORKS ANIMATION LARRIKINS
MAR 9 DISNEY GIGANTIC
MAR 23 FOX ANUBIS
MAY 4 DISNEY AVENGERS: INFINITY WAR PART I
MAY 18 WARNER BROS. THE LEGO MOVIE SEQUEL
MAY 25 DISNEY UNTITLED HAN SOLO PROJECT
JUN 15 DISNEY TOY STORY 4
JUN 29 FOX/DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3
JUL 6 DISNEY ANT-MAN AND THE WASP
SEP 21 SONY/COLUMBIA HOTEL TRANSYLVANIA 3
SEP 21 WARNER BROS. S.C.O.O.B.
OCT 19 WARNER BROS. JUNGLE BOOK
NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 1
DEC 21 SONY/COLUMBIA UNTITLED ANIMATED SPIDER-MAN FILM
2019
MAR 8 DISNEY CAPTAIN MARVEL
MAY 3 DISNEY AVENGERS: INFINITY WAR PART II
JUN 21 DISNEY THE INCREDIBLES 2
NOV 27 DISNEY UNTITLED DISNEY ANIMATION FILM 2
2020
MAR 13 DISNEY UNTITLED PIXAR ANIMATION FILM 1
JUN 19 DISNEY UNTITLED PIXAR ANIMATION FILM 2
NOV 25 DISNEY UNTITLED DISNEY ANIMATION FILM 3
MAY 2016 BoxOffice ® 69

CHRIS EVANS AS CAPTAIN
AMERICA AND SEBASTIAN
STAN AS BUCKY BARNES,
THE WINTER SOLDIER
FILM CAPSULES
BY KENNETH JAMES BACON
DISNEY / MAY 6 / 3D, IMAX 3D
If you were at CinemaCon, you’ve already seen
this Marvel masterpiece, currently holding a
97% rating at Rottentomatoes.com. Almost an
Avengers movie (this one doesn’t include Thor
or the Hulk), Civil War does what Batman v
Superman: Dawn of Justice couldn’t do—make
you care about the characters amid the carnage.
Anthony and Joe Russo, who began their
career directing Arrested Development—they directed
the pilot—have returned from helming
the previous Captain America chapter to
add more mayhem and Marvel heroes.
Marvel and Sony shook hands, freeing
Spider-man to join the action, and new
hero Black Panther (Chadwick Boseman)
joins the Avengers’ team. Those who’ve seen the
film specifically point to Tom Holland’s Peter Parker
as a highlight. Holland will be appearing in Sony’s
stand-alone Spidey film, Spiderman: Homecoming,
next year.
As to the plot, the trailer spells it out: The
government wants to regulate the actions of our
heroes (Stark is on board) while the team lead by Cap
believes they shouldn’t be restricted from
their fight against evildoers. Speaking
of evildoers, Inglourious
Basterds’ bastard Daniel
Brühl plays the villain.
CAST CHRIS EVANS, ROBERT DOWNEY JR.,
SCARLETT JOHANSSON, SEBASTIAN STAN,
ANTHONY MACKIE, DON CHEADLE, JEREMY
RENNER, CHADWICK BOSEMAN, PAUL BETTANY,
ELIZABETH OLSEN, PAUL RUDD, DANIEL BRÜHL
DIRECTORS ANTHONY RUSSO, JOE RUSSO
GENRE ACTION / ADVENTURE / SCI-FI
RATING TBD RUNNING TIME 147 MIN.
SCARLETT JOHANSSON AS BLACK WIDOW
70 BoxOffice ® MAY 2016

DAVID MAZOUZ , RADHA MITCHELL,
LUCY FRY, AND KEVIN BACON AS
THE TAYLOR FAMILY
HIGH TOP RELEASING / MAY 13
“Based on true events.” Hollywood invokes this mantra at the
slightest similarity between any actual documented historical fact
and mere screenwriter whimsy. The Coen Brothers begin Fargo
with a note that “this is a true story” when it was in no way based
on any event. Jurassic World
II could begin with that title
card and no one would blink.
But horror films, like this one,
love to start their creepy story
with that bit of solemnity to
add gravitas and unease to the
proceedings.
Aussie director Greg Mc-
Lean likes to claim his horror
films are based on true events.
His Wolf Creek—a pretty good
horror film set in the Australian
Outback—makes the
claim that the events it covers are true (they aren’t). Wolf Creek
2, another gorefest, was similarly described as based on fact (it
wasn’t). And here we go again with McLean’s The Darkness (earlier
titled 6 Miranda Drive), about two families who return from a
Grand Canyon vacation with a supernatural force. It is based on
a … never mind. Young David
Mazouz can currently be seen
on Fox’s Gotham as the young
master Bruce Wayne.
CAST KEVIN BACON, RADHA
MITCHELL, DAVID MAZOUZ,
LUCY FRY DIRECTOR GREG
MCLEAN GENRE HORROR /
THRILLER RATING PG-13 FOR
THEMATIC ELEMENTS, SOME
DISTURBING VIOLENCE, BRIEF
SENSUALITY AND LANGUAGE
RUNNING TIME TBD
LUCY FRY AS STEPHANIE TAYLOR
MAY 2016 BoxOffice ® 71

ON SCREEN > WIDE RELEASES
GEORGE CLOONEY AS TELEVISION
FINANCIAL GURU LEE GATES
SONY·TRISTAR / MAY 13
George Clooney is a neutron megastar. No question. However, his
box office record when he headlines a movie is not so stellar (we
don’t count Gravity which was an all-Sandy show). His last film,
Hail, Caesar, limped to a $30 million gross. Tomorrowland was
a huge disappointment—$93 million on a budget at least twice
that. Ocean’s Thirteen made
$117 million thirteen movies
ago and Julia Roberts’s last hit
was Ocean’s Twelve. So a lot of
executive eyes and wallets are
on this one.
Jodie Foster is back in the
director’s chair, with Money
Monster being her fourth feature
(her debut, Little Man Tate
is excellent). She has directed
for the small screen in recent
years with high profile projects
like House of Cards and Orange is the New Black.
Money Monster’s premise is simple: A Jim Cramer-style television
pundit (Clooney) is on the air when a high-strung
and armed young man invades the studio believing he
has been rendered destitute by Clooney’s bad money
advice. Julia Roberts plays Clooney’s producer who
monitors the situation
from the booth.
This high-stakes hostage
drama apparently
plays out in real time.
CAST JULIA ROBERTS,
GEORGE CLOONEY, JACK
O'CONNELL, GIANCARLO
ESPOSITO DIRECTOR JODIE
FOSTER GENRE CRIME / DRAMA
/ THRILLER RATING R RUNNING
TIME 95 MIN.
JULIA ROBERTS AS TELEVISION PRODUCER PATTY FENN
72 BoxOffice ® MAY 2016

JASON SUDEIKIS VOICES 'RED'
SONY·COLUMBIA / MAY 20 / 3D
This $80 million animated 3D comedy
is based on the game originally
developed for the
3.5˝-screen iPhone. Ponder
that. From the tiny screen
to the big screen, indeed.
Privately owned
Rovio Entertainment,
the Finnish
developer of the
game, has fallen
hard financially
in recent years.
In August, they
laid off 40% of
their workforce
and recorded a
large loss, partly
due to their investment in this film. They recently launched their
ToonTV app on the Apple TV set-top box.
As to the film itself, the animation was handled by Sony Pictures
Imageworks (Cloudy with a Chance of Meatballs ) in Vancouver,
so one can imagine Rovio made a smart pick. Though with
all of their eggs in one nest, Rovio would be really smarting if the
film doesn’t hit big (their marketing budget is estimated to be in
the $100 million range). To date, the highest budgeted Finnish
film was 2014’s Big Game ($10 million) with Samuel L. Jackson
as U.S. President (a fun movie—fire it up on Netflix). Will the
movie from Helsinki sink or swim—or will it fly? All signs point
to fly with BoxofficePro.com forecasting a $43 million opening
and a long-range target of $140 million in domestic grosses.
VOICE CAST PETER DINKLAGE, KATE MCKINNON, JASON
SUDEIKIS, IKE BARINHOLTZ, KEEGAN-MICHAEL KEY, BILL HADER,
JOSH GAD, DANNY MCBRIDE DIRECTORS CLAY KAYTIS, FERGAL
REILLY GENRE ANIMATION / ACTION / COMEDY / FAMILY RATING
PG FOR RUDE HUMOR AND ACTION RUNNING TIME TBD
MAYA RUDOLPH VOICES 'MATILDA'
MAY 2016 BoxOffice ® 73

ON SCREEN > WIDE RELEASES
CARLA GALLO, IKE BARINHOLTZ,
ZAC EFRON, SETH ROGEN, AND
ROSE BYRNE READY FOR BATTLE
UNIVERSAL / MAY 20
The young star of Barney & Friends is all grown up and starring in
a nasty R-rated film. Hide your children! Pop star Selena Gomez
joins Chloë Grace Moretz (Kick-Ass) as a member of Phi Lambda
Phi, a sorority whose splinter group, Kappa Kappa Nu, is moving
in next door to the 30-something Radners (Seth Rogen and Rose
Byrne, who should probably
move now). Zac Efron’s sixpacked
frat boy from the first
film returns to help the Radners
battle the hellcats from next
door. Ike Barinholtz, seen in the
widely seen Tina Fey vehicle Sisters,
appears as Rogen’s co-worker,
though why he is dressed as
a creepy clown in the trailer will
remain a mystery for now.
The original film, titled Bad
Neighbours in the U.K., where
spelling was invented, was a nice hit for Universal, grossing over
$150 million. As counter programming to this raunchfest, Sony
is releasing family-friendly The Angry Birds Movie, based on the
smartphone game, on the same date.
Pondering a Neighbo(u)rs 3, perhaps the Radners next move
will be near a retirement community where they are terrorized by
Betty White.
CAST CHLOË GRACE MORETZ,
ROSE BYRNE, ZAC EFRON,
SETH ROGEN, SELENA
GOMEZ DIRECTOR NICHOLAS
STOLLER GENRE COMEDY
RATING R FOR CRUDE SEXUAL
CONTENT, INCLUDING BRIEF
GRAPHIC NUDITY, LANGUAGE
THROUGHOUT, DRUG USE, AND
TEEN PARTYING RUNNING TIME
91 MIN.
SELENA GOMEZ AS PHI LAMBDA SISTER MADISON
74 BoxOffice ® MAY 2016

RYAN GOSLING AS DOWN-ON-HIS-LUCK
PRIVATE EYE HOLLAND MARCH WITH RUSSELL
CROWE AS HIRED ENFORCER JACKSON HEALY
WARNER BROS. / MAY 20
Fans of 1987’s Predator will remember Hawkins, played by Shane
Black, as the first to die at the hands of the Predator. Black,
a screenwriter at the time, had recently sold his first script to
producer Joel Silver and asked to be cast so he could watch the director,
John McTiernan, direct. Silver obliged as that script turned
out to be the monster hit Lethal
Weapon. Black went on to write
the Lethal Weapon sequel and
other films. His first directorial
credit was 2005’s Kiss Kiss Bang
Bang, a wonderfully entertaining
action comedy with Robert
Downey Jr. Downey must have
had a great time as he hired
Black to write and direct Iron
Man 3. Black now returns to
his action comedy roots with
this ’70s-set private eye potboiler
starring Ryan Gosling as a down-on-his-luck P.I. (is there any
other kind?) and Russell Crowe as a burly enforcer. Whatever the
MacGuffin is, Black’s buddy comedies are all about the chemistry
between the leads—Danny Glover’s famous Black-penned
Lethal Weapon line “I’m too old for this sh**” has been parodied
a million times. The trailer looks very promising. Black will be
returning to his roots in 2018
with a total reboot of his first
film, to be titled The Predator.
CAST RYAN GOSLING, RUSSELL
CROWE, MATT BOMER, KIM
BASINGER, KEITH DAVID
DIRECTOR SHANE BLACK
GENRE CRIME / MYSTERY
/ THRILLER RATING R FOR
VIOLENCE, SEXUALITY, NUDITY,
LANGUAGE AND BRIEF DRUG
USE RUNNING TIME 116 MIN.
NEXT TOP MODEL'S YAYA DACOSTA APPEARS IN AN AS YET UNNAMED ROLE
MAY 2016 BoxOffice ® 75

ON SCREEN > WIDE RELEASES
JOHNNY DEPP AS THE
MAD HATTER WITH MIA
WASIKOWSKA AS ALICE
DISNEY / MAY 27 / 3D, IMAX 3D
Does “band meeting” mean anything to you?
Fans of “New Zealand’s fourth most popular
guitar-based digi-bongo acapella-rap-funk-comedy
folk duo,” Flight of the Conchords know
that phrase as the opening greeting of the
duo’s incompetent band manager (and the
New Zealand embassy’s Deputy Cultural
Attaché). James Bobin, the British co-creator
and director of the HBO show based on
the comic duo grabs the reins of this
high-priced sequel to 2010’s Alice
in Wonderland. Having helmed
the two recent Muppets movies,
Bobin has a fine sense of quirky
comedy and hopes are high that
he brings that sense of lightness and
silliness to the proceedings. All of the
participants of Tim Burton’s original
are back with the addition of Sacha Baron Cohen as the
half-man, half-clockwork villain, Time. Rhys Ifans, who
stole the show as Spike in 1999’s Notting Hill, appears
as The Mad Hatter’s father, Zanik Hightopp. Alan
Rickman, who passed away earlier this year, has
one of his last screen credits as Absolem the
Caterpillar. Rickman’s death put the skids on the
Galaxy Quest series being developed by Amazon
Studios. “By Grabthar’s Hammer … .”
CAST JOHNNY DEPP, ANNE HATHAWAY,
HELENA BONHAM CARTER, SACHA
BARON COHEN, ALAN RICKMAN,
MIA WASIKOWSKA, STEPHEN FRY
DIRECTOR JAMES BOBIN GENRE
ADVENTURE / FAMILY / FANTASY
RATING PG FOR FANTASY ACTION/
PERIL AND SOME LANGUAGE
RUNNING TIME 108 MIN.
ANNE HATHAWAY AS THE WHITE QUEEN
76 BoxOffice ® MAY 2016

JENNIFER LAWRENCE AS RAVEN DARKHÖLME / MYSTIQUE
WITH OSCAR ISAAC AS EN SABAH NUR / APOCALYPSE
FOX / MAY 27 / 3D
In the recent Independence Day: Resurgence trailer,
returnee Jeff Goldblum intones, “They always go for the
landmarks,” they being, of course, aliens. How many
times can the Golden Gate Bridge be demolished?
Even Ray Harryhausen’s budget-restricted six-armed
octopus destroyed it in 1955’s It Came From Beneath
the Sea. In the final trailer for X-Men: Apocalypse we
see the bad guy, played by Star Wars: The Force
Awakens good guy Oscar Isaac, cause the
destruction of the Sydney Opera House.
In G.I. Joe: The Rise of Cobra, the Eiffel
Tower topples only to be rebuilt and
used as a rocket gantry in 2015’s
Tomorrowland. Maybe mankind
should stop building such iconic
structures and keep to strip malls.
Anyhoo … For X-Men: Apocalypse,
Bryan Singer returns to
the director’s chair for a fourth go-round
with the mutants, this time without
Hugh Jackman’s Wolverine (though his
adamantium talons are glimpsed at the
end of the latest trailer—snikt!).
In this entry of the franchise we meet the
very first mutant—En Sabah Nur, dubbed
Apocalypse by the X-Men, who is reborn after a
thousand years of slumber to do what characters
named Apocalypse are likely to do: take over the
world. Mutant One is helped by four “horsemen”
including Oliva Munn’s Psylocke, featured in the
promos to great effect.
CAST MICHAEL FASSBENDER, JAMES MCAVOY,
JENNIFER LAWRENCE, OLIVIA MUNN, OSCAR
ISAAC DIRECTOR BRYAN SINGER GENRE ACTION
/ ADVENTURE / FANTASY / SCI-FI RATING TBD
RUNNING TIME TBD
ALEXANDRA SHIPP AS ORORO MUNROE / STORM
MAY 2016 BoxOfficea ® 77

ON SCREEN
DARK HORSE
SONY PICTURES CLASSICS / MAY 6
A real-life National Velvet, this documentary shares the story
of bartender Janet Vokes, who leads a group of 23 Welsh locals
in buying and breeding a mare in hopes of owning a future
champion. The offspring, Dream Alliance, won several races as a
three-year-old. How did he fare in the race made famous by the
Elizabeth Taylor movie? You’ll have to book the film to find out.
“I WASN’T JANET THE CLEANER ANYMORE.
I WAS JANET THE RACEHORSE OWNER”
DIRECTOR LOUISE OSMOND GENRE DOCUMENTARY RATING PG
FOR SOME MILD THEMATIC ELEMENTS AND LANGUAGE RUNNING
TIME 85 MIN.
LOVE & FRIENDSHIP
ROADSIDE•AMAZON / MAY 13
Indie director Whit Stillman has made four films in thirty years.
His first film, Metropolitan, was financed by selling his apartment
and went on to garner a Oscar nomination for Best Screenplay.
Love & Friendship is based on the writings of Jane Austen and this
18th-century story concerns Lady Susan Vernon’s efforts to secure
a husband for her daughter—and for herself.
CHLOË SEVIGNY AS ALICIA JOHNSON WITH KATE
BECKINSALE AS LADY SUSAN VERNON MARTIN
CAST KATE BECKINSALE, CHLOË SEVIGNY, XAVIER SAMUEL
DIRECTOR WHIT STILLMAN GENRE DRAMA / ROMANCE RATING
PG FOR SOME THEMATIC ELEMENTS RUNNING TIME 92 MIN.
DHEEPAN
IFC FILMS • SUNDANCE SELECTS / MAY 13
The title refers to a dead man whose identity is used by a Sri
Lankan former rebel fighter and refugee, named Sivadhasan, who
is trying to begin a new life in Paris. He connects with strangers
who pose as his wife and daughter as he attempts to find his way
in Parisan immigrant society. The film won the Palme d’Or at the
2015 Cannes Film Festival.
JESUTHASAN ANTONYTHASAN AS SRI LANKAN
TAMIL WARRIOR DHEEPAN
CAST JESUTHASAN ANTONYTHASAN DIRECTOR JACQUES
AUDIARD GENRE CRIME / DRAMA RATING R FOR VIOLENCE,
LANGUAGE, AND BRIEF SEXUALITY/NUDITY RUNNING TIME 115 MIN.
SUNSET SONG
MAGNOLIA PICTURES / MAY 13
Author Lewis Grassic Gibbon’s 1935 book, Sunset Song, is considered
to be one of the most signficiant Scottish novels of the
20th century. Previously adapted for television in 1971 (famous
for the BBC Scotland’s first nude scene), this version of the story
stars Agyness Deyn as Chris Guthrie, a young woman living a
hardscrabble life in pre-WWI Scotland.
AGYNESS DEYN AS SCOTTISH FARMER’S
DAUGHTER CHRIS GUTHRIE
CAST PETER MULLAN, AGYNESS DEYN, KEVIN GUTHRIE DIRECTOR
TERENCE DAVIES GENRE DRAMA RATING R FOR SEXUALITY,
NUDITY, AND SOME VIOLENCE RUNNING TIME 135 MIN.
78 BoxOffice ® MAY 2016

A BIGGER SPLASH
FOX SEARCHLIGHT / MAY 4
The woman of a thousand faces (watch Trainwreck, if you don’t agree), Tilda
Swinton stars as a famous rock star vacationing on an Italian island with her
boyfriend when an old friend arrives with his frisky daughter in tow. There’s
lots of thrusting and cavorting in this beautifully shot indie, and if you’re
jonesing to get a good look at Ralph Fiennes, this is the movie for you.
CAST TILDA SWINTON, DAKOTA JOHNSON DIRECTOR LUCA GUADAGNINO
GENRE CRIME | DRAMA | MYSTERY RATING R FOR GRAPHIC NUDITY, SOME
STRONG SEXUAL CONTENT, LANGUAGE AND BRIEF DRUG USE RUNNING
TIME 124 MIN.
DAKOTA JOHNSON (FIFTY SHADES OF GREY) PLAYS
RALPH FIENNES’S DAUGHTER, PENELOPE LANIER
MAY 2016 BoxOffice ® 79

ON SCREEN > LIMITED RELEASES
MAGGIE'S PLAN
SONY PICTURES CLASSIC / MAY 20
Novelist Rebecca Miller has quite the pedigree: she is the daughter
of famed playwright Arthur Miller, the spouse of Sir (!) Daniel
Day-Lewis, and the writer/director of the indie hit The Private
Lives of Pippa Lee. In this outing, Miller has written a slight story
about a woman who, after falling out of love with her husband,
plans to get him back with his ex-wife.
GRETA GERWIG AS MAGGIE
WITH ETHAN HAWKE AS JOHN
CAST GRETA GERWIG, JULIANNE MOORE, ETHAN HAWKE
DIRECTOR REBECCA MILLER GENRE COMEDY RATING R FOR
LANGUAGE AND SOME SEXUALITY RUNNING TIME 92 MIN.
WEINER
IFC FILMS • SUNDANCE SELECTS / MAY 20
From New York congressman to co-star of Syfy’s Sharknado 3: Oh
Hell No!, Anthony Weiner’s second fall from grace is the centerpiece
of this documentary. This doc follows Weiner during his
failed 2013 campaign for New York mayor when he, inexplicably,
is discovered to have sexted more young women under the nom de
internet Carlos Danger.
DISGRACED FORMER NEW YORK CONGRESSMAN
ANTHONY WEINER
DIRECTOR JOSH KRIEGMAN, ELYSE STEINBERG GENRE
DOCUMENTARY RATING R FOR LANGUAGE AND SOME SEXUAL
MATERIAL RUNNING TIME 96 MIN.
UNLOCKING THE CAGE
FIRST RUN FEATURES / MAY 25
If corporations are people (see Citizens United v FEC) then why
not chimpanzees? Attorney Steven Wise has been fighting for the
rights of animals for decades and this documentary follows his
Nonhuman Rights Project legal team as they argue in court for
the bodily liberty rights of four chimps. The larger point being:
what rights do captive animals—those in zoos, circuses, and
aquaria—have?
MERLIN THE CHIMPANZEE,
WHO PASSED AWAY IN 2013
DIRECTOR CHRIS HEGEDUS, D.A. PENNEBAKER GENRE
DOCUMENTARY RATING TBD RUNNING TIME 91 MIN.
CHEVALIER
STRAND RELEASING / MAY 27
This is not a biopic about the French star of Gigi. Rather, the title
refers to a ring, the Chevalier, that is the prize that will be awarded
to one of the six Greek men on a luxury yacht cruising the Aegean
Sea. With the testosterone freely flowing, the manly men compete
in impromptu contests as trivial as they are bizarre: lipsynching,
ringtone quailty, underwear style, and, yes, penis size.
PANOS KORONIS (BEFORE MIDNIGHT) IS ONE OF SIX WHO
COMPETE FOR THE TITLE “THE BEST IN GENERAL”
CAST GIANNIS DRAKOPOULOS, KOSTAS FILIPPOGLOU DIRECTOR
ATHINA RACHEL TSANGARI GENRE COMEDY RATING TBD
RUNNING TIME 99 MIN.
80 BoxOffice ® MAY 2016

THE LOBSTER
A24 / MAY 13
The Greek director of the Oscar-nominated Dogtooth directs this, his first
English-language film, with the same strange and surreal eye. The large cast of
familar faces play denizens of an idyllic community that has a very odd way
of dealing with single people—if you don’t find a mate within 45 days you
are turned into the animal of your choice and released into the nearby forest.
CAST COLIN FARRELL, RACHEL WEISZ DIRECTOR YORGOS LANTHIMOS
GENRE COMEDY / DRAMA / ROMANCE / SCI-FI / THRILLER RATING R FOR
SEXUAL CONTENT INCLUDING DIALOGUE, AND SOME VIOLENCE RUNNING
TIME 118 MIN.
COLIN FARRELL AS DAVID AND RACHEL WEISZ AS
THE SHORT-SIGHTED WOMAN
MAY 2016 BoxOffice ® 81

BOOKING GUIDE
Compiled by Daniel Garris
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
A24 646-568-6015
THE LOBSTER Fri, 5/13/16 LTD. Colin Farrell, Rachel Weisz Yorgos Lanthimos R Com/Dra/Rom
SWISS ARMY MAN Fri, 6/24/16 LTD. Paul Dano, Daniel Radcliffe
Daniel Scheinert, Daniel
Kwan
R Com/Dra
EQUALS Fri, 7/15/16 LTD. Kristen Stewart, Nicholas Hoult Drake Doremus PG-13 Dra/Rom/SF
INTO THE FOREST Fri, 7/29/16 LTD. Ellen Page, Evan Rachel Wood Patricia Rozema R Dra/SF
DISNEY 818-560-1000 / Ask for Distribution
CAPTAIN AMERICA:
Fri, 5/6/16 WIDE
CIVIL WAR
ALICE THROUGH THE
LOOKING GLASS
Chris Evans, Robert Downey Jr.
Anthony Russo, Joe
Russo
PG-13
Act/Adv
Fri, 5/27/16 WIDE Johnny Depp, Mia Wasikowska James Bobin PG Adv/Fan
FINDING DORY Fri, 6/17/16 WIDE Ellen DeGeneres, Albert Brooks Andrew Stanton NR Ani/Adv/Fam
3D/IMAX/Dolby
Atmos
3D/IMAX/Dolby
Atmos
3D/IMAX/Dolby
Atmos
THE BFG Fri, 7/1/16 WIDE Mark Rylance, Ruby Barnhill Steven Spielberg NR Adv/Fan/Fam 3D/Dolby Dig
PETE’S DRAGON
THE LIGHT BETWEEN OCEANS
Fri, 8/12/16 WIDE
Fri, 9/2/16 WIDE
Bryce Dallas Howard, Oakes
Fegley
Michael Fassbender, Alicia
Vikander
David Lowery PG Fan/Fam/Ani 3D/Dolby Dig
Derek Cianfrance PG-13 Dra Dolby Dig
THE QUEEN OF KATWE Fri, 9/23/16 LTD. Lupita Nyong’o, David Oyelowo Mira Nair PG Dra
DOCTOR STRANGE
Fri, 11/4/16 WIDE
Benedict Cumberbatch, Chiwetel
Ejiofor
MOANA Wed, 11/23/16 WIDE Auli’i Cravalho, Dwayne Johnson
ROGUE ONE:
A STAR WARS STORY
Scott Derrickson NR Act/Adv 3D/IMAX
Ron Clements, John
Musker
NR Ani/Mus/Fam 3D/Dolby Atmos
Fri, 12/16/16 WIDE Felicity Jones, Diego Luna Gareth Edwards NR Act/Adv/SF 3D/IMAX/Dolby Dig
BEAUTY AND THE BEAST Fri, 3/17/17 WIDE Emma Watson, Dan Stevens Bill Condon NR Mus/Rom/Fan 3D
GUARDIANS OF THE GALAXY
VOL. 2
PIRATES OF THE CARIBBEAN:
DEAD MEN TELL NO TALES
Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF
Fri, 5/26/17 WIDE
Johnny Depp, Orlando Bloom
Joachim Rønning, Espen
Sandberg
NR
Act/Adv
3D/IMAX/Dolby
Atmos
3D/IMAX/Dolby
Atmos
CARS 3 Fri, 6/16/17 WIDE NR Ani/Adv/Fam 3D
EUROPACORP FILMS, USA 310-205-0255 / Ask for Distribution
NINE LIVES Fri, 8/5/16 WIDE Kevin Spacey, Jennifer Garner Barry Sonnenfeld PG Com/Fam
SHUT IN Fri, 9/9/16 WIDE Naomi Watts, Oliver Platt Farren Blackburn NR Thr
THE LAKE Fri, 1/20/17 WIDE Sullivan Stapleton, J.K. Simmons Steven Quale NR Act/Thr
VALERIAN AND THE CITY OF
A THOUSAND PLANETS
Fri, 7/21/17 WIDE Dane DeHaan, Cara Delevingne Luc Besson NR Act/Adv/SF
FOCUS FEATURES 424-214-6360
KUBO AND THE TWO STRINGS
Fri, 8/19/16 WIDE
Art Parkinson, Matthew
McConaughey
Travis Knight NR Ani/Adv/Fam 3D/Dolby Atmos
A MONSTER CALLS Fri, 10/14/16 WIDE Lewis MacDougall, Liam Neeson J.A. Bayona NR Dra/Fan
LOVING Fri, 11/4/16 EXCL NY/LA Joel Edgerton, Ruth Negga Jeff Nichols NR Dra
FOX 310-369-1000 / 212-556-2400
X-MEN: APOCALYPSE
INDEPENDENCE DAY:
RESURGENCE
MIKE & DAVE NEED
WEDDING DATES
Fri, 5/27/16 WIDE
James McAvoy, Michael
Fassbender
Bryan Singer NR Act/Adv 3D/Dolby Atmos
Fri, 6/24/16 WIDE Liam Hemsworth, Jeff Goldblum Roland Emmerich NR Act/Adv/SF
Fri, 7/8/16 WIDE Zac Efron, Adam DeVine Jake Szymanski NR Com
3D/IMAX/Dolby
Atmos
ICE AGE: COLLISION COURSE Fri, 7/22/16 WIDE Ray Romano, John Leguizamo Mike Thurmeier NR Ani/Com/Fam 3D/Dolby Atmos
MISS PEREGRINE’S HOME
FOR PECULIAR CHILDREN
Fri, 9/30/16 WIDE Eva Green, Asa Butterfield Tim Burton NR Adv/Fan Dolby Atmos
TROLLS Fri, 11/4/16 WIDE Anna Kendrick, Justin Timberlake Mike Mitchell NR Ani/Com/Fam 3D/Dolby Dig
82 BoxOffice ® MAY 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
ASSASSIN’S CREED
Wed, 12/21/16 WIDE
Michael Fassbender, Marion
Cotillard
Justin Kurzel NR Act/Adv Dolby Dig
WHY HIM? Sun, 12/25/16 WIDE Bryan Cranston, James Franco John Hamburg NR Com
HIDDEN FIGURES Fri, 1/13/17 WIDE Taraji P. Henson, Octavia Spencer Ted Melfi NR Dra
MAZE RUNNER:
THE DEATH CURE
Fri, 2/17/17 WIDE Dylan O’Brien, Kaya Scodelario Wes Ball NR SF/Thr IMAX
WOLVERINE Fri, 3/3/17 WIDE Hugh Jackman, Boyd Holbrook James Mangold NR Act/Adv IMAX
THE BOSS BABY Fri, 3/10/17 WIDE Alec Baldwin, Kevin Spacey Tom McGrath NR Ani/Com/Fam 3D/Dolby Dig
A CURE FOR WELLNESS Fri, 3/24/17 WIDE Dane DeHaan, Mia Goth Gore Verbinski NR Hor/Thr Dolby Dig
MOTHER/DAUGHTER Fri, 5/12/17 WIDE Amy Schumer, Goldie Hawn Jonathan Levine NR Com
CAPTAIN UNDERPANTS Fri, 6/2/17 WIDE Ed Helms, Kevin Hart David Soren NR Ani/Com/Fam 3D
KINGSMAN:
THE GOLDEN CIRCLE
WAR FOR THE PLANET
OF THE APES
Fri, 6/16/17 WIDE Taron Egerton, Julianne Moore Matthew Vaughn NR Act/Thr
Fri, 7/14/17 WIDE Andy Serkis, Woody Harrelson Matt Reeves NR Act/SF
FERDINAND Fri, 7/21/17 WIDE Carlos Saldanha NR Ani/Fam 3D
ALIEN: COVENANT
UNTITLED FOX / MARVEL
FILM
Fri, 8/4/17 WIDE
Fri, 10/6/17 WIDE
Michael Fassbender, Katherine
Waterston
Ridley Scott NR SF/Thr
FOX SEARCHLIGHT 212-556-2400
A BIGGER SPLASH Wed, 5/4/16 LTD. Ralph Fiennes, Dakota Johnson Luca Guadagnino R Dra/Thr Dolby Dig
ABSOLUTELY FABULOUS:
THE MOVIE
Fri, 7/22/16 LTD. Jennifer Saunders, Joanna Lumley Mandie Fletcher R Com
THE BIRTH OF A NATION Fri, 10/7/16 WIDE Nate Parker, Armie Hammer Nate Parker R Dra
LIONSGATE 310-309-8400
NOW YOU SEE ME 2 Fri, 6/10/16 WIDE Mark Ruffalo, Jesse Eisenberg Jon M. Chu PG-13 Cri/Thr Dolby Atmos
CAFÉ SOCIETY Fri, 7/15/16 LTD. Jesse Eisenberg, Kristen Stewart Woody Allen PG-13 Rom/Com/Dra
MECHANIC: RESURRECTION Fri, 8/26/16 WIDE Jason Statham, Jessica Alba Dennis Gansel R Act/Thr Dolby Dig
NO MANCHES FRIDA Fri, 9/2/16 MOD. Omar Chaparro, Martha Higareda Nacho G. Velilla NR Com
THE WILD LIFE Fri, 9/9/16 WIDE Yuri Lowenthal, David Howard
Vincent Kesteloot, Ben
Stassen
NR Ani/Adv/Fam 3D
NERVE Fri, 9/16/16 WIDE Emma Roberts, Dave Franco
Henry Joost, Ariel
Schulman
DEEPWATER HORIZON Fri, 9/30/16 WIDE Mark Wahlberg, Kurt Russell Peter Berg NR Dra/Act/Thr IMAX
MIDDLE SCHOOL: THE WORST
YEARS OF MY LIFE
Fri, 10/7/16 WIDE Griffin Gluck, Lauren Graham Steve Carr NR Com/Fam
BOO! A MADEA HALLOWEEN Fri, 10/21/16 WIDE Tyler Perry, Bella Thorne Tyler Perry NR Com/Hor
UNTITLED LIONSGATE
HORROR FILM
THE SHACK
Fri, 10/28/16 WIDE NR Hor
Fri, 11/18/16 WIDE
Sam Worthington, Octavia
Spencer
NR
NR
Thr
Stuart Hazeldine NR Dra
LA LA LAND Fri, 12/2/16 LTD. Ryan Gosling, Emma Stone Damien Chazelle NR Mus/Rom Dolby Dig
PATRIOTS DAY Wed, 12/21/16 LTD. Mark Wahlberg, J.K. Simmons Peter Berg NR Dra/Thr
JOHN WICK: CHAPTER 2 Fri, 2/10/17 WIDE Keanu Reeves, Common Chad Stahelski NR Act/Thr
POWER RANGERS
THE DIVERGENT SERIES:
ASCENDANT
Fri, 3/24/17 WIDE
Elizabeth Banks, Dacre
Montgomery
Dean Israelite NR Act/Adv/Fam
Fri, 6/9/17 WIDE Shailene Woodley, Theo James Lee Toland Krieger NR Act/Adv/SF
OPEN ROAD FILMS 310-696-7504
GLEASON Fri, 7/15/16 LTD. Steve Gleason J. Clay Tweel NR Doc
MAX STEEL Fri, 8/26/16 WIDE Ben Winchell, Josh Brener Stewart Hendler NR Act/Adv/SF
SNOWDEN
Fri, 9/16/16 WIDE
Joseph Gordon-Levitt, Shailene
Woodley
Oliver Stone NR Dra/Thr Dolby Dig
MAY 2016 BoxOffice ® 83

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
THE NUT JOB 2 Fri, 5/19/17 WIDE Cal Brunker NR Ani/Com/Fam 3D
BLAZING SAMURAI Fri, 8/4/17 WIDE Samuel L. Jackson, Michael Cera
PARAMOUNT 323-956-5000
TEENAGE MUTANT NINJA
TURTLES: OUT OF THE
SHADOWS
Chris Bailey, Mark
Koetsier
NR
Ani/Adv/Fam
Fri, 6/3/16 WIDE Megan Fox, Stephen Amell Dave Green NR Act/Adv 3D/Dolby Atmos
STAR TREK BEYOND Fri, 7/22/16 WIDE Chris Pine, Zachary Quinto Justin Lin NR Act/Adv/SF
3D/IMAX/Dolby
Atmos
FLORENCE FOSTER JENKINS Fri, 8/12/16 WIDE Meryl Streep, Hugh Grant Stephen Frears NR Com/Dra Dolby Dig
BEN-HUR Fri, 8/19/16 WIDE Jack Huston, Toby Kebbell Timur Bekmambetov NR Act/Dra 3D
JACK REACHER:
NEVER GO BACK
Fri, 10/21/16 WIDE Tom Cruise, Cobie Smulders Edward Zwick NR Act/Cri/Thr Dolby Atmos
RINGS Fri, 10/28/16 WIDE Matilda Lutz, Alex Roe F. Javier Gutiérrez NR Hor
ALLIED Wed, 11/23/16 WIDE Brad Pitt, Marion Cotillard Robert Zemeckis NR Dra/Rom/Thr
OFFICE CHRISTMAS PARTY Fri, 12/9/16 WIDE Jennifer Aniston, Jason Bateman Josh Gordon, Will Speck NR Com
FRIDAY THE 13TH Fri, 1/13/17 WIDE NR Hor
MONSTER TRUCKS Fri, 1/13/17 WIDE Jane Levy, Lucas Till Chris Wedge NR Ani/Adv/Fam 3D/Dolby Atmos
XXX 3: THE RETURN OF
XANDER CAGE
SAME KIND OF
DIFFERENT AS ME
GOD PARTICLE
Fri, 1/20/17 WIDE Vin Diesel, Samuel L. Jackson D.J. Caruso NR Act/Adv/Thr
Fri, 2/3/17 WIDE Djimon Hounsou, Greg Kinnear Michael Carney NR Dra
Fri, 2/24/17 WIDE
David Oyelowo, Gugu Mbatha-
Raw
Julius Onah NR SF/Thr
GHOST IN THE SHELL Fri, 3/31/17 WIDE Scarlett Johansson, Pilou Asbæk Rupert Sanders NR Act/Thr/SF 3D
BAYWATCH Fri, 5/19/17 WIDE Dwayne Johnson, Zac Efron Seth Gordon NR Act/Com
WORLD WAR Z 2 Fri, 6/9/17 WIDE Brad Pitt NR Act/Hor
TRANSFORMERS 5 Fri, 6/23/17 WIDE Mark Wahlberg, Isabela Moner Michael Bay NR Act/Adv/SF
RELATIVITY STUDIOS 310-724-7700 / Ask for Distribution
SOLACE Fri, 9/2/16 WIDE Anthony Hopkins, Colin Farrell Afonso Poyart R Thr Dolby Dig
MASTERMINDS Fri, 9/30/16 WIDE Zach Galifianakis, Owen Wilson Jared Hess PG-13 Com/Cri
STRANGERS 2 Fri, 12/2/16 WIDE Marcel Langenegger NR Hor/Thr
SONY 212-833-8500
MONEY MONSTER Fri, 5/13/16 WIDE George Clooney, Julia Roberts Jodie Foster R Dra/Thr Dolby Dig
THE ANGRY BIRDS MOVIE Fri, 5/20/16 WIDE Jason Sudeikis, Josh Gad Clay Kaytis, Fergal Reilly PG Ani/Com/Fam 3D/Dolby Dig
THE SHALLOWS Fri, 6/24/16 WIDE Blake Lively, Óscar Jaenada Jaume Collet-Serra NR Thr Dolby Dig
GHOSTBUSTERS Fri, 7/15/16 WIDE Melissa McCarthy, Kristen Wiig Paul Feig NR Com/Hor
3D/IMAX/Dolby
Atmos
SAUSAGE PARTY Fri, 8/12/16 WIDE Seth Rogen, Kristen Wiig
Greg Tiernan, Conrad
Vernon
NR Ani/Com
DON’T BREATHE Fri, 8/26/16 WIDE Jane Levy, Dylan Minnette Fede Alvarez NR Hor/Thr
PATIENT ZERO Fri, 9/2/16 WIDE Matt Smith, Natalie Dormer Stefan Ruzowitzky NR Act/Hor/Thr
WHEN THE BOUGH BREAKS Fri, 9/16/16 WIDE Morris Chestnut, Regina Hall Jon Cassar PG-13 Dra/Thr
THE MAGNIFICENT SEVEN Fri, 9/23/16 WIDE Denzel Washington, Chris Pratt Antoine Fuqua NR Wes/Act
UNDERWORLD: BLOOD WARS Fri, 10/14/16 WIDE Kate Beckinsale, Theo James Anna Foerster NR Act/Hor
INFERNO Fri, 10/28/16 WIDE Tom Hanks, Felicity Jones Ron Howard NR Thr Dolby Atmos
BILLY LYNN’S LONG
HALFTIME WALK
Fri, 11/11/16 WIDE Joe Alwyn, Garrett Hedlund Ang Lee NR Com/Dra/War 3D/Dolby Atmos
PASSENGERS Wed, 12/21/16 WIDE Chris Pratt, Jennifer Lawrence Morten Tyldum NR SF/Adv/Rom 3D/Dolby Atmos
RESIDENT EVIL: THE FINAL
CHAPTER
Fri, 1/27/17 WIDE Milla Jovovich, Ali Larter Paul W.S. Anderson NR Act/Hor 3D
THE DARK TOWER
Fri, 2/17/17 WIDE
Idris Elba, Matthew
McConaughey
Nikolaj Arcel NR Wes/Act/Fan
84 BoxOffice ® MAY 2016

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
BABY DRIVER Fri, 3/17/17 WIDE Ansel Elgort, Lily James Edgar Wright NR Act/Com/Cri Dolby Atmos
LIFE Fri, 3/24/17 WIDE Ryan Reynolds, Jake Gyllenhaal Daniel Espinosa NR SF/Thr
SMURFS: THE LOST VILLAGE Fri, 4/7/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury NR Ani/Com/Fam 3D
BARBIE Fri, 5/12/17 WIDE NR Com
BAD BOYS 3 Fri, 6/2/17 WIDE Will Smith, Martin Lawrence Joe Carnahan NR Act/Thr
UNCHARTED Fri, 6/30/17 WIDE NR Act/Adv
SPIDER-MAN: HOMECOMING Fri, 7/7/17 WIDE Tom Holland, Marisa Tomei Jon Watts NR Act/Adv
JUMANJI Fri, 7/28/17 WIDE Jake Kasdan NR Adv/Fan/Fam
3D/IMAX/Dolby
Atmos
THE EMOJI MOVIE Fri, 8/11/17 WIDE Tony Leondis NR Ani 3D
UNTITLED SONY EVENT FILM Fri, 9/15/17 WIDE NR
THE EQUALIZER 2 Fri, 9/29/17 WIDE Denzel Washington NR Act/Thr
SONY PICTURES CLASSICS Tom Prassis / 212-833-4981
DARK HORSE Fri, 5/6/16 EXCL NY/LA Louise Osmond PG Doc/Sport
MAGGIE’S PLAN Fri, 5/20/16 EXCL NY/LA Greta Gerwig, Ethan Hawke Rebecca Miller R Rom/Com
EAT THAT QUESTION Fri, 6/24/16 EXCL NY/LA Frank Zappa Thorsten Schütte NR Doc
OUR LITTLE SISTER Fri, 7/8/16 EXCL NY/LA Haruka Ayase, Masami Nagasawa Hirokazu Koreeda PG Dra Dolby Dig
EQUITY Fri, 7/29/16 EXCL NY/LA Anna Gunn, James Purefoy Meera Menon NR Dra/Thr
THE HOLLARS Fri, 8/26/16 EXCL NY/LA John Krasinski, Anna Kendrick John Krasinski PG-13 Com/Dra
STX ENTERTAINMENT 310-742-2300
FREE STATE OF JONES
Fri, 6/24/16 WIDE
Matthew McConaughey, Gugu
Mbatha-Raw
Gary Ross NR Act/Dra Dolby Dig
BAD MOMS Fri, 7/29/16 WIDE Mila Kunis, Christina Applegate Jon Lucas, Scott Moore NR Com
THE SPACE BETWEEN US Fri, 8/19/16 WIDE Asa Butterfield, Britt Robertson Peter Chelsom NR Adv/SF/Rom
THE EDGE OF SEVENTEEN
Fri, 9/30/16 WIDE
Hailee Steinfeld, Haley Lu
Richardson
Kelly Fremon Craig NR Com/Dra
THE BYE BYE MAN Fri, 12/9/16 WIDE Douglas Smith, Cressida Bonas Stacy Title NR Hor/Thr
UNIVERSAL 818-777-1000
NEIGHBORS 2:
SORORITY RISING
POPSTAR: NEVER STOP
NEVER STOPPING
Fri, 5/20/16 WIDE Seth Rogen, Zac Efron Nicholas Stoller R Com Dolby Dig
Fri, 6/3/16 WIDE
Andy Samberg, Akiva Schaffer
Akiva Schaffer, Jorma
Taccone
R Com Dolby Dig
WARCRAFT Fri, 6/10/16 WIDE Travis Fimmel, Paula Patton Duncan Jones PG-13 Act/Adv/Fan
3D/IMAX/Dolby
Atmos
THE PURGE: ELECTION YEAR Fri, 7/1/16 WIDE Frank Grillo, Elizabeth Mitchell James DeMonaco NR Hor/Thr/SF Dolby Dig
THE SECRET LIFE OF PETS Fri, 7/8/16 WIDE Louis C.K., Eric Stonestreet Chris Renaud PG Ani/Com/Fam 3D/Dolby Atmos
JASON BOURNE Fri, 7/29/16 WIDE Matt Damon, Alicia Vikander Paul Greengrass NR Act/Adv/Thr
SPECTRAL
Fri, 8/12/16 WIDE
James Badge Dale, Emily
Mortimer
Nic Mathieu NR Act/Thr
BRIDGET JONES’S BABY Fri, 9/16/16 WIDE Renée Zellweger, Colin Firth Sharon Maguire NR Rom/Com
THE GIRL ON THE TRAIN Fri, 10/7/16 WIDE Emily Blunt, Rebecca Ferguson Tate Taylor NR Thr
KEVIN HART: WHAT NOW? Fri, 10/14/16 WIDE Kevin Hart Leslie Small R Com/Con/Doc
OUIJA 2 Fri, 10/21/16 WIDE Annalise Basso, Henry Thomas Mike Flanagan NR Hor/Thr
ALMOST CHRISTMAS Fri, 11/11/16 WIDE Kimberly Elise, Mo’Nique David E. Talbert PG-13 Com
SING
Wed, 12/21/16 WIDE
Matthew McConaughey, Reese
Witherspoon
Garth Jennings NR Ani/Com/Fam 3D/Dolby Dig
MENA Fri, 1/6/17 WIDE Tom Cruise, Domhnall Gleeson Doug Liman NR Cri/Thr
SPLIT Fri, 1/20/17 WIDE James McAvoy, Anya Taylor-Joy M. Night Shyamalan NR Hor/Thr
A DOG’S PURPOSE Fri, 1/27/17 WIDE Dennis Quaid, Britt Robertson Lasse Hallström NR Com/Dra/Fam
FIFTY SHADES DARKER Fri, 2/10/17 WIDE Dakota Johnson, Jamie Dornan James Foley NR Dra/Rom
THE GREAT WALL Fri, 2/17/17 WIDE Matt Damon, Andy Lau Zhang Yimou NR Act/Adv/Thr 3D
MAY 2016 BoxOffice ® 85

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
FAST 8 Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray NR Act/Cri IMAX
UNTITLED GALIFIANAKIS/
HADER/ROGEN R-RATED
COMEDY
Fri, 5/26/17 WIDE Zach Galifianakis, Seth Rogen Rodney Rothman NR Com/SF
THE MUMMY Fri, 6/9/17 WIDE Tom Cruise, Sofia Boutella Alex Kurtzman NR Act/Adv
DESPICABLE ME 3 Fri, 6/30/17 WIDE Steve Carell NR Ani/Com/Fam
PITCH PERFECT 3 Fri, 8/4/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks NR Com/Mus
WARNER BROS. 818-977-1850
THE NICE GUYS Fri, 5/20/16 WIDE Russell Crowe, Ryan Gosling Shane Black R Cri/Thr Dolby Dig
ME BEFORE YOU Fri, 6/3/16 WIDE Emilia Clarke, Sam Claflin Thea Sharrock PG-13 Dra/Rom
THE CONJURING 2 Fri, 6/10/16 WIDE Vera Farmiga, Patrick Wilson James Wan R Hor/Thr Dolby Dig
CENTRAL INTELLIGENCE Fri, 6/17/16 WIDE Dwayne Johnson, Kevin Hart
Rawson Marshall
Thurber
PG-13 Act/Com Dolby Dig
THE LEGEND OF TARZAN
Fri, 7/1/16 WIDE
Alexander Skarsgård, Margot
Robbie
David Yates PG-13 Act/Adv
LIGHTS OUT Fri, 7/22/16 WIDE Teresa Palmer, Gabriel Bateman David F. Sandberg PG-13 Hor
SUICIDE SQUAD Fri, 8/5/16 WIDE Will Smith, Jared Leto David Ayer NR Act/Adv
WAR DOGS Fri, 8/19/16 WIDE Jonah Hill, Miles Teller Todd Phillips R Com/Dra
3D/IMAX/Dolby
Atmos
3D/IMAX/Dolby
Atmos
SULLY Fri, 9/9/16 WIDE Tom Hanks, Laura Linney Clint Eastwood NR Dra IMAX
STORKS Fri, 9/23/16 WIDE Andy Samberg, Kelsey Grammer
Nicholas Stoller, Doug
Sweetland
THE ACCOUNTANT Fri, 10/14/16 WIDE Ben Affleck, Anna Kendrick Gavin O’Connor R Act/Thr
BASTARDS Fri, 11/4/16 WIDE Ed Helms, Owen Wilson Lawrence Sher NR Com
FANTASTIC BEASTS AND
WHERE TO FIND THEM
Fri, 11/18/16 WIDE
Eddie Redmayne, Katherine
Waterston
David Yates NR Adv/Fan
COLLATERAL BEAUTY Fri, 12/16/16 WIDE Will Smith, Keira Knightley David Frankel NR Dra
NR Ani/Com/Fam 3D/Dolby Dig
3D/IMAX/Dolby
Atmos
GEOSTORM Fri, 1/13/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin NR Act/Thr/SF 3D/IMAX
THE LEGO BATMAN MOVIE Fri, 2/10/17 WIDE Will Arnett, Zach Galifianakis Chris McKay NR Ani/Adv/Fam
FIST FIGHT Fri, 2/17/17 WIDE Ice Cube, Charlie Day Richie Keen NR Com
3D/IMAX/Dolby
Atmos
KONG: SKULL ISLAND Fri, 3/10/17 WIDE Tom Hiddleston, Brie Larson Jordan Vogt-Roberts NR Act/Adv 3D/IMAX/Dolby Dig
KING ARTHUR
Fri, 3/24/17 WIDE
Charlie Hunnam, Astrid Bergès-
Frisbey
Guy Ritchie NR Act/Adv 3D/IMAX
GOING IN STYLE Fri, 4/7/17 WIDE Morgan Freeman, Michael Caine Zach Braff NR Com/Cri
ANNABELLE 2 Fri, 5/19/17 WIDE David F. Sandberg NR Hor/Thr
WONDER WOMAN Fri, 6/2/17 WIDE Gal Gadot, Chris Pine Patty Jenkins NR Act/Adv Dolby Atmos
THE HOUSE Fri, 6/30/17 WIDE Will Ferrell, Amy Poehler Andrew J. Cohen NR Com
DUNKIRK Fri, 7/21/17 WIDE Tom Hardy, Kenneth Branagh Christopher Nolan NR Act/Thr/War IMAX
CHIPS Fri, 8/11/17 WIDE Michael Peña, Dax Shepard Dax Shepard NR Act/Com
THE LEGO NINJAGO MOVIE Fri, 9/22/17 WIDE Charlie Bean NR Ani/Adv/Fam 3D/IMAX
UNTITLED BLADE RUNNER
SEQUEL
WEINSTEIN CO./DIMENSION 646-862-3400
Fri, 10/6/17 WIDE Ryan Gosling, Harrison Ford Denis Villeneuve NR SF/Thr
CLOWN Fri, 6/17/16 LTD. Andy Powers, Laura Allen Jon Watts R Hor/Thr
THE FOUNDER Fri, 8/5/16 WIDE Michael Keaton, Laura Dern John Lee Hancock PG-13 Dra Dolby Dig
HANDS OF STONE Fri, 8/26/16 WIDE Edgar Ramirez, Robert De Niro Jonathan Jakubowicz NR Dra/Sport Dolby Atmos
LION Fri, 11/25/16 LTD. Dev Patel, Rooney Mara Garth Davis NR Dra
AMITYVILLE:
THE AWAKENING
Fri, 1/6/17 WIDE Jennifer Jason Leigh, Bella Thorne Franck Khalfoun PG-13 Hor/Thr
86 BoxOffice ® MAY 2016

BEFORE THE MOVIE
1499 Oliver Rd.
Fairfield, CA 94534
www.beforethemovie.com
PG 6–7
CARDINAL SOUND & MOTION PICTURE
SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
www.cardinalsound.com
PG 88
CHRISTIE DIGITAL SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
www.christiedigital.com
Inside front cover
CY YOUNG INDUSTRIES
711 E 14th Ave.
Kansas City, MO 64116
www.cyyoungseating.com
PG 88
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
www.dolphinseating.com
PG 55
EVERYTHING CINEMA
1520 County Rd. 5013
Salem, MO 65560
www.everythingcinema.biz
PG 11
ENPAR
stetsonsnell@enparaudio.com
PG 35
GENEVA CONVENTION
W168 N8936 Appleton Ave.
Menomonee Falls, WI 53051
www.natoofwiup.org
PG 27
HARKNESS SCREENS
Unit A, Norton Road
Stevenage, Herts
SG1 2BB UK
www.harkness-screens.com
PG 15, 17
LIGHTSPEED DESIGN
1611 116th Ave NE, Ste. 112
Bellevue, WA 98004
www.depthq.biz
PG 88
MAROEVICH, O’SHEA & COUGHLAN
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
www.mocins.com
PG 5
METROPOLITAN THEATRES
8727 West 3rd St., 3rd Fl.
Los Angeles, CA 90048
www.metrotheatres.com
PG 88
MOVING IMAGE TECHNOLOGIES
17760 Newhope St.
Fountain, Valley, CA 92708
www.movingimagetech.com
PG 2, Back cover
OSRAM
Marcel-Breuer-Straße 6
80807 Munich, Germany
www.osram.com
PG 37
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
www.rts-solutions.com.com
PG 29
REALD
100 North Crescent Dr., Ste. 200
Beverly Hills, CA 90210
www.reald.com
PG 68–69
RETRIEVER SOFTWARE
7040 Avenida Encinas, Ste. 104-363
Carlsbad, CA 92011
www.retrieversoftware.com
PG 33
SCREENVISION MEDIA
1411 Broadway, 33rd Fl.
New York, NY 10018
www.screenvisionmedia.com
PG 1
SENSIBLE CINEMA
7216 Sutton Pl.
Fairview, TN 37062
www.sensiblecinema.com
PG 88
SONIC EQUIPMENT COMPANY
900 W Miller Rd.
Iola,KS 66749
www.sonicequipment.com
PG 4
ST. JUDE CHILDREN’S RESEARCH HOSPITAL
262 Danny Thomas PL
Memphis, TN 38105
www.everythingcinema.biz
PG 57
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
www.ushio.com
PG 13
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
www.whitecastle.com
PG 59
WILL ROGERS MOTION PICTURE PIONEERS
FOUNDATION
10045 Riverside Dr., Third Fl.
Toluca Lake, CA 91602
www.wrpioneers.com
Inside back cover
CEO
Julien Marcel
VP CREATIVE SERVICES
Kenneth James Bacon
VP CONTENT STRATEGY
Daniel Loria
BOXOFFICE ®
EDITORIAL DIRECTOR
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Laura Silver
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CONTRIBUTORS
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BOXOFFICEPRO.COM
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OVERSEAS ANALYSTS
Daniel Loria
Jonathan Papish
SOCIAL MEDIA EDITOR
Alex Edghill
ADVERTISING
VP, ADVERTISING
Susan Uhrlass
60 Broad St., Ste. 3502
New York, NY 1004
susan@boxoffice.com
310-876-9090
SUBSCRIPTIONS
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Stark Services
12444 Victory Blvd., 3rd Floor
North Hollywood, CA 91606
lucia@starkservices.com
818-985-2003
BOXOFFICE ® (ISSN 0006-8527), Volume 152, Number 5, May 2016. BOXOFFICE ® is published monthly by BoxOffice
Media, LLC, 60 Broad St, Ste. 3502, New York, NY 10004, USA. corporate@boxoffice.com. www.boxoffice.com. Basic
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MAY 2016 BoxOffice ® 87

Passive Polarization
for 3D Digital Cinema
Fast, Bright, Reliable...
Quality you can Trust.
Over 1,950
locations worldwide.
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
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
LOOKING TO PURCHASE 3-8 screen venue in California
or south western United States. Contact:
Atul Desai 949-291-5700
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
www.depthq3d.com
DIRECTOR OF MARKETING
Metropolitan Theatres, Los Angeles based with
17 locations and family owned since 1923, seeks
self-motivated candidates to develop and execute
marketing programs including loyalty and
social/digital outreach to build guest engagement,
acquisition and retention.
Candidates must have a proven record of marketing
success and ability to unlock customer
value in all areas, have 7+ years of progressively
responsible marketing experience across a broad
range of marketing/sales functions, and possess a
solid understanding of social/digital communication
practices and programs.
Please send your resume with salary requirements
to jobs@metrotheatres.com
theater-related equipment, working or dead. We
remove and pick up anywhere in the U.S. or Canada.
Amplifiers, speakers, horns, drivers, woofers,
tubes, transformers; Western Electric, RCA, Altec,
JBL, Jensen, Simplex and more. We’ll remove installed
equipment if it’s in a closing location. We
buy projection and equipment too. Call today:
773-339-9035; cinema-tech.com; email ILG821@
aol.com.
FOR SALE
CLASSIC CINEMAS is looking to sell 616 slightly
used electric 1st edition Bliss Loungers to replace
with the new Bliss Zero Lounger. They are selling
22” wide electric reclining loveseats in excellent
condition with lit aisle and seat tags. If interested,
please call Jeremy Chupp at 770-823-1330.
USED DIGITAL PROJECTORS, (5) complete
booths including sound equipment. Three years
old. Contact seller at moviescope1000@gmail.
com.
2 BRAND NEW 3000 watts Christie Xenon lamps
for 35mm projectors. Contact: Atul Desai 949-291-
5700.
BARCO 3D/DIGITAL EQUIPMENT FOR SALE: Purchase
for $55K. Equipment list provided upon request.
Contact seller at mschwartz@pennprolaw.com.
PREFERRED SEATING COMPANY, your
source for new, used and refurbished theater
and stadium seating. Buying and selling
used seating is our specialty. Call tollfree
866-922-0226 or visit our website www.
preferred-seating.com.
USED DIGITAL PROJECTORS AVAILABLE. Barco
dcp2000 and others slightly used. Don’t close your
theater conversion is cheaper than you think. Call
Stetson Snell 505-615-2913
18 SETS OF USED 35MM AUTOMATED PROJEC-
TION SYSTEM (comes with Projector, Console,
Automation Unit and Platter) comprising of 10
sets of Christie and 8 sets of Strong 35mm system
available on ‘as is where is’ basis in Singapore.
Contact seller at engthye_lim@cathay.com.sg
APPROXIMATELY 2,000 SEATS FOR SALE. MO-
BILIARIO high-back rockers with cup holders. Located
in Connecticut. Contact (203)758-2148.
HELP WANTED
TRI STATE THEATRE SUPPLY in Memphis, TN has
openings for experienced Digital Cinema Techs nationwide.
Please send your resume to include qualifications,
certifications and salary requirements to
fred@tristatetheatre.com
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
POSITIONS AVAILABLE
Paragon Theaters has THEATER MANAGEMENT PO-
SITIONS available at multiple locations. If you have
previous management experience, please send your
resume to robert.fronckoski@paragontheaters.com..
SERVICES
DULL FLAT PICTURE? RESTORE YOUR XENON RE-
FLECTORS! 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.
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.
88 BoxOffice ® MAY 2016