Boxoffice - August 2018

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The Official Magazine of the National Association of Theatre Owners

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AUGUST 2018

20TH CENTURY FOX’S

THE PREDATOR OPENS WIDE

SEPTEMBER 14, 2018

THE A-LIST

AMC LAUNCHES STUBS

A-LIST, ITS IN-HOUSE

SUBSCRIPTION SERVICE

IT

CAME

FROM

OUTER

SPACE

DIRECTOR SHANE BLACK

BRINGS THE PREDATOR

TO THE BIG SCREEN

CONVENTION

PREVIEWS

CINESHOW: GRAPEVINE, TX

SHOWSOUTH: BRASELTON, GA

EXPOCINE: SÃO PAULO, BRAZIL

GROWING UP

DIRECTOR JESSE PERETZ

ON ADAPTING NICK HORNBY’S

JULIET, NAKED

MAKING MOVIES

MORE INCLUSIVE

NATIONAL AMUSEMENTS

ROLLS OUT SENSORY

SENSITIVE SCREENINGS

The Official Magazine of the National Association of Theatre Owners


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2018 VOL. 154 NO. 8

FEATURES

THE A-LIST 26

AMC LAUNCHES STUBS A-LIST,

ITS IN-HOUSE SUBSCRIPTION SERVICE

MAKING MOVIES MORE INCLUSIVE 28

NATIONAL AMUSEMENTS ROLLS OUT

SENSORY SENSITIVE SCREENINGS

GROWING UP 30

DIRECTOR JESSE PERETZ ON ADAPTING

NICK HORNBY’S JULIET, NAKED

CONVENTION PREVIEW: SHOWSOUTH 38

Q&A WITH EXECUTIVE DIRECTOR

ROBIN MILLER

CONVENTION PREVIEW: EXPOCINE 40

Q&A WITH TONKS CHIEF EXECUTIVE

OFFICER MARCELO LIMA

CONVENTION PREVIEW: CINESHOW 42

A DISCUSSION WITH THE EXHIBITORS

WHO BUILT TEXAS’ ANNUAL SHOW

IN MEMORIAM 46

REMEMBERING FRANK LIBERTO

ROSE BYRNE AND CHRIS O’DOWD IN JULIET, NAKED

OLIVIA MUNN

COVER STORY IT CAME FROM OUTER SPACE

DIRECTOR SHANE BLACK ADDS THE PREDATOR

TO THE 30-YEAR-OLD SCIFI/HORROR FRANCHISE

THAT ONCE BOASTED TWO FUTURE GOVERNORS

3 HELLO

4 EXHIBITION BRIEFS

16 NATO NEWS

24 CHARITY SPOTLIGHT

48 INDIE FOCUS brought to you by Spotlight Cinema Networks

52 SOCIAL MEDIA

56 INVESTOR RELATIONS

58 3D CALENDAR brought to you by RealD

60 EVENT CALENDAR

62 ON SCREEN

82 BOOKING GUIDE

88 MARKETPLACE

Boxoffice Magazine has served as the official publication of the National Association of

Theatre Owners (NATO) since 2007. As part of this partnership, Boxoffice is proud to feature

exclusive columns from NATO while retaining full editorial freedom throughout its pages. As

such, the views expressed in Boxoffice, except for columns signed by NATO executives, neither

reflect a stance nor endorsement from the National Association of Theatre Owners.

2 BOXOFFICE ® AUGUST 2018


hello.

>> Coming off a great first half of the year, we’re looking

forward to the string of conventions lined up for the late

summer and fall months. In this issue we preview three

upcoming conventions: ShowSouth in Braselton, Georgia

(August 21–23); CineShow in Dallas, Texas (August 27–

29); and ExpoCine in São Paulo, Brazil (October 2–5). The

return to the convention circuit reminds me a bit of going

back to school from summer vacation: catching up with old

friends, making new contacts, and finding renewed energy

to tackle the rest of the year. Each of these three shows, I believe,

will offer attendees that very same opportunity while

providing a different look at how exhibition continues to evolve in their specific regions.

While audiences buzz about this summer’s titles, those in the industry have been more caught up

with the latest development in digital ticketing. Subscription services have become the biggest

topic of the year for exhibition. The concept has seen great traction over the last 12 months:

from the rapid rise of third-party providers to the introduction of in-house offerings from two

of the country’s top three cinema circuits. The concept is now facing backlash from a segment of

users after a string of service interruptions affected third-party subscription providers in late July.

Meanwhile, other digital ticketing platforms have begun to market themselves as the antithesis to

these customer-service woes; Atom Tickets, for example, is currently running a campaign targeting

frustrated Moviepass customers by promoting the stability of their own service. The digital ticketing

landscape has become increasingly competitive in recent years, and exhibitors have taken note

of the opportunities granted by taking greater control of their admissions. In this issue, we take

a look at the latest addition to the subscription service family in the United States, AMC’s Stubs

A-List, the first offering of its kind by the largest exhibition circuit in the United States. AMC’s

take on subscription leverages highlights the circuit’s investment in premium large-format auditoriums

(a topic we covered in last month’s issue), widening its appeal to audiences by making its

most technologically advanced screens available to subscribers. While “value” leads the sales pitch

when it comes to subscription, consumers will undoubtedly begin taking more stock in reliability

from any service they choose to join.

We’ll continue our coverage of subscription throughout the year by highlighting the entire digital

ticketing space as a whole: from innovations like dynamic pricing to loyalty programs, and alternatives

like memberships and discount days. Ultimately, our role in this conversation isn’t to promote

any one service over another—but simply to spotlight the differing approaches that cinemas

around the world have taken to engage consumers and encourage a higher frequency of visits.

As always, we look forward to hearing your feedback on the stories in the following pages. And if

you see me or our team at any of the upcoming conventions, please feel free to say hello.

Daniel Loria

Editorial Director

Boxoffice Media

daniel@boxoffice.com

AUGUST 2018 BOXOFFICE ® 3


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IN MEMORIAM

STEPHEN LANE COLSON SR.

>> Stephen Lane Colson Sr. passed away on July 3, 2018, in Birmingham,

Alabama, at the age of 72. Colson launched his career in the movie industry

as a general manager and vice president with Weis Theaters. He continued

his career with General Cinema Theaters as their vice president of southwest

operations in Chestnut Hill, Mass., and in 1992 he became president

and chief operating officer at Litchfield Theatres in Pawley’s Island, S.C.

After selling the company, Colson moved his family to Birmingham, where

he served as chief operating officer with Cobb Theatres for two years.

During this time, he was granted the honor of participating in the Olympic

Torch relay through Birmingham as part of its route to Atlanta for the

1996 Olympic Games. Colson founded his own theater company, AmStar

Entertainment, LLC, where he developed seven modern stadium-theater

locations with 96 screens located in six states. AmStar received multiple

recognitions for construction, operations, and customer service. After

selling AmStar, Colson continued to work as an industry consultant and

served on multiple boards within the theater industry. Throughout his life,

he believed in the magic of going to the movies.

Stephen Lane Colson Sr. was born March 31, 1946, in Macon, George.

He is survived by his wife of 36 years, Audrey Hamel Colson; his son,

Stephen Lane Colson Jr. and his wife, Crystal, of Savannah; his daughter

Stephanie Lauren Colson of Los Angeles; and his grandson, Stephen “Lane”

Colson III; as well as a sister and half-sister. After graduating from Armstrong

College, Colson served as an infantry officer in the United States Army from

1968 until 1974, first as a Special Forces officer in Guam, and then, promoted

to captain, in Vietnam where he earned two awards of the Bronze Star

Medal. A respected leader and a generous, loving friend to many, he will be

greatly missed. In lieu of flowers, the family requests memorial donations be

made to Disabled American Veterans, www.dav.org, or the UAB Comprehensive

Cancer Center, cancercenter.uab.edu.

4 BOXOFFICE ® AUGUST 2018


EXHIBITION BRIEFS

B&B THEATERS TO OPEN SCREENX CINEMA EXPERIENCE

>> Last month, in conjunction with the official grand opening

of B&B Theatres’ newly built state-of-the-art flagship Liberty

12 in Liberty, Missouri, the largest ScreenX environment in the

world opened to the public.

It is located on a premium large-format (PLF) Grand Screen

and measures more than four stories tall and seven stories wide,

with the capacity to seat 244 attendees.

Based in the Kansas City DMA, this new opening will also

mark the first ScreenX auditorium in the Midwest U.S., the

fourth in the country, and the 143rd worldwide. Previously

opened U.S. ScreenX locations include two in the Los Angeles

area and one in Las Vegas. This is the first of four ScreenX

auditoriums planned to open at B&B Theatres through 2019.

ScreenX is expected to operate over 200 screens by the end of

2018, more than 30 percent growth compared to 2017.

The Liberty 12 location is one of four new ScreenX installations

planned through 2019, as part of a previously announced

agreement between B&B Theatres, the seventh-largest exhibitor

in the world, and CJ 4DPLEX Americas, which manages

ScreenX and 4DX operations in the U.S.

“This opening marks an incredible moment for both our

company and for me personally, and we are thrilled that the

world’s largest ScreenX experience is a key component of

our new flagship theater,” said Bob Bagby, president of B&B

Theatres, which also operates approximately 400 screens at 50

locations across Kansas, Florida, Iowa, Missouri, Mississippi,

Oklahoma, and Texas. “We know our guests will be amazed

by the innovative technology used to project their favorite

films on three walls of the auditorium and look forward to

bringing this premium format to other locations over the next

few months.”

6 BOXOFFICE ® AUGUST 2018


EXHIBITION BRIEFS

CINÉPOLIS USA MAKES DALLAS

DEBUT AT VICTORY PARK

>> Cinépolis USA celebrated the

grand opening of Cinépolis Luxury

Cinemas–Victory Park, the first luxury

theater for the brand in the Lone

Star State, on July 27. The eightscreen,

750-seat multiplex will serve

as the cinema anchor at Victory Park,

a 75-acre urban-lifestyle destination

just north of downtown Dallas. The

theater marks Cinépolis USA’s debut

in Dallas, where the company holds

its headquarters.

“Dallas is our home, so it is particularly

exciting to launch our luxury

cinemas in Victory Park, a coveted

destination that is quickly becoming

the premier entertainment district

in the city,” said Luis Olloqui, chief

executive officer, Cinépolis USA. “We

look forward to bringing our personal

touch to the Dallas community by

introducing a new moviegoing experience

in our own backyard.”

A destination unto itself, the

44,000-square-foot Cinépolis Luxury

Cinemas–Victory Park will offer guests

a luxury moviegoing experience with

750 fully reclining leather seats in its

eight auditoriums, each complete with

cutting-edge sound and high-definition

projection technology, an upscale

lounge-style lobby space, as well as a

gourmet concessions menu and in-theater

waiter service. Cinépolis Luxury

Cinemas–Victory Park will feature a

new menu that is being introduced exclusively

to Victory Park first and then

will roll out nationally to all luxury

cinemas this August. Guests may also

enjoy beverages from the full bar menu,

which includes craft beer, specialty

cocktails, and Cinépolis USA Private

Label wine.

The second cinema house set to

open in Texas, Cinépolis Luxury Cinemas–Victory

Park adds to Cinépolis

USA’s luxury movie theater category.

Its opening follows the brand’s entry

into Texas with premium theater

concept Cinépolis Euless in August

2017. Currently, there are 18 theaters

in the U.S., located in Texas, Southern

California, Florida, New Jersey,

Connecticut, Ohio, and New York,

with three openings this year and 10

new theater openings and acquisitions

projected through 2020, representing

a 55 percent increase in Cinépolis

USA’s portfolio of luxury and premium

cinemas. In 2017, Cinépolis

reported 338.4 million attendees to its

theaters worldwide.

STUDIO MOVIE GRILL ANNOUNCES U.S.

AND OVERSEAS EXPANSION

>> Studio Movie Grill (SMG) operates

314 screens in 30 locations nationwide. In

addition to new locations in North Carolina,

Florida, and California, SMG has

signed licensing agreements for overseas locations

in Saudi Arabia and South Africa.

Rounding out SMG’s expansion

plan, three additional locations in

Southern California, acquired in 2017,

will premiere this year as full-service

in-theater dining concepts in Redlands

(September), Monrovia (October), and

Downey (November).

“Studio Movie Grill has been focused

on expansion for several years, and we are

now on the cusp of enormous growth in

our segment. These opportunities used to

be stateside, but now we have international

interest, and that’s exciting,” said Ted

Croft, CFO. “We are continually innovating

our brand with a focus on facility

design, customer service, the best technology,

and a continually evolving menu.”

SMG has made Inc. magazine’s list

of Fastest Growing Private Companies

three years in a row, and placed 12th in

Boxoffice magazine’s Giants of Exhibition

in 2018.

“SMG is excited to offer a community

gathering place alongside dinner and a

movie,” said Founder/CEO Brian Schultz.

“We are a conscious business on a mission

to open hearts and minds one story at a

time, with a desire to leave a positive wake

in the communities we serve. To reach

more guests internationally is a testament

to our drive and larger purpose.”

STUDIO MOVIE GRILL LOYALTY

PROGRAM GIVES BACK TO LOCAL

CHARITIES

>> For the last 18 years, Studio Movie

Grill (SMG) has contributed millions of

dollars in corporate giving and in-kind

donations to local charities and nonprofit

organizations. SMG continues its commitment

to making a difference with its

new loyalty program, SMG Access.

SMG Access, launched nationwide in

8 BOXOFFICE ® AUGUST 2018


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EXHIBITION BRIEFS

June, is the only theater loyalty program focused on positively

impacting community members in need through local organizations.

SMG Access is a purpose-first loyalty platform where

members earn points on every movie ticket purchased at Studio

Movie Grill. When a reward is earned, a movie and meal is donated

to an outreach program.

SMG Access provides a groundbreaking and purposeful way

for guests to support outreach programs in their neighborhoods.

“It’s great to see a loyalty program that gives back to the community,”

said Vinele Grana, vice president, Worldwide Exhibitor

Partnerships, Sony Pictures Entertainment. Last month, SMG

Access members launched the program nationwide by donating

1,500 movies and meals in collaboration with Sony Pictures

Animation’s Hotel Transylvania 3: Summer Vacation. This on top

of the 200 movies and meals donated for Lionsgate’s Uncle Drew.

Studio Movie Grill will announce additional studio partnerships

this year.

How it works: Every time guests earn 1,000 SMG Access

points they will receive a $10 eBonus Card, which can be used

for movie tickets, food, and non-alcoholic beverages at any SMG

location. Every time a reward is earned, SMG will donate a

movie and meal to a local nonprofit in that community, allowing

guests to join SMG on its mission to impact one million lives.

As a socially conscious business, SMG is committed to creating

a positive wake for all five of its stakeholders. SMG’s legacy

programs include Special Needs Screenings, Chefs for Children

program, and its annual Opening Hearts & Minds Award, which

strive to help families and acknowledge local heroes.

DOLBY AND CINESCAPE TO BRING FIRST DOLBY CINEMAS

TO KUWAIT

>> Dolby Laboratories Inc. and the Kuwait National Cinema

Company (KNCC) have entered into a three-screen agreement

for the first deployments of Dolby Cinema in Kuwait. The first

site is expected to open later in 2018 at the 360 Mall in Kuwait

City with KNCC operating under the Cinescape brand.

The news follows recent announcements of upcoming openings

in the U.K. with Odeon and with Kinopolis in Germany.

“We are really pleased to be able to continue to drive momentum

in our strategy to expand the Dolby Cinema footprint in the

Europe and Middle East region,” said Doug Darrow, senior vice

president, Cinema Business Group, Dolby Laboratories.

“We’re delighted to be working with such a progressive leader

in the region. Customers in Kuwait will now be able to experience

the ultimate presentation for all genres of film. Dolby

Cinema combines spectacular image, moving audio, and inspired

design to deliver a superior and immersive experience for moviegoers,”

he added.

Khaled Al Marzouq, business development manager at

KNCC said, “We are committed to bringing our Cinescape customers

the very best in movie entertainment and are really look-

FIRST ECLAIRCOLOR HDR AUDITORIUM OPENS

IN CHINA

>> Ymagis Group and Chinese cinema systems integrator

Great Ocean announced the opening of the first Eclair-

Color HDR (high dynamic range) auditorium in China as

part of a new multiplex in the city of RuiAn with cinema

exhibitor Bestar Cinemas. The EclairColor technology is

a key component of a new premium large-format (PLF)

concept labeled STARX and boasts a 22-meter wide screen,

600 seats, and a Sony Digital Cinema 4K SRX-R515QS

quad-system projector.

“We’re very excited to bring this new HDR technology to

our new multiplex at the Wuyue shopping mall, marking a

first in China,” said Jiang Yuanxin, deputy general manager

of Shanghai Bestar Cinemas Management Co., Ltd. “As

part of our master development strategy, we aim to open 50

STARX PLF auditoriums with EclairColor technology by

2021 as part of both our existing and new cinema complexes

located across China.”

“We are thrilled with this successful collaboration with

Great Ocean and expect many more EclairColor installations

to follow in the near future,” said Simon Eyries, EclairColor

project leader at Ymagis Group. “It’s an important milestone

for both Chinese filmmakers and cinema exhibitors in the

deployment of a powerful and affordable HDR technology

across China. For this occasion, Ymagis Group’s content

services arm, Eclair, produced their first EclairColor digital

cinema package (DCP) of a Chinese-made feature film,

Dying to Survive, directed by Wen Muye.”

10 BOXOFFICE ® AUGUST 2018


EXHIBITION BRIEFS

ing forward to offering Dolby Cinema, a

more dramatic and engaging film viewing

experience for cinemagoers, and the format

beloved of Hollywood directors. We

are really proud to be the first location

in Kuwait to be offering film lovers this

state-of-the-art film experience.”

ECA APPOINTS

GRAINNE PEAT

AS MANAGING

DIRECTOR

>> The Event

Cinema Association

(ECA) has

announced the

appointment of

Grainne Peat to the role of managing director.

The ECA, established in 2012, is

the primary trade body for the alternative

content sector.

Peat has considerable industry experience,

gained from her time spent at the

UK Cinema Association, where she has

been instrumental in driving forward

a diverse range of policy issues, most

notably in the areas of disability and

access, security, skills and employment,

and sustainability. Peat was the main lead

for the association’s networking events,

including the annual conference.

With support and resourcing from

the ECA’s board, Peat will be responsible

for the development of the association.

Her role will be pivotal in meeting the

ECA’s plans and objectives, ultimately

to promote the event cinema sector and

grow the support the association offers

exhibition and distribution members.

“Grainne is a well-known figure in U.K.

and European exhibition circles, not least

for her positive engagement with a wide

range of industry contacts and stakeholders

but also her involvement on the UNIC

Board and being a pioneering mentee on

the UNIC Women’s Cinema Leadership

Programme,” said Brad LaDouceur on behalf

of the ECA’s board of directors, “Her

advocacy on behalf of the cinema industry

in recent years makes her the perfect candidate

to magnify the ECA’s impact.”

Commenting on her appointment,

Peat said, “I am excited to be leading the

ECA as it moves forward at pace—the

association supports a culturally significant

sector that is diverse, genuinely innovative,

and frequently at the technical

leading edge of cinema exhibition. I want

to ensure that event cinema is a sustained

and profitable element of the cinemagoing

experience.”

ARTS ALLIANCE MEDIA

COLLABORATES WITH DELUXE

TECHNICOLOR DIGITAL CINEMA

>> Arts Alliance Media (AAM) and

Deluxe Technicolor Digital Cinema

(DTDC) have formed a collaboration

that will deliver the industry’s first

automated KDM (key delivery message)

management service, representing a step

toward the promise of fully automated

cinema management.

KDMs are unique security keys

issued by service providers of theatrical

content on behalf of studios/content

owners to enable film playout. With

AAM’s new solution, KDMs can now

be generated and delivered through the

cloud directly from distributor booking

systems all the way to the cinema-trusted

device playout equipment with confirmed

proof of delivery. All customers

of AAM’s Screenwriter Theatre Management

System (TMS) will be invited to

sign up for the service completely free

of charge.

The new automated KDM solution

offers a quantum leap in responsiveness,

accuracy, and reliability and is made

possible through a direct integration

between DTDC’s worldwide booking

management systems and AAM’s Thunderstorm

cloud platform, supported by

AAM’s Screenwriter TMS.

A secure communications channel

between each TMS and AAM’s Thunderstorm

cloud allows for real-time update

of DTDC’s global trusted device list

(TDL), the industry’s most comprehensive

up-to-date database on the actual

equipment installed at each cinema. This

ensures that KDMs delivered to cinemas

through Thunderstorm are always

correctly targeted. Once at site, Screenwriter

takes over to deliver directly to

the target equipment. At all stages, until

successful ingest, the delivery is fully

tracked, thereby allowing DTDC to

provide definitive proof of delivery to

their customers. The whole process from

booking to confirmed ingest is typically

completed within minutes with zero

effort required from the exhibitor.

Rich Phillips, chief technology officer

at AAM, said, “Automating KDM delivery

is a critical step in streamlining how

features get to screens around the world.

Through AAM’s advancements in cloud

technologies and this groundbreaking

partnership with DTDC we now have

the ability to automate global TDL management

and to standardize automated

KDM delivery, ultimately making KDM

management seamless and invisible for

our exhibitor customers.”

CINEMOVIDA TO OPEN MOTION EFX

THEATRE IN FRANCE

>> CineMovida has announced plans

to open a Motion EFX Theatre in spring

of 2019. The theater will be one of eight

screens at a new multiplex in Maurepas,

part of the new town of Saint-Quentinen-Yvelines.

The theater will feature 117

MX4D Motion EFX seats.

“We are excited to move into a new

market and introduce the excitement of

MX4D to the region,” said Dan Jamele,

chief innovation technology officer.

The silent, air-driven, pneumatic

system offers a full range of motion and

effects including air blasts, water, scent,

and fog.

CineMovida selected MX4D as their

preferred 4D technology after lengthy

research, according to Stephan Miché,

secretary general. “4D seats are something

quite new in France and we are

very proud to work with MX4D. We

want to show customers that cinema is

evolving and that we will always stay on

the cutting edge of entertainment.”

12 BOXOFFICE ® AUGUST 2018


EXHIBITION BRIEFS

LES CINÉMAS PATHÉ GAUMONT COMMITS TO 20 IMAX

WITH LASER SYSTEMS

>> IMAX Corporation and Les Cinémas Pathé Gaumont

have announced hybrid joint revenue-share agreements for

20 IMAX with Laser systems. IMAX’s

new laser experience for commercial

multiplexes and 12-channel immersive

sound system will be added to a

combination of new and existing Pathé

and Gaumont sites across Europe. This

announcement also represents the industry’s

first multi-territory all-laser IMAX

cinema circuit.

Under these agreements, Les Cinémas

Pathé Gaumont will upgrade 11 IMAX digital theaters in

operation to IMAX with Laser along with renewed 10-year

lease terms, reinforcing its commitment to the IMAX Experience.

In addition, seven IMAX with Laser systems will replace

IMAX theater systems that are currently contracted to open.

Les Cinémas Pathé Gaumont will also add IMAX with Laser

systems to two new IMAX theaters to be located in France.

Under the agreements, the new technology is slated to be

installed between 2018 and 2023, with 10 IMAX with Laser

systems to be added to IMAX theaters in France, seven in the

Netherlands, and three in Switzerland.

With these agreements, Les Cinémas

Pathé Gaumont has a total of 30 IMAX

theaters that are currently open or contracted

to open, including 18 theaters in

France, seven in the Netherlands, four in

Switzerland, and one in Belgium.

“We are proud to announce that Les

Cinémas Pathé Gaumont will equip 30

IMAX with Laser theaters in Europe

by 2023. We are the first network committed to be fully

powered by IMAX with Laser. This commitment forms an

integral part of our innovation and upgrading strategy, by

which we aim to offer moviegoers an increasingly intense and

immersive cinema experience,” said Martine Odillard, chairman

of Les Cinémas Pathé Gaumont.

CINEMARK UNVEILS UPDATES AT LAS

VEGAS SUNCOAST THEATER

>> Cinemark Holdings Inc. has upgraded

its Century 16 Suncoast theater inside

Suncoast Hotel and Casino in the Northwest

Valley, Las Vegas. Upgrades include

Luxury Lounger recliners in multiple

auditoriums, the addition of a Cinemark

XD premium large-format auditorium,

and a brand-new café.

“Cinemark is thrilled to enhance the

moviegoing experience at our Century 16

Suncoast theater with some of our top-ofthe-line

features,” said James Meredith,

SVP of marketing and communications

for Cinemark. “With the new amenities,

our guests will love watching all the great

summer blockbusters like Ant-Man and

The Wasp and Jurassic World: Fallen Kingdom

in a comfortable and beautiful new

atmosphere.”

Cinemark has replaced existing

seats in eight auditoriums with Luxury

Loungers, which are heated, ergonomic,

electric-powered, plush, oversize recliners

with extendable footrests and swivel

tray tables. Guests can reserve these seats

in advance. In addition to the Luxury

Loungers, the Century 16 Suncoast

theater now has a Cinemark XD auditorium,

which includes wall-to-wall screens,

custom surround-sound systems, and

Luxury Lounger seating. The new café

will offer an expanded menu. The theater

will also feature newly installed Coca-Cola

Freestyle beverage machines.

In addition, the Cinemark Century

16 Suncoast theater also offers a variety

of discounts, such as early bird pricing

for the first matinee show time of the day

and discount pricing for seniors, students,

and military personnel.

SCREENVISION ACQUISITION BY ABRY

IS COMPLETE

>> Abry Partners, a media-focused

private equity firm, has finalized its

acquisition of a controlling stake in

Screenvision Media. Terms of the transaction

were not disclosed.

“We see a very bright future for

Screenvision,” said John Hunt, managing

partner of Abry Partners. “We look

forward to partnering alongside and

investing with their first-rate management

team to help further unlock future

growth for the company as well as their

leading network of exhibitors.”

As part of the transaction, the company’s

existing owners, Shamrock Capital

and AMC Entertainment Holdings Inc.

will retain minority stakes. John Partilla

will remain as the company’s chief

executive officer. Under his leadership,

Screenvision Media has experienced 30

percent revenue growth and a tripling of

profitability over the past three years.

“We couldn’t be more excited about

our new relationship with Abry Partners

and the potential for growth ahead of us,”

said Partilla. “We have seen a tremendous

amount of growth in recent years and are

confident that this new chapter in our

business will build even further on that.”

Moelis & Company served as financial

advisor and Latham & Watkins LLP

as legal advisor to Shamrock Capital

on the transaction. LionTree Advisors

served as financial advisors and Kirkland

& Ellis as legal advisor for Abry

Partners. Deutsche Bank provided debt

financing for the transaction on an

exclusive basis and acted as sole lead

arranger and book runner. n

14 BOXOFFICE ® AUGUST 2018


NATO NEWS

DIRECTOR NICOLAS WINDING REFN ON THE SET OF

THE NEON DEMON WITH ELLE FANNING

CINEMA IS NOT DEAD

DAVID CRONENBERG AND NICOLAS WINDING REFN ARE THE LATEST DIRECTORS

TO TROT OUT THIS TIRED REFRAIN

Phil Contrino, Director of Media & Research, NATO

>> I’ll start by saying that David Cronenberg

is one of my favorite directors. I’ll always

remember seeing A History of Violence—my

introduction to his work—in theaters during

my sophomore year of college. I was knocked

out by how it combined mainstream entertainment

with smart psychological undercurrents. I

quickly worked my way through his canon after

that viewing. I also admire the work of Nicolas

Winding Refn, a director who is immensely

talented at composing striking images.

It’s very upsetting to me that both

Cronenberg and Refn recently made headlines

with pessimistic statements about the

state of cinema.

Cronenberg said the following at Neuchâtel

International Fantastic Film Festival

in Switzerland:

“I don’t go to the cinema anymore. [In Neuchâtel]

I’ve seen more movies than I’ve seen in

the last five years. [The jury] are seeing 16 films.

I don’t think I’ve been to the cinema 16 times

in the last five years. In that sense, for me, that

cinema is already dead. (continued on page 18)

16 BOXOFFICE ® AUGUST 2018


NATO NEWS

DIRECTOR DAVID CRONENBERG

ON THE SET OF A DANGEROUS

METHOD WITH KEIRA

KNIGHTLEY

“However, filmmaking is not dead. Image-making

is not dead. Cinema becomes something else.

It is no longer the cathedral that you go to where

you commune with many other people.”

It sounds like Cronenberg has missed out on

seeing a lot of great movies in the format in which

they were meant to be seen. That’s a shame. It’s beyond

condescending for someone who has inspired

many directors working today to be so dismissive

of the great work that’s filling theater screens.

Cronenberg also used the public appearance

to discuss his intentions to create a series for

Netflix. This doesn’t come as a surprise, considering

that content creators are convinced that they

have to choose sides in a war: they either have to

make theatrical releases or go to Netflix to create

a series. This polarization doesn’t reflect reality.

Content creators can work safely in one format

without bashing the other. There are plenty of

producers, writers, and directors who have no

problem creating for both. The Netflix-or-cinema

rationale plays right into the grandiose notion

that Netflix will completely change the way

people watch movies forever (read: only at home).

It won’t.

As for Refn, he was quoted as saying the

following at the Lumière Film Festival in Lyon Metropolis,

France. (He was there to promote a new

streaming platform he created. How convenient!)

“Cinema is dead. I have come to Lyon to

declare film to be dead. And now it’s resurrected.

Film clings on to our feet as we move forward. The

best way to move forward [is] to

bury the past. That doesn’t mean

you forget it.”

Refn refused to get into the

Netflix vs. theaters debate by saying,

“That discussion is so 2000. Here

we are in the second day of Year

Zero. The only thing to know is

that the cinema screen and the

phone are co-existent. One is not

better than the other. They are

co-existent.” One is not better than

the other? I have a hard time buying

that a director who takes so much

pride in stunning images and great

sound editing really believes that.

I can’t help but wonder when

Cronenberg or Refn last stepped

into a crowded theater on a Friday

night. It’s impossible to do that and then say with

a straight face that cinema is dead. And I’m not

just talking about multiplexes that helped produce

2018’s massive first half—up 5.2 percent year/year

in admissions—but also art houses that have been

packed this summer thanks to hits such as Eighth

Grade (highest per-screen average debut of the year

with more than $63K), Won’t You Be My Neighbor?

($18 million as of press time), RBG ($13.1

million), Sorry to Bother You ($10.2 million), and

Three Identical Strangers ($4.5 million). I’ve said

it before and I’ll say it again: anybody who says

“They just don’t make ’em like they used to” is not

paying attention.

Dismissive comments about cinema’s demise

also ignore the progress that is being made when

it comes to diversity behind the camera. Is cinema

dead for Greta Gerwig, Jordan Peele, and Ryan

Coogler? Of course it isn’t. All three of those directors

are breaking down barriers for future directors

to tell their stories on the big screen.

Luckily, there’s no shortage of heavy-hitter

advocates for the superiority of theatrical to

counter the naysayers: Christopher Nolan, Steven

Spielberg, James Cameron, Martin Scorsese, Patty

Jenkins, Paul Thomas Anderson, Wes Anderson,

Aaron Sorkin, Joe Wright, Scott Cooper, Michael

Showalter, and Sean Baker—just to name a few.

Cronenberg and Refn certainly won’t be the last

to make negative comments, but each new hit that

draws in moviegoers will prove such comments to

be out of sync with reality. n

18 BOXOFFICE ® AUGUST 2018


NATO NEWS

FROM MOVIE

THEATER BOX

OFFICE TO

NATO’S NORTH

HOLLYWOOD

OFFICE

OR HOW I JOINED THE TEAM

AND HOW IT’S GOING SO FAR

by Erin Von Hoetzendorff

Global Affairs and Administrative Assistant,

NATO

ERIN VON HOETZENDORFF:

EXHIBITION ENTHUSIAST

>> “So, how did you get involved with NATO?”

As the newest member of the NATO team, I’ve

been getting that question a lot lately. But I have a

hard time answering it quickly. My previous professional

experience is in marketing for a staffing

and consulting firm, so how in the world did I end

up here? And how can I be contributing anything

beneficial to this organization coming from such

a different industry? Like I said, the answer is

complicated.

To get to the bottom of it, we need to rewind.

I don’t remember a time where I didn’t love going

to the movies. I have a very distinct memory of

watching in awe as a giant Mewtwo floated on the

big screen while Pokémon: The First Movie played

before me in a theater in 1999. A few years later, I

begged my dad to throw my 10th birthday party

at a movie theater, and he chaperoned a row of

fifth graders to a sold-out showing of Shark Tale.

I stood in line for hours for midnight showings of

Harry Potter. I craved the taste of movie theater

popcorn. I just really don’t remember a time when

I didn’t love going to the movies, because the theater

has always been a sanctuary for me, a sacred

space where I get to sit back, relax, and enjoy a

new story in a dark room full of strangers who are

all there for the same reasons.

Now let’s fast forward just a bit, to the summer

of 2013. I was going to be home for a few

months after my first year of college and felt it was

probably time to be a productive human and get

20 BOXOFFICE ® AUGUST 2018


NATO NEWS

a job. I applied to the seven-screen AMC down

the street from my house—for the convenience of

the half mile commute and the possibility of free

movies, but also because why would I want to work

anywhere else, really?

Over the course of three summers at two different

theaters, I learned how to use the popper, which

came with a collection of arm burns that felt like

membership requirements for the exclusive movie

theater employees club. I attempted, unsuccessfully,

to master the art of sweeping popcorn off

carpet—without just crumbling the popcorn into a

million more tiny pieces of popcorn. I sold tickets

in a little box office where I got to wear an earpiece

microphone that my friends said made me look

like Brittney Spears circa her Baby One More Time

tour. I tore tickets with precision and poured soda

with the perfect ice-to-liquid ratio. Even though I

came home engulfed in a fog of popcorn scent, I

loved that job.

After graduating from the University of Portland

with a B.A. in communications, I moved back

home to the San Fernando Valley, on the edge of

Los Angeles. I landed a job, that aforementioned

marketing position, where I learned a lot about

managing projects and being a corporate professional,

but it was a job that I didn’t necessarily

love. After two years there, it was time to look for

something that would make me feel excited about

going to work.

Here’s where NATO comes in. (I still thank the

universe for the impeccable timing of their job posting.)

I walked into NATO’s North Hollywood office

for an interview and was immediately greeted by an

eight-foot-tall cylindrical inflatable with the faces of

the Three Stooges of 2012, which helped calm my

nerves. I talked about my professional and personal

experiences. I explained that my ground-level

knowledge of movie theaters helps me understand

some of the different operational challenges exhibitors

face. I emphasized my interest in the industry

and my desire to work for an organization that

supports the theaters I grew up loving.

I got the job—global affairs and administrative

assistant at NATO. That means I support the

Global Cinema Federation and industry relations

by helping to maintain and collect information,

communicate with members, and prepare reports

and presentations, among other various tasks. I also

coordinate the administrative affairs of the North

Hollywood office.

I WALKED INTO

NATO’S NORTH

HOLLYWOOD

OFFICE FOR AN

INTERVIEW

AND WAS

IMMEDIATELY

GREETED BY

AN EIGHT-

FOOT-TALL

CYLINDRICAL

INFLATABLE

WITH THE FACES

OF THE THREE

STOOGES OF

2012, WHICH

HELPED CALM

MY NERVES.

I have now been with NATO for a whirlwind

four months. Three weeks into the job, I got

to attend my first CinemaCon. And then, two

months later, I was given the opportunity to travel

to Barcelona to attend CineEurope. I have learned

so much at these events, but I think my biggest

takeaway is that the people in this industry are

incredibly passionate about what they do. From

my fellow NATO staff members to the CEOs of

giant chains and the owners of one-screen driveins,

I quickly discovered that the people I will

encounter at this job are all as obsessed with going

to the movies as I am. And with that, they want to

make sure the moviegoing experience continues to

be special and exciting for everyone.

I know that this industry is always working

to improve. Of course, there are the recliner

renovations and the upgraded food and beverage

offerings that make going to the theater a luxury

experience, which I love and appreciate, but I’m

more excited about improvements in inclusion

and diversity, an idea that’s been referenced

frequently by NATO this year. I’m excited to see

stories about men and women of color featured

prominently on the big screen. I’m excited to see

theaters being recognized for their inclusive hiring

practices. I’m excited to see the Academy work to

improve its diversity. I’m excited to see ADA-captioning

rules go into effect so that the moviegoing

experience can be more inclusive.

Still, I believe that there is so much more that

can be done. I hope to see more theaters being

built near communities with large populations

of people of color. I hope people with disabilities

continue to be considered and acknowledged as

the moviegoing experience continues to improve.

I hope to see more women and people of color in

leadership positions at theaters, studios, and companies

involved with the moviegoing experience.

I want diversity and inclusion, but I also want

equality. It’s not just about adding a few minority

faces to the room. It’s about giving minority voices

the proper platform so they can confidently and

successfully make a difference.

Clearly, I have a lot of hopes. But in this industry

full of people who are dedicated to ensuring that

everyone can enjoy movie theaters, I’m optimistic.

I’m honored to be a part of this industry during

such a pivotal time. So, thanks for welcoming me

back into the world of movie theaters. In case you

still aren’t sure, I’m thrilled to be here. n

22 BOXOFFICE ® AUGUST 2018


IF YOU

WANT TO

MAKE A

STAND,

THEN IT ’ S

TIME TO

TAKE A SEAT.

S E A T I N G

YEARS OF DESIGN

WWW.CAMATIC.COM


CHARITY SPOTLIGHT

To add events in an upcoming issue, please send announcements to numbers@boxoffice.com

VARIETY – THE CHILDREN’S

CHARITY OF SOUTHERN

CALIFORNIA

More than 450 people went “all in” to

benefit one of their favorite charities,

Variety – the Children’s Charity of

Southern California, in what was the

most successful Poker and Casino

Night fund-raiser on record. Proceeds

from the event, held at the Paramount

Pictures Studio Lot, provide support for

children with special needs in Southern

California.

Gilles Marini (pictured) and other celebrities

(facing page) pose during the 8th Annual Variety

– The Children’s Charity of Southern California

Texas Hold ’Em Poker Tournament held at

Paramount Studios on Wednesday, July 18, 2018,

in Hollywood, California.

Photos by Ryan Miller/Capture Imaging

24 AUGUST 2018


CELEBRITIES AT THE VARIETY - THE CHILDREN’S CHARITY TEXAS HOLD ‘EM POKER TOURNEY IN HOLLYWOOD

VARIETY OF IOWA

Variety of Iowa raised more than $200,000 for underprivileged,

at-risk, and special needs children throughout Iowa with its annual

Polo on the Green at Powder River Ranch on July 14. Polo on the

Green is an air-conditioned evening of dinner, all-inclusive hosted

bar, live and silent auctions, dancing, and, of course, a polo match

complete with divot stomping. Guests came for the polo and

stayed for the party.

STEVE PEMBERTON

UPCOMING EVENTS

VARIETY OF DETROIT

Variety Feeds Kids Luncheon

September 27

bit.ly/2AmxxA2

Variety of Detroit will hold its first Variety Feeds Kids Luncheon on Thursday,

September 27, 2018, at Pine Lake Country Club. Guest speaker for the luncheon is

Steve Pemberton, chief diversity officer and divisional vice president of Walgreens,

and author of A Chance in the World. Variety Feeds Kids distributes food every

week to 1,200 qualifying children who are at-risk of weekend hunger. Working

with the school district and Oakland County Sheriff’s Office, Variety Feeds Kids

distributes bags of food every Friday afternoon. n

AUGUST 2018 BOXOFFICE ® 25


LOYALTY PROGRAMS

THE A-LIST

AMC LAUNCHES STUBS A-LIST, ITS IN-HOUSE SUBSCRIPTION SERVICE

by Daniel Loria

AMC became the second major U.S. circuit to launch an in-house subscription service with the June launch of Stubs A-List. The

program comes on the heels of rising consumer adoption of movie theater subscription services, essentially functioning as an

additional premium tier of the circuit’s popular Stubs loyalty program.

>> The idea had been kicked about for a number of

years, according to AMC Chief Marketing

Officer Stephen Colanero, who cites

the acquisition of the U.K.’s Odeon

circuit as a catalyst for the

efforts. “We talked to them

about what they had done

and what they were learning.

They were very open and

forthcoming, and shared a lot

of their experiences,” explains

the executive. “Fortunately for

us, they had just launched it

about a year or 18 months prior

to our integration. They were very

honest about their experiences; it

certainly helped us frame what we

were embarking on—some of

our economic modeling, in

terms of how quickly it stabilized,

what the activity was

for the established members.

We felt a little more confident

in our research and analytics,

based on the experiences that

they had.”

One of the key decisions

around the concept was its

integration with AMC’s

Stubs loyalty program, which

already had an existing premium

tier, Premiere, at a cost

of $15 per year. This essentially

put AMC in a different

position than its counterpart,

Cinemark, which launched

its own in-house subscription

service—Cinemark Movie

Club—as the sole paid tier of

… we’re all about choice … We have

great partners at Fandango and Atom

Tickets, but we also provide the ability

for guests to acquire their tickets through

our website and our mobile app. Different

people prefer different things; that’s really

the driving factor behind so many of the

things that we do. We’re happy to be

available on all those platforms.

its loyalty program at a price of

$8.99 per month.

Members of AMC

Stubs Premiere already

enjoyed a number of

perks, such as $5 back

for every $50 spent and

priority lines at the box office

and concession stand. The

company sought to highlight

the value proposition by

incorporating A-List into the

Stubs ecosystem, leveraging the

power of its existing benefits.

“We talked about it being either

within AMC Stubs or not,” says

Colanero. “Frankly, one of the key

decision factors was that each

guest would be contributing

$20 a month to us, which

would make them among

our best—if not our very

best—guests. If that was the

case, don’t we want to treat

them with all the benefits

that we would want to give

our best guests?”

The Stubs program also

includes a free tier, AMC

Stubs Insider, with a limited

number of basic benefits

for members. The implementation

of AMC Stubs

A-List to the company’s

Stubs loyalty program had a

profound and immediate effect.

On June 28, only two

days after the subscription

program went live, AMC

26 BOXOFFICE ® AUGUST 2018


eported it had surpassed 15 million members across all three

levels of its loyalty program.

Consumers who opted into Stubs A-List found themselves with

a compelling value proposition. A-List gives its members three

admissions per week for a monthly fee of $19.95 at any of the company’s

600-plus locations. All three admissions can be used within

the same day, as long as the show times are separated by a two-hour

period, and no unused admissions will be carried over to following

weeks. Crucially, the program incorporates access to AMC’s

market-leading fleet of premium-format auditoriums—including

IMAX, Dolby Cinema, RealD 3D, AMC Prime and BigD. “We’re

all about giving choice to our consumers. We know that different

people are looking for different things at different times, and we

want to be there with the different choices. We are the leader in

premium format show times and theaters—and that went into our

thinking—why would we keep that separate from what we’re offering

to our guests with this new program?” adds Colanero.

Members can also book tickets online in advance, including

at theaters with reserve seating capabilities, meaning audiences

can reserve a seat for the opening night of a highly anticipated

new film for the seat they want, at the show time they want.

The service will include all of the benefits from lower tiers of the

Stubs loyalty program, including waived online ticketing fees

and discounts on concessions. The program will function directly

from the AMC smartphone app, with no need for additional

cards or payment methods.

As digital ticketing continues to evolves, so does its platforms.

AMC has been at the forefront of investing in in-house ticketing

solutions, including a revamped website and mobile app with

seamless ticketing integration. Colanero doesn’t see this investment

as a reaction to third parties, but simply as a way to provide

consumers with an additional avenue to buy a ticket for their

theaters. “Again, we’re all about choice,” he explains. “We have

great partners at Fandango and Atom Tickets, but we also provide

the ability for guests to acquire their tickets through our website

and our mobile app. Different people prefer different things; that’s

really the driving factor behind so many of the things that we do.

We’re happy to be available on all those platforms.”

As evidenced by Stubs A-List, subscription is one of the most

prominent platforms in digital ticketing today. Certain markets,

such as France and the United Kingdom, have seen the model

work through in-house offerings by exhibitors. The concept has yet

to be proven in the United States, however, despite the advances

made in consumer acquisition by third-party providers. “It’s pretty

early to tell in our industry,” responds Colanero when asked if he

believes subscription will be a mainstay for American exhibitors.

“From a broader consumer perspective, it’s clearly been a major

trend that is taking place around the country, in many different

categories. That feels like a long-term trend that consumers have

adopted on many different fronts. We’re happy to be participating

in our industry.” n

AUGUST 2018 BOXOFFICE ® 27


SPECIAL PROGRAMS

MAKING MOVIES MORE INCLUSIVE

NATIONAL AMUSEMENTS ROLLS OUT SENSORY SENSITIVE SCREENINGS

by Chris Eggertsen

When Showcase Cinemas launched their Sensory Sensitive Screenings program this summer, the theater chain’s ultimate goal was

to make moviegoing more inclusive—and not just for individuals with autism spectrum disorder.

>> “It’s not just for a child who may be on the

autism spectrum or who [has] a degree of sensitivity,”

says Mark Malinowski, vice president of global

marketing at Showcase’s parent company, National

Amusements. “It’s also for that child’s family, to

also participate in the film with them.”

Showcase is just the latest U.S. exhibitor to

offer screenings designed specifically for individuals

with autism and their families, many

of whom have felt shut out of the moviegoing

tradition for far too long. Back in 2007, AMC

became the first major chain to introduce such a

program with its Sensory Friendly Films series;

in 2011, Regal Cinemas followed suit when it

began testing its My Way Matinee initiative in

select markets (the program has since expanded

to over 60 theaters nationwide).

Compared with AMC and Regal, each of which

operate thousands of theaters nationwide, Showcase’s

U.S. footprint is relatively small, with just

29 locations across Connecticut, Massachusetts,

Rhode Island, New Jersey, New York, and Ohio.

But for individuals and families affected by autism

who live near one of Showcase’s eight participating

theaters, the ability to attend a film screening

without fear of disturbing other patrons is a relief

that can’t be quantified.

“For many, it may be one of the few opportunities

they have to go [to the movies] as a family,”

says Lisa Goring, chief program and marketing

officer for Autism Speaks, which provides guidance

and employee training for Showcase’s program. “By

and large, people are thrilled to have the opportunity

to be out in the community.”

As with similar programs, Showcase’s monthly

screenings (which take place the first Saturday

of each month at 10 a.m.) feature environments

designed to be friendly for those with autism

spectrum disorder, particularly those oversensitive

to sensory stimuli. This includes reduced volume,

lights that remain dimmed as the movie plays (as

opposed to being shut off completely), and—likely

a relief to those convinced there are too many trailers

in front of movies anyway—zero coming attractions.

The latter, says Goring, has less to do with

the often-frenetic nature of the trailers themselves

28 BOXOFFICE ® AUGUST 2018


than it does the tendency for many with

autism to become restless while waiting

for the main event.

Perhaps the most welcome feature

of these screenings for families is their

permissive environment. In the course of

the film, audiences are given the freedom

to walk around, dance, and otherwise

express themselves. “It’s a very understanding

and accepting atmosphere,” says

Goring. “If someone needs to get up and

move around, or if they maybe call out

or vocalize some things, that’s absolutely

fine. It’s another way for them to express

that they’re enjoying the movie.”

In terms of the initiative, one of

Autism Speaks’ primary functions is

training Showcase’s theater employees to

create that welcoming environment. “It’s

about awareness in terms of what autism

is, and some of the accommodations that

may need to be put in place, and why

they’re put in place,” says Goring. “And

then, you know … people with autism

may communicate a bit differently, [so we

train] them to be aware of those things.”

Showcase’s U.S. initiative is new only as

a cohesive program; according to Malinowski,

locations within their network

have been booking “ad hoc” sensory sensitive

screenings for some time. “But then we

started to realize there were more and more

requests coming,” he says. “And we took a

step back and thought, ‘We need to really

think of this as more of an official program

that we would present and ideally be more

proactive about it so we could provide a

regularly scheduled group of films.’”

The series officially kicked off the first

weekend of July with the Disney-Pixar

mega-blockbuster Incredibles 2, which

played in all eight participating locations

on July 7. Upcoming films include Hotel

Transylvania 3: Summer Vacation (Aug.

4), Christopher Robin (Sept. 1), Smallfoot

(Oct. 6), The Nutcracker and the Four

Realms (Nov. 3), and Ralph Breaks the

Internet (Dec. 1). Notably, none of those

titles carries an MPAA rating above PG,

and that’s intentional.

“The choice for this initial group was

really all family films, because we were

getting a lot of requests for families,”

says Malinowski. That said, “As we grow

locations and as we grow the program

itself, we’ll probably look at other films

that might be more adult-skewed.”

All of which should come as music

to Goring’s ears. “I think that because

for most, autism is a lifelong disorder,

there should be a variety of films,” she

says. “You know, older people with

autism have various interests just like

everyone else, and they should be able

to have access to see films that are important

to them.”

In the immediate future, Malinowski

says the company hopes to expand the

program to more of Showcase’s U.S.

locations, in addition to their theaters

in Brazil and Argentina. “I think the

more [theaters] involved with programs

like this, the better for all of us,” he

says. “And ultimately, it’s better for

the moviegoer.” n

AUGUST 2018 BOXOFFICE ® 29


FILMMAKER INTERVIEW

ROSE BYRNE AND ETHAN HAWKE

GROWING UP

DIRECTOR JESSE PERETZ ON ADAPTING NICK HORNBY’S JULIET, NAKED

by Daniel Loria

>> Breaking up is hard to do, but it’s even harder without the

right soundtrack. Juliet, Naked is the big-screen adaptation of

author Nick Hornby’s novel of the same name. It tells the story

of Annie (Rose Byrne), who curates a museum in an English

shore town, settling into small-town life despite having doubts

about her future—particularly with her boyfriend, Duncan (Chris

O’Dowd), who runs a fan site dedicated to the mysterious rocker

Tucker Crowe (Ethan Hawke). Duncan is one of a legion of Crowe

fans who obsesses over the whereabouts of the iconic singersongwriter,

who disappeared from public life after the release of

his heartbreak-inspired album “Juliet.” Duncan and Annie have

a falling-out after she posts a scathing review of “Juliet, Naked,”

a recently released collection of Crowe’s B sides. The couple

eventually breaks up, but not before Crowe becomes intrigued

by her review and begins a long-distance email exchange with

Annie. As Crowe slides out of obscurity and into Annie’s life, the

three become entangled in the awkward transition into middle

age. Boxoffice spoke with the film’s director, Jesse Peretz, a

former musician himself, on the experience of taking the book to

the big screen. (continued on page 32)

30 BOXOFFICE ® AUGUST 2018


THE FEATURES YOU NEED.

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FILMMAKER INTERVIEW

ANNIE (ROSE BYRNE, CENTER)

IS STUCK IN A LONG-TERM

RELATIONSHIP WITH DUNCAN

(CHRIS O’DOWD, RIGHT)—AN

OBSESSIVE FAN OF OBSCURE

ROCKER TUCKER CROWE (ETHAN

HAWKE, LEFT). WHEN THE

ACOUSTIC DEMO OF TUCKER’S

HIT RECORD FROM 25 YEARS

AGO SURFACES, ITS RELEASE

LEADS TO A LIFE-CHANGING

ENCOUNTER WITH THE ELUSIVE

ROCKER HIMSELF.

You’d been attached to this project for a while.

Were you aware of the novel before signing on to

direct the film?

I was aware of the novel but hadn’t gotten

around to reading it. I became attached because

I was spending every summer as a producer and

director on the TV show Girls, which Judd Apatow

is a producer of. Judd, his partner, Barry Mendel,

and producers Ron Yerxa and Albert Berger, all had

acquired the project together.

Tamara Jenkins and Jim Taylor worked with

them for a couple of years writing a script. It got

to the point where I think they thought they had

gone as far as they could with the script. [Jenkins]

wasn’t going to direct it, and they wanted to find

a director to jump into the project, pitch changes

that needed to be made to the script, and find out

how to move it forward. Because I had worked

with Judd on Girls, he was the one who had the

idea of talking to me, drawn around this idea that

I know the world that [character] Tucker Crowe

would have come up in. Three decades ago, I was

in this band The Lemonheads. I wasn’t exactly

making the kind of music that we define as Tucker

Crowe’s music in the movie, but it was definitely

a very close adjacent genre to who Tucker Crowe

was. Judd also felt like I would be a good call for

the other elements of the story, about fandom and

holding on to that 20-something self a little bit too

late in life, as well as Tucker Crowe’s story about

trying to redeem himself as a failed father.

I really liked the script and I liked the things

that were in it, but I immediately went to reading

the novel. That’s what really got me hooked, when

I realized there were a bunch of things in the novel

that had been left out of the original script. That’s

what happens when you adapt a 400-page novel—

you pick and choose what the story’s going to focus

on. It’s very hard to be able to get all the nuances

of a novel in. From my perspective, there were a

couple of things they chose to explore that I found

less interesting, and things I loved in the book that

32 BOXOFFICE ® AUGUST 2018


got dropped out of their script. So I talked to them about what

those differences of opinion were.

How did you bring those aspects of the novel into your vision

of the story?

I had done a couple projects with my sister [Evgenia Peretz],

who’s a writer for Vanity Fair. She loved the book, and we went

about redrafting the script. Rose Byrne was someone who came

to us very early on, like right when I got attached, because she

loved the book and loved the character.

Just a couple weeks before Judd gave me the script,

I had the pleasure of directing Chris O’Dowd

in an episode of Girls. I was so enamored

by his improvisational skills; he could

just keep going and explore different

things in a scene with three other

people, but do it in such a way

that it didn’t throw off the

trajectory of any other actor’s

line or the scene’s direction.

I just thought he was so

fun and was so skilled. The

moment that episode was

done, I said to myself, “I really

want to find something

to work on with Chris.” He’s

such a joy and such a skilled

guy. Reading the script, by

page 15, one of the things that

was definitely driving me in a

very excited direction was that I

immediately was obsessed with the idea

that there was only one guy who could play

Duncan: Chris O’Dowd.

Fan culture permeates the film—how obsessive these

niches of fandom can become and truly dictate people’s lives.

Do you think these obsessions have become magnified in

today’s digital age?

I definitely feel like that level of the obsession with art and

especially with music—the kind of character who almost in a

sense chooses who he can be friends with based on “Do they like

something or not like something?”—has been around forever. In

that sense, that predates the internet and the ability to connect

fellow nerds from around the world. But it’s always been there as

a character trait. I knew a lot of people who were like that. I even

was like that, although at an age-appropriate time. That’s part of

the problem, if you will, with the Duncan character. He hasn’t

quite matured out of that now-age-inappropriate obsession.

Part of what I also love is that dichotomy. You see in a fan,

especially in a fan of music and a fan of somebody who’s made

AT THE

MOVIES WITH

JESSE PERETZ

MOVIEGOING MEMORY

There was a period when my love of movies deepened

and clarified to the point where I was like, “This is what I

want to do with my life.” Right towards the end of high school in

1985, 1986. There was a Wim Wenders retrospective at the Brattle

Theatre in my hometown. One night I saw The American Friend, the

next night I saw Wings of Desire, the next day I saw Paris, Texas.

Those three movies, seeing them within 72 hours of each other,

really blew my mind. All I ever wanted to do was make movies

that had even remotely the kind of poetry of those movies,

visually and in terms of their characters. I think Wim Wenders

is one of the less recognized of the great directors of that

period. By the end of those three days, I was like,

“One way or the other, this is definitely what I

want to do with my life.”

a heartbreak album, you see that Duncan is a character who has

the possibility of a very sensitive emotional reaction to things.

Because the music that this guy makes moves him to such an

insane degree. [Crowe] is, in a way, one of a handful of artists

who gives his life a real sort of purpose. He’s speaking to real

emotional things that [Duncan] is really kind of vulnerable to.

What’s interesting and so true oftentimes about those kinds of

characters is they can have such a deep and nuanced emotional

connection to poetic wording, to the way somebody describes a

certain familiar state of emptiness or heartbreak. At the same

time, when it comes to the actual people in their lives,

they’re emotionally stunted. They can’t engage

with the amount of intensity as they can

when they’re removed in listening or

watching, funneled through an artist

who’s articulating something.

Did you bring anything from

your own background as a

musician into the film?

I can definitely relate to

both of those male characters

in a more specific way,

because I was a superfan

of certain people. But at

the same time, I think that

I have a much less romantic

idea of being a musician.

Just because somebody can

write a song that has a gorgeous

unexpected chord change and

harmony and phrasing, a certain state

of romantic anger, let’s say, doesn’t actually

mean that that person is such a deep person, or

is having complicated tortured emotional experiences

that the music is representing.

One of the things for me that was really interesting in

terms of working on developing this project with people who

never were musicians—a lot of my producers are real music

fans but actually never were musicians—part of them still really

feels this romantic idea about the artist out there. In a way,

we’re willing to give Tucker a longer leash to be a romantic

character. For me, I really related to the idea that Tucker sees

himself in his older age as this bullshit artist. There’s a real

bogusness to all of the art that’s been worshipped. The ridiculousness

that people are caring as much, so many years after he

stopping making a single note of music. Part of my take that

I brought in that was specific to my own experience is feeling

the bullshit of that character. Feeling that what’s interesting

about Tucker is how much he knows that the worship of him

is a waste of time. n

AUGUST 2018 BOXOFFICE ® 33


COVER STORY

IT CAME FROM

OUTER SPACE

DIRECTOR SHANE BLACK BRINGS

THE PREDATOR TO THE BIG SCREEN

by Daniel Loria

You could call it a homecoming of sorts. Shane Black

broke through in Hollywood thanks to his screenplay

for Lethal Weapon, a runaway hit that also led to a

string of acting roles in the ‘80s and ‘90s. Predator (1987),

with its sweltering jungle film shoot, was one of Black’s

first studio pictures as an actor. Decades later, the film’s

titular alien hunter remains embedded in the popular

consciousness, and Black returns to that world to direct

The Predator, which follows the story line of the first two

films in the franchise. Boxoffice spoke with Black about

how he came to the project and the new elements he

decided to incorporate to introduce the Predator to a new

generation of moviegoers

The Predator has become an iconic character for

contemporary movie audiences. You appeared in the

original film; what did coming back to the franchise

represent to you?

I’ve always been amazed at the enduring quality of this

thing, the fact that even young kids today seem to know

who the Predator is. There have been so many movies over

the course of the last 30 years that have come and gone; yet

somehow the Predator has mysteriously persevered. I had

worked on the original, was down there in Mexico shooting

it and living it up—and that’s always been a really fond

memory for me. Even then, I was reluctant to jump into a

franchise until I spoke to Fred Dekker, someone I’ve worked

with several times in the past—most notably on The Monster

Squad (1987). I remember him convincing me: “This could

be fun, it could be a lark—a throwback to our college days.”

I love that notion of recapturing that feel movies had when

I was back in college; we all lined up for Raiders of the Lost

Ark, going to see the first Alien movie. I liked that aspect to

it, of going back to the original Predator and writing a love

letter to it for contemporary audiences.

(continued on next page)

34 BOXOFFICE ® AUGUST 2018


I came in on a lark, thinking it was

just going to be fun. Two years later, it’s

taken over my entire life and absorbed

me! I think what drew me to it was

the ability to make a monster movie

that just happens to have a monster in

the background. I wasn’t interested in

doing an effects movie with swirly colors

and characters flying around shooting

bolts at each other—movies these days

tend to have people who shoot bolts of

something from a part of their body. I

thought it would be good to stage this

as a war movie that happens to include a

monster, and to make that monster very

mysterious. It’s a movie where the story

of the characters looking for the Predator

is every bit as interesting as the notion of

the Predator. It gave me a chance to riff

again on some fun pulp material with

a guy I love—Fred Dekker—at a scale

and budget I would never have received

on an independent project. The people

at Fox have been terrific; Emma Watts,

Matt Riley, Stacey Snider have all been

very supportive.

AT THE

MOVIES WITH

SHANE BLACK

MOVIEGOING MEMORY

The first time I remember being swept away was a movie called Battle

Beneath the Earth. I don’t even know when that came out, but we went to

see it at the drive-in. It’s kind of comical because theaters are so state-of-theart

these days, with Dolby Atmos and perfect 4K picture—that the idea of seeing

something with ambient light all around and sound coming out of a tiny speaker

seems so distant. But that’s also part of the magic; the experience holds such a special

power even in less-than-ideal circumstances. It’s an example of one of those great

memories of family and fatherhood; sitting in the front seat watching the movie in my

pajamas, falling asleep in the back seat with Dad driving as he whistled a little tune on

the way home. I have a lot of wonder over how integral the movies were in my family,

how big a role they play in my memories of spending time and going to the movies

with my father.

CONCESSIONS

My snack is Raisinets. They’re too good; I can’t help but give them

money. Here in L.A., though, you go to a movie theater and can

find artisan hot dogs. In that case, I get the Applewoodsmoked

hot dog with brown mustard—lovingly

served by a well-groomed theater

employee.

This isn’t simply a remake of that original

film. What are some of the added

elements you sought to introduce to

the story for this movie?

There have been a number

of attempts and several movies

that have featured the Predator.

We wanted to bring a lot of

elements together and try to

make—let’s call it a particularly

well-seasoned stew out

of it. This film pays a loving

tribute to the original, but

it also gives a leaner, meaner

quality to the guys who are

going up against the Predator.

We don’t really focus as much

on giant muscles, the comic

book macho element. Don’t

get me wrong, I’ll always

love that sort of movie—the

banter-under-fire movie with

back-and-forth deadpan humor.

That’s something I’ve loved since I

AUGUST 2018 BOXOFFICE ® 35


COVER STORY

STERLING K. BROWN, TREVANTE RHODES, BOYD HOLBROOK, JACOB TREMBLAY, DIRECTOR SHANE BLACK, OLIVIA MUNN, AND KEEGAN-MICHAEL KEY

saw Butch Cassidy and the Sundance Kid,

a movie that has been my Holy Grail for

a long time. At the same time, we wanted

to inject a bit of humanity into the

characters instead of focusing on their

powerful weapons. We wanted to give

these guys fallibilities and vulnerable

natures. It’s a loose, ragtag group who

are rediscovering their abilities instead

of walking on-screen with a full set of

commando skills.

That’s perfectly in-line with your previous

films: the interrelationship between

these men who aren’t pre-built, perfect

heroes—how they talk to each other,

how they fail to live up to the challenges

they face. How did those themes come

through in the casting for The Predator?

It’s a great ensemble—we’ve got people

with great acting chops who can swap

back-and-forth military commands and

one-liners in equal measure. We weren’t

looking for the tough, lauded heroes that

everyone immediately respects. We wanted

our cast to feel marginalized, to be forgotten

men in a sense. Guys that have a skill

set but who also have demons that plague

them and a broken brain that doesn’t let

them fit into society. When you do that,

you’re essentially courting the oddball element.

You want guys who can be macho,

who can turn it on, but you also want an

oddball group that, in some respects, are

the last guys you ever want to see going up

against the Predator. You want an audience

to see them at first and think, “Oh no, not

these guys—surely, they’ll lose,” and show

how they can come together and pull it

off. That’s the fun of it. Watching a group

of diminished, overlooked guys who can

come together and do what the entire

U.S. Army can’t. That was the notion with

which we approached casting the movie.

Anyone from our ensemble can play

a leading man or a character role. Tom

Jane, Trevante Rhodes—these are actors

with great chops who can do comedy and

drama. They were a joy to work with and

came together as a unit, a dysfunctional

family that just happens to set their sights

on a creature from outer space.

The Predator has been introduced in a variety

of different settings. Was there anything

you wanted to try out and explicitly

avoid in your approach to this film?

Once again, we wanted to make a

stew, so we didn’t want to do anything

so specific as to say, “This time he’s in a

building! It’s Die Hard …

with Predator!” We didn’t

want to be that specific.

That sounds pretty good,

though … I think I’d watch

that movie.

I would too, actually

[laughs], as long as the

Predator is the one running

with the gun. We wanted to

pay homage to the jungle, to

hunting in the hot climate,

but take things in a slightly

different direction. Go a

little bit off course. What if

the ship didn’t land exactly

where they thought it did?

The Predator is a domestic

terrorist this time; he’s inside

our borders. Our movie

acknowledges that the government knows

about these Predators, that they know they

exist and have prepared for an event. This

is the story of one of those incursions;

what happens when a Predator lands on

Earth and everyone comes together in an

unlikely way based on a random crash.

Why is The Predator a movie that

deserves to be seen on a big screen at

the cinema?

There have been a number of Predator

movies made over the years and it seems

to me that they all had their great qualities.

Each of them seems to have been

made with a budget that came along

with an expectation level. But seeing the

longevity and endurance of this character,

I think the studio realized the potential

of what they had in their hands.

When I came in to direct, I told them,

“I would love to do this, but I need to

be able to make it bigger. This can’t be

just another Predator movie.” And that’s

what we set out to make: an event movie,

something people want to buy tickets in

advance for. We came in to make a big

movie with scale that can reinvigorate the

franchise to being more than just a series

of episodes. n

36 BOXOFFICE ® AUGUST 2018


CONVENTION PREVIEWS

SHOWSOUTH

2018

AUGUST 21–23

CHATEAU ELAN

BRASELTON, GEORGIA

Q&A with Robin Miller

Executive Director, ShowSouth

What can we expect

from ShowSouth

2018?

Our format will

remain the same this

year. On Tuesday

we will kick off the

show with two very

informative and

educational seminars,

starting off with a

cocktail party and

dinner buffet and followed

by a night of entertainment.

Wednesday

starts off with a

buffet-type breakfast

and the NATO State

of the Industry session,

followed by our Trade

Show and Exhibitor

Relations Forum.

We’re ending the night

with a cocktail party

and Statesman of the

Year Presentation

Dinner. This year’s

Statesman of the Year

is Rob Westerling, vice

president and head of

film buying at Regal.

Rob was chosen to be

this year’s recipient because

of his 17 years in

the business, where he is deeply committed to the

theater industry, as well as his support of Variety –

the Children’s Charity.

Can you tell us a bit more about this year’s

discussions and presentations?

Belinda Judson and Esther Baruh from National

NATO will be attending the show this year, and

they will be discussing all industry and legislative

issues at our NATO breakfast on Wednesday

morning. Our seminars will be held on Tuesday

afternoon. This year we will be discussing some

very important issues starting with the EEOC

presenting a seminar on sexual harassment in the

workplace. Also, we have the Federal Trade Commission

coming in to discuss cyber security. These

are two very important issues that theaters face

every day, so I hope that we have a great turnout

for each seminar.

In terms of entertainment, on Tuesday night

after our dinner buffet we will be having a Michael

Jackson impersonator to entertain us, so be prepared

for a blast from the past. On Wednesday night we

will have annual Casino Night, along with a performance

by Stone Theatres own Duane Farmer.

Who will be attending and exhibiting at the event?

Our average attendance every year is about

400-plus, and we are on target to hit that number

again this year. Our attendee percentage of theater

owners versus theater managers is probably about

an average of 60 percent theater managers and 40

percent theater owners—a very good percentage

of decision makers. We have a good mix of the

larger circuits, regional, and independents. We

have attendees from Regal, GTC, Stone Theatres,

Southern Theatres, Epic Theatres, Phoenix

Theatres, Premier Theatres, and many independent

theater owners.

Exhibitor relations is an important part of

our show; we are expecting representatives from

Disney, Fox, Paramount, Sony, Universal, Warner

Bros., and several other studios. Coca-Cola has

always been a strong supporter of ShowSouth, and

they are our Statesman Award Dinner sponsor.

Parrot Film is another one of our sponsors that

has supported ShowSouth through the years, and

they are our NATO Breakfast sponsor. We also

have several event sponsors, which include Christie

Digital, GDC, Before the Movie, and NCM.

Our trade show is one of the largest events

among the regional shows. We are expecting

around 100 vendors, exhibiting everything from

popcorn to seats to projectors. Anything and everything

that it takes to run a theater. The theater

industry is constantly evolving, and with that the

vendors are striving to keep up with technology, so

the latest and greatest gadgets will be on display at

the show this year.

What is your favorite aspect of ShowSouth?

My favorite part of ShowSouth is that it feels

like a big family gathering. We all are one big,

happy family coming together in a beautiful

southern setting. Being able to have that one-onone

time is so very important not only for the

attendees but for the vendors and exhibitor-relation

folks as well. n

38 BOXOFFICE ® AUGUST 2018


CONVENTION PREVIEWS

THE LATIN AMERICA EXHIBITION SUMMIT

EXPOCINE 2018 / OCTOBER 2–5 / FREI CANECA CONVENTION CENTER

SÃO PAULO, BRAZIL

Interview with Marcelo Lima, Chief Executive Officer, Tonks

We’re approaching the fifth edition of

ExpoCine, just as Brazilian and Latin

American exhibition continue to garner

more attention. Do you have anything

new in store for this year’s event?

Since there are two principal languages

spoken in Latin America—Portugese and

Spanish—we’ve decided to host the event

across split stages this year, one for each

language. Studios work with different

release schedules on each film, depending

on the territory. That’s why we’re

having a Brazilian and a LatAm stage; the

LatAm stage will be handled by studios’

regional offices—all the six majors will be

represented—and the Brazilian stage will

be handled by the local offices here. This

is the biggest change we have planned

for this year. Of course we’ll also have

the trade show floor, with more than 70

booths, and a number of panels.

How much of your attendance comes

from outside Brazil?

Since we began in 2014, we’ve had

around 10 percent of attendees coming

from outside Brazil. The first year we had

almost 1,000 people, and we got nearly

100 from outside the country. Last year

we welcomed 3,000 attendees and around

300 of them were from outside Brazil.

How have Brazilian cinemas fared

in 2018?

It’s been a tough year, I would say,

especially for Brazil. Political and economic

problems here have contributed

to that. We had a huge decrease in ticket

sales during the World Cup; most studios

avoided releasing new films. Before the

World Cup, we went through a 10-day

strike where every truck in the entire

country decided to stop. There wasn’t

enough gas at gas stations; a lot of com-

40 BOXOFFICE ® AUGUST 2018


panies let their employees just work from

home. You can imagine the situation; the

country had a huge problem. Between

the strike and the World Cup, it’s been a

difficult couple of months.

Have domestic distributors

been able to step up in

terms of providing more

local content?

Paris Filmes are the

leaders when it comes to

releasing domestic movies.

They’ve recently launched

their own production company

and are releasing at

least one title each month.

Other local distributors

are also working to bring

in more local content and

international independent

cinema. We don’t have a

good number of screens per

site, so they can suffer in

months like July and August

when they’re competing

for space in a multiplex

with Hollywood blockbusters.

What are some of the biggest concerns

affecting exhibitors in the region today?

One month after ExpoCine wraps,

there will be new accessibility laws for

“It’s been a tough

year, I would say,

especially for Brazil.

… We had a huge

decrease in ticket

sales during the

World Cup; most

studios avoided

releasing new films.”

cinemas around Brazil. I would say

that’s the number one concern for local

exhibitors. When it comes to technology,

many players are still trying to find their

way through all the premium

large-format (PLF) offerings.

Immersive seating is also

a big question mark; you

have players like Cinemark

that already have a

big footprint here with

that technology, but local

exhibitors are still trying to

figure out what they want

to offer customers.

What discussion topics do

you have planned for this

year’s event?

We know the world is

looking at what is going to

happen around accessibility

here in Brazil, so we’ll

definitely be talking about

that. Through our partnership

with ComScore,

we’ll be sharing some

data around box office in Brazil and the

region and what we can expect in the

future. We’ll also have some statistics

from Webedia’s Brazilian team on digital

ticketing. We’re expecting to have another

great show this year! n

AUGUST 2018 BOXOFFICE ® 41


CONVENTION PREVIEWS

20 YEARS OF CINESHOW

A ROUNDTABLE DISCUSSION LOOKING BACK—

AND AHEAD—AT THE EXHIBITORS WHO BUILT

TEXAS’ ANNUAL CONVENTION & TRADE SHOW

REIN RABAKUKK AND SAM

KIRKLAND AT CINESHOW

IN 2009

Can you take me back to that first CineShow that

you had 20 years ago, in 1998? What led to its

creation?

Byron Berkley, President & CEO, Foothills

Entertainment: The tradition of having that show

came out of a board of directors meeting that was

held in 1998 for NATO of Texas. This was before

the formation of the South Central States NATO,

which was the successor to NATO of Texas. The

suggestion was made at that board meeting that we

form what was referred to as a mini trade show or a

tabletop trade show.

The idea had originally been proposed to us by

a fellow who’s no longer with us—but was quite

prominent at the time—Al Wiggington, who ran

Theater Services Company, based here in Dallas.

He did screen cleaning, carpet installations, and

other types of theater

work. He used to

appear at ShoWest

often, dressed up

as a circus barker.

If you remember

the guy, he used

to wear a top

hat, be all

dressed up. He was the one that originally suggested

the idea. We presented it to the board,

they thought it was a great idea, and we took

it from there. It started out as a tabletop trade

show, which is basically a series of people standing

around card tables. From there, it just began to

grow, and grew into what it is today.

Randy Hester, President & CEO, Hometown

Cinemas: I can’t remember exactly how many

people attended, but it must have worked because

we haven’t missed a year since then.

Byron Berkley: It was a struggle in the beginning,

of course, getting everyone together. The first

few years, we got off to a decent start. But it took

a couple years for the momentum to really start to

kick in, for it to start to really grow.

What were some of the milestones you hit

throughout the years to be able to have grown it

into the show that we know today?

Byron Berkley: Randy might have some recollections.

We did have a show where we went out

to the Studios at Las Colinas. Do you remember

that one?

Randy Hester: Yeah. The Studios at Las Colinas,

that’s the only set of soundstages in Texas. We

were fortunate, because most of the distributors

had branch offices back then in Dallas. The people

from California were glad to come out, because

they could see their people here, visit with them,

and attend our event. So it was very well supported

by distribution. That even made it better, because

there was an actual soundstage. Some of the film

production and TV production used the Studios at

Las Colinas.

How much did the conversion to digital

projection impact the show?

Byron Berkley: At first, it had a significant

impact because it brought in a whole group of new

companies that typically did not exhibit at these

regional shows. NATO brought in a contingent

of people from its office to discuss the Virtual

Print Fee program. I think it brought in greater

participation in the meeting, because a lot of people

wanted to learn about this technology. They

wanted to hear about all the pros and cons.

Randy Hester: Well, that was about the late

’90s or early 2000s, and it gave the exhibitors a

chance to get together and talk to one another

about how we’re going to solve this issue. I think it

42 BOXOFFICE ® AUGUST 2018


made a huge difference in getting people comfortable,

because they saw their colleagues in the

industry. There were always some exhibitors that

understood it better than others. There were always

early adopters, and then there are followers.

What are some of your fondest memories of the

show throughout the years?

Randy Hester: I actually bring my staff every

year, to experience these new products out there

and bring them to the table. “Check out this new

product! Oh, that looks great. What’s the price

point on it?” We might bring that product online.

It might be digital projection, so that’s a great

opportunity for some of these companies to bring

a new piece of equipment and show it to us, show

us what the new features are on it.

Byron Berkley: Let me say this. It’s the kind

of event where people that have been doing this

for a long time, some of whom are competitors,

they came together. They had long-standing

relationships with vendors. Anytime Frank Liberto

walked in the room, it was fun. He knew everybody,

everybody loved him. That’s just one thing

that pops into my mind. It was kind of like seeing

family once each year. For little companies like

us, we depend so much on the vendors to help us.

Then we can all sit around and commiserate with

one another about things that we didn’t like but we

couldn’t fix.

Todd Halstead, Executive Director, Theatre

Owners of Mid-America: From my perspective,

this show does not exist without the support of the

vendors, suppliers, and partners. We’re very much

in debt and full of gratitude for their support of

the convention, because without them it would

not exist.

David Boles, National Account Manager, Vistar:

As a supplier, I’m an exhibition rat. We supply

candies and concession goods to the theaters. It’s

the heartbeat of my business. This trade show here

catapults me. The ability to be into the show and

be part of it has had a huge influence on my success.

It’s also done it for a lot of other people.

I was trying to think back to San Antonio,

how many suppliers we had there and how much

it’s grown. We’ve grown over the last 15 years

around this show; it’s been a big part of it. Seeing

my other partners come in, from seed producers,

get the candy guys back into it. We all see the

value of this regional trade show in supporting

the guys here in Texas NATO and Oklahoma,

Missouri, and Arkansas.

Todd Halstead: I’d just like to build on that.

Folks like David are really integral to the show.

David was the recipient a couple years ago of the

CineShow Vendor of the Year Award. This year, the

Theater Owners of Mid-America board determined

to rename the Vendor of the Year Award the Frank

Liberto Award. I think it was Randy who mentioned

that he was the life of the party in his earlier

days. I never had the opportunity to meet Mr.

Liberto, but hearing the history of the exhibition

industry is really important. We look forward to

honoring the dedication, the service, and leadership

that Mr. Liberto brought to the industry. It

kind of exemplifies the purpose of the award and

its mission.

Texas really seems like an innovative and

distinctive region when it comes to cinema

exhibition in the United States. Why do you think

that is?

Byron Berkley: Well, I think Texans have a

little separate culture from the rest of the country.

I think we are somewhat different in character

than other parts of the country. Maybe we’re more

willing to take chances and take risks with new

things, possibly.

Todd Halstead: I am not a Texan, I am a trueblood

Kansan. I know that sounds really exciting.

The event has predominantly been a Texas show over

the last 20 years. That really kind of changed in 2015

when we merged the various regional associations

that were in Kansas, Missouri, Oklahoma, Louisiana,

BYRON BERKLEY AND JOHN

FITHIAN IN 2017

AUGUST 2018 BOXOFFICE ® 43


CONVENTION PREVIEWS

DAVID BOLES AND BYRON BERKLEY IN 2007

TOD HANNA AND REIN RABAKUKK IN2007

Arkansas, and Texas. Since then, I think

we’ve seen the event become significantly

more of a regional event. We now have

movie theater owners from Missouri and

Oklahoma and Kansas and Arkansas increasing

their numbers and attendance.

To your point as to why movie theaters

or exhibitors in Texas seem to be

leaders in innovation? It’s a very good,

prescient point. You look at what they do:

they’ve led the way on dine-in cinema;

they’re leading the way on the family-entertainment-center

model. Just look at the

amazing movie theaters available in Texas.

Probably the thing that I could chalk it

up to is, from its inception, anybody who

was headed to Texas did so because they

had a pioneering spirit. I would probably

chalk it up to that more than anything, as

an outside observer.

David Boles: The entrepreneurial

spirit of these guys is huge. Byron, Randy,

Kevin—those guys have always pushed

me to know what our customers want,

what our customers need, making it the

best for them. I’ve seen Byron change his

lobby four times, always staying caught

up with what the people need. It’s a fun

group. I’m glad to be a part of it.

Looking to this year’s panelists and

all of this year’s events, what does the

upcoming CineShow have in store?

Todd Halstead: When I came on

board in 2015, there was concern the

digital transition was wrapping up its first

phase. How would that impact the trade

show? Just to show you how innovative

this industry continues to be, it doesn’t

rest on its laurels by any means. The concerns

that the trade show might start to

fall off were certainly unfounded. We’ve

grown from 50 trade show booths in

2015 to more than 90 registered last year.

The reason for that is the innovation

of the movie theater owner—I can

say particularly those exhibitors in our

region. You’re now seeing seating companies

have kind of replaced the digital

aspect of the trade show. The family

entertainment center has really come

online this year. We have more than three

companies who are involved in the family

entertainment center or VR sphere.

That’s what you can expect to see at

this upcoming trade show: a progression

in the disparate types of companies that

are coming to meet with their partners in

the exhibition industry.

Byron Berkley: You follow those

trends; you go back to the start of the

digital conversion. That, of course,

brought in new exhibitors to the trade

show. From digital, it moved to stadium

seating. That brought in a lot of new

exhibitors promoting stadium-seating

products. Then you went to dine-in

cinemas. Now you have the family

entertainment centers and the recliners.

So each one of these developments in the

industry has successively brought in new

and different exhibitors to the trade show.

The trade show has grown as these events

have occurred.

Todd Halstead: Digital has not gone

away, obviously. One of the panels that

we’re going to be doing is a discussion

on what’s going to come after this first

phase. The panel is on virtual reality

and what’s next. We’re going to have a

panel with experts in the industry, who

are just going to look at what the future

of service contracts looks like, contact

distribution, and what the current state

of the equipment will be in the near to

far term. What you can expect next as

far as new technologies and equipment

coming online. n

44 BOXOFFICE ® AUGUST 2018


Congratulations

101 Industrial Drive • New Albany, MS 38652

(662) 539-7017 • vipcinemaseating.com

THE WORLD’S LARGEST PREMIUM THEATRE SEATING MANUFACTURER.


CINESHOW 2018

REMEMBERING FRANK LIBERTO

The current edition of CineShow will host the inaugural Frank Liberto

award, granted to the industry partners who represent the highest

quality in service to the region’s exhibition industry. Liberto will be

posthumously honored with his namesake award at this year’s event.

Frank Liberto was born in 1933 in San Antonio, Texas. He attended

Central Catholic High School prior to receiving a B.B.A. in marketing

from St. Mary’s University in 1955. Liberto was a commissioned

2nd Lieutenant in the U.S. Army’s Field Artillery, serving six months of active duty

and 12 years in the active reserves before resigning as a captain.

Liberto went on to join the family business, becoming the third-generation president

and CEO of the Liberto Specialty Company, following in the footsteps of his father,

Enrico, and grandfather Rosario. He is credited with introducing the concession stand

nacho in 1976, a product that has grown to be a staple at movie theaters, stadiums, and

event venues around the world. The nacho offering was a quick hit, with outsize demand

prompting Liberto to found Ricos Products in 1977 to keep up with orders.

Liberto’s influence in the concessions business has been recognized by a variety of

organizations. In 1988 he was named distinguished alumnus of the year by his alma

mater and honored as one of the South Texas Entrepreneurs of the Year in 1994.

Liberto is one of three honorary lifetime board members of the National Association

of Concessionaires (NAC), which named him Man of the Year in 1997.

Under his leadership, Ricos was named the Texas Family Business of the Year by the

Hankamer School of Business at Baylor University and a top 20 private business in

San Antonio by San Antonio Success Magazine. He is survived by his wife, Patricia,

daughter Denise, sons Rick and Tony, grandchildren Megan, Preston, Danielle, Brianna,

Madeline, and Nicolas, and great-grandson Wyatt.

46 BOXOFFICE ® AUGUST 2018


It’s movie time.

Over 3 Million Subscribers


INDIE FOCUS

b r o u g h t t o y o u b y

TEXAS THEATRE

DALLAS, TEXAS

Barak Epstein, CEO & Partner

SCREENS

The Texas Theatre is a one-screen historic suburban movie palace

with 645 seats. We currently utilize only the downstairs for patrons

and hope to create a new sealed-off auditorium in the balcony in

2019 that will seat an additional 175 people and show more movies.

TOP TITLES

2018: Star Wars: The Last Jedi, Bram Stoker’s Dracula, My Friend

Dahmer, Suspiria, Pan’s Labyrinth

HISTORICAL: Repertory and Star Wars, that’s how we roll! The Texas

Theatre also showed Return of the Jedi in 1983, back when it was a

United Artists venue. Other classics that consistently do well for us

are Blade Runner, The Shining, Dazed and Confused, Auntie Mame,

Selena, and anything by Andrei Tarkovsky.

48 BOXOFFICE ® AUGUST 2018


50 BOXOFFICE ® AUGUST 2018


HISTORY

The Texas Theatre was

opened in 1931 by Robb

& Rowley Theatres, which

was briefly owned by

Howard Hughes. It was

the first theater specifically

built for talking pictures

in the area, the third-largest

picture house in the

city of Dallas, and first to

boast air-conditioning. It

was continuously operated,

ending up as part of

United Artists, until 1989.

The theater went through

several operators over the

next decade—and an exterior renovation to

play itself in Oliver Stone’s JFK. The Texas

Theatre is also very much known as the

theater where Dallas police apprehended Lee

Harvey Oswald on 11-22-63. A neighborhood

nonprofit called the Oak Cliff Foundation acquired

the building in 2001 and began much

needed renovations. Our entity, called Aviation

Cinemas, leased it in 2010 and finished

out work to reopen the theater.

COMMUNITY

We have a core audience of film buffs,

mostly young professionals and creatives.

However, touring live events like comedy

shows, music, and podcasts bring out new

types of audiences. We constantly marvel at

the diversity of the people who come through

the door depending on which films or events

are occurring.

CONCESSIONS

Our full-service bar, featuring many Texas

beers and custom movie-themed cocktails,

is the core of our per cap program. At the

concession stand, fresh popcorn, Topo Chico,

David Lynch Coffee, and pizza are all winners.

We source our baked-in-house pizzas from a

local Italian restaurant.

PROGRAMMING & GRASSROOTS MARKETING

We’ve found our niche with repertory and

indie-film fare. We do run the occasional

first-run film, like the Star Wars series. Really,

our main thing is to go

beyond just screening a

film and to really create a

multifaceted experience.

That can involve special

themed drinks at the

bar, an intro or Q&A,

a short film pairing, a

costume contest, a DJ in

the lobby, and/or bands

performing behind the

screen after the show.

Our space—literally,

behind the screen—is the

perfect sized venue for an

intimate electronic music

show with video art or

punk rock show. We have a number of organizations

we partner with for programming,

including our next-door neighbors, the Oak

Cliff Cultural Center, who sponsor a family-friendly

repertory series every summer, a

group called CineWilde, with whom we have

a monthly repertory LGBTQ-friendly series,

The Dallas Neo-Classical Ballet, who performs

curated live ballet onstage before select

themed films, and our long-running Tuesday

Night Trash B-Movie Night. Our greatest

feat of grassroots marketing is undoubtedly

our filmed bumpers. We create custom trailers

for some screenings. Highlights include

The Fall, The Life Aquatic, and Ghostbusters.

Many of these repertory programs and custom

trailers were recently highlighted by the

Criterion Collection and FilmStruck, who

profiled the Texas Theatre in their newest Art

House America Series.

CINEMA ADVERTISING

Early on in our operations we partnered

with Spotlight Cinema Networks to provide

us an extra revenue stream by showing their

curated brand content on screen. We were extra

excited when Spotlight created a program

with the Film Festival Alliance that allowed us

to do even more hyper-targeted spots during

our annual Oak Cliff Film Festival, which is

headquartered at the Texas Theatre every June.

The revenue Spotlight generates is an important

source of income for us, and their team is

great to work with. n

AUGUST 2018 BOXOFFICE ® 51


SOCIAL MEDIA

Disney has been pulling away from the competition at the box office

throughout the last five years, and in 2018 it has secured over a third

of all box office revenue through July. Rather than delving into the minutia

of the studio’s films and their individual performances and social

media markers, this column instead focuses on the macro view of the

studio’s role in the industry as a whole. The goal here is to gauge how studios

have performed relative to each other when looking at both Twitter and box

office dollars over the last four-plus years, specifically in the date range of

January 1, 2014, to July 21, 2018.

TWITTER

MARKET SHARE

RANKING

HOW MAJOR STUDIOS RANK ON

THE SOCIAL MEDIA PLATFORM

by Alex Edghill

>> Every day since

January 1, 2014, our

data team at Boxoffice

Pro has tabulated

Twitter tweets for all

upcoming films as

well as those in release.

From that time to this

column’s writing we

have collected over

1,663 days’ worth of

tweets. That adds up to

hundreds of millions of tweets, which makes for a

hefty data set to wrap one’s arms around. For simplicity’s

sake, we’ve taken the No. 1 film in terms of

tweets during that span, identified its corresponding

studio, and calculated the studio’s

Twitter market share by year.

This provides an interesting

data point to contrast against

the studios’ annual box

office market share. A

title’s earning strength

is specific to the film

itself—but marketing,

awareness, and

word of mouth as

borne out by social

media are also critical

in its life cycle and

can contribute to its

success or failure.

The first thing the illustration

clearly points to is

Disney’s dominance both

in terms of studio earnings

market share but

also our Twitter metric

of days leading all buzz.

2018 has been a perfect

storm for Disney so far

as both Black Panther and Avengers: Infinity War

have made their way to the top five of all time domestic

earners, while titles like Star Wars: The Last

Jedi and Incredibles 2 have cracked the top 10 on

the same list. That has translated into an unheard-of

revenue market share of over 36 percent through

July. On Twitter, that dominance is further magnified:

Disney has led our Twitter charts for 158 of

202 days tracked this year, representing about 78

percent of the year. To put that in perspective, in

2017 the studio led Twitter for 146 days for the entire

year, a number it has already surpassed with almost

half the year to go. Its stranglehold on the box

office is evident both in receipts and in how many

people are talking about its films. This wasn’t the

case in 2014, when Disney held only 14.9 percent

of the annual studio box office market share and led

the daily Twitter buzz for 59 days of the year.

Warner Bros. (WB) has nabbed the second spot

on the buzz charts for three of the five years in

question (2014, 2016, and 2017), seeing its studio

market share rise to a hefty 18.7 percent in 2017.

Like Disney, WB has a wealth of comic book properties

that have been a huge boost for the studio

in recent years, both in terms of revenue and buzz.

It is the only major studio (including Disney)

that saw increases in revenue from 2014 to 2017,

though it has some ground to make up in 2018 if

it hopes to continue the streak.

The way Disney and WB have approached their

comic book properties also deserves a closer look

in this regard, offering insight into their recent

box office performance. Disney owns the rights to

a large portion of the Marvel Comics catalogue,

leading to the creation of the Marvel Cinematic

Universe (MCU) multi-film franchise. WB, on the

other hand, owns a large portion of DC Comics’

catalogue, recently rebranded to be called Worlds

of DC. The 20 MCU films have generated just

under $7 billion domestically since 2008, while

WB’s five comic book adaptations in its Worlds of

DC universe have accounted for $1.6 billion over

the last five years.

Fox has consistently been one of the brightest

lights on Twitter in recent years, finishing third

from 2014 to 2017, while firmly holding on to the

second spot so far in 2018. It has been very consistent

in terms of revenue over that span as well.

Meanwhile, Universal’s presence in this ranking is

notable; although it is the third-largest studio in

terms of revenue since 2014, it has barely registered

52 BOXOFFICE ® AUGUST 2018


SOCIAL MEDIA

on the overall Twitter charts outside of 2015. There

are many reasons for this—from the difficulty of

tracking some of its titles on the platform to the

amount of big earners with core audiences outside

of Twitter’s prime age range of 18–35.

Most studios see a rise and fall in fortunes year

to year thanks to the strength of their slate. Disney’s

outsize success, however, draws upon highly

recognizable IPs and big name stars—resulting in

box office dominance for three years running. If

2018 is any indication, there is a very real possibility

that it will become the first and only studio to

date to crack the $4 billion domestic yearly marker,

a mark that was up till very recently seen as next

to impossible. Things are looking very rosy for the

Mouse House indeed. n

In terms of social media,

comic book adaptations

was the most prolific genre

as it led the Twitter charts

for almost 31 percent of all

days (532) in our period of

interest. Though not a genre

in and of itself (though perhaps

it should be), the Star

Wars franchise accounted for

almost 14 percent (232) of all

leading days on the charts,

which is remarkable on many

levels. Disney and WB films

accounted for 8 of the 10

most prolific films over our

period of interest.

MOVIE DAYS AT NO. 1 % TOTAL STUDIO

Star Wars: The Force Awakens 104 6.25% Disney

Star Wars: The Last Jedi 82 4.93% Disney

Black Panther 59 3.55% Disney

Avengers: Infinity War 56 3.37% Disney

Suicide Squad 53 3.19% WB

Wonder Woman 49 2.95% WB

The Fault in Our Stars 49 2.95% Fox

Divergent 46 2.77% Lionsgate

Rogue One: A Star Wars Story 44 2.65% Disney

Captain America: Civil War 36 2.16% Disney

Top Five Studios 2014-2018 by #1 Twitter Daily Position / Box Office Revenue Percentage Share

160

2018

2017 2016 2015 2014

No. Days Leading Twitter Charts

120

80

40

DAYS AT NO. 1

BOX OFFICE

MARKET SHARE

Box Office Market Share %

0

DIS

FOX

UNI

WB

LG

DIS

FOX

UNI

WB

LG

DIS

FOX

UNI

WB

LG

DIS

FOX

UNI

WB

LG

DIS

FOX

UNI

WB

LG

54 BOXOFFICE ® AUGUST 2018


INVESTOR RELATIONS

CINEMA ACROSS

THE STREET

by Rob Rinderman

>> While we wait for many of the leading publicly traded companies

in the cinema ecosystem to report their respective operating results for

the quarter ended June 30, AMC Entertainment Holdings made news

by disclosing to stakeholders that during the first week of July it had

received in aggregate approximately $203 million, which includes proceeds

from the sale of its entire remaining stake in National CineMedia

(NCM), plus additional cash from the divestiture of its controlling stake

in Screenvision Media.

The exhibitor still maintains a minority ownership

position in Screenvision, one of the leaders

in the cinema advertising space. As mentioned in

this column last month, Abry Partners is now the

controlling owner of Screenvision, and AMC netted

cash proceeds of approximately $46

million from the sale of most of its

overall stake to Abry.

On the NCM front,

AMC sold approximately

21.5 million common

units of NCMI, which

generated the company

cash in the neighborhood

of $156.8

million. On a per unit

basis, the transaction

took place at a price of

roughly $7.30 per unit.

AMC has also been active

once again on the ticketing

front, forging a new alliance

with the world’s leading social media

platform. Last month, we highlighted

AMC’s new Stubs A-List offering, an extension of

the chain’s popular loyalty rewards plan.

For $19.95 per month, Stubs members can

attend as many as three movies per week at one of

AMC’s domestic U.S. locations—approximately

380 in all. Unlike MoviePass, A-List subscribers

can also purchase seats for movies shown in three

of the circuit’s most popular formats—IMAX,

Dolby Cinema and RealD 3D.

Although MoviePass proudly hailed the fact

that its subscriber base had crossed the three-million

milestone back in June, shareholders of majority

parent company owner Helios & Matheson

(HMNY) have been decimated by dilution and red

ink on the corporate financials.

Turning the clock back to October 2017, shares

were soaring well into the 30s, buoyed by the company’s

audacious move of dropping the monthly

subscription price to below $10, from a peak price

of approximately $50. As of this writing, HMNY

is a “penny stock,” fetching just $0.10 per share.

Management recently disclosed that they plan an

upcoming issuance of additional new

shares, plus warrants to acquire

even more shares.

Perhaps Wall Street

research analyst Michael

Pachter of Wedbush

Securities summed up

the failure of the MoviePass

business model,

at least what we’ve

seen from them to

date. “They’re giving

away dollars for quarters,”

he said. “That’s just

a terrible business model.”

On the social media front,

AMC’s new partnership with

Facebook is yet another innovation

in the rapidly evolving digital ticketing

space. According to Statista, Facebook has approximately

240 million users in the United States, ranking

just behind India’s 270 million “Facebookers.”

In one of its moves to add more utility for users of

their social platform, Facebook launched a ticketing

system with AMC in which domestic U.S. users will

be able to search movies by location and show time.

56 BOXOFFICE ® AUGUST 2018


AMC is the first theatrical exhibitor to announce a direct ticketing relationship with Facebook.

Once users select their preferred cinema location and time, they are given an option

under Facebook’s “Explore” tab to click on the “Movies” tab and choose AMC’s ticketing platform

to complete their movie purchase and check out to complete their transaction.

“From the very beginning of online ticketing

availability, it’s been our goal to make the process

as simple and accessible as possible for all of our

guests,” said Stephen Colanero, chief marketing

officer of AMC Theatres.

AMC is the first theatrical exhibitor to announce

a direct ticketing relationship with

Facebook. Once users select their preferred cinema

location and time, they are given an option under

Facebook’s “Explore” tab to click on the “Movies”

tab and choose AMC’s ticketing platform to

complete their movie purchase and check out to

complete their transaction.

As an introductory promotion of this alliance,

advance ticket fees will be waived for moviegoers

who use the Facebook/AMC interface for their

purchase. Although AMC is the first exhibitor to

launch on the Facebook ticketing site, the social

media platform already has pre-existing relationships

with both Fandango and Atom Tickets.

Facebook product manager Swapna Joshi commented,

“We know people already use Facebook to

find movies to see in theaters, and purchase tickets

to them. Today, we’re excited to add AMC as a

partner. This is another way we’re working to make

going to the movies fun and easy,” she added. n

Rob Rinderman is an avid

follower and fan of the

cinema and exhibition

businesses. He has assisted

many public and privately

held companies with

communications and

business development

consulting services for over

two decades and written

as a freelance journalist

covering these industries

since 2015.

AUGUST 2018 BOXOFFICE ® 57


COMING SOON IN 3D

ALPHA

AUGUST 17 · SONY

CAST Kodi Smit-McPhee, Leonor Varela

DIR Albert Hughes

GENRE Act/DRA/Thr

THE NUTCRACKER AND THE FOUR REALMS

NOVEMBER 2 · DISNEY

CAST Keira Knightley, Mackenzie Foy

DIR Lasse Hallström

GENRE Adv/Fam/Fan

DR. SEUSS’ THE GRINCH

NOVEMBER 9 · UNIVERSAL

VOICE CAST Benedict Cumberbatch

DIR Scott Mosier, Yarrow Cheney

GENRE Ani/Com/Fam

RALPH BREAKS THE INTERNET

NOVEMBER 21 · UNIVERSAL

VOICE CAST John C. Reilly, Sarah Silverman

DIR Rich Moore, Phil Johnston

GENRE Ani/Adv/Com

SPIDER-MAN: INTO THE SPIDER-VERSE

DECEMBER 14 · SONY

VOICE CAST Jake Johnson, Shameik Moore

DIR Bob Persichetti, Peter Ramsey, Rodney Rothman

GENRE Ani/Act/Adv

MORTAL ENGINES

DECEMBER 14 · UNIVERSAL

CAST Hugo Weaving, Hera Hilmar

DIR Christian Rivers

GENRE Act/Fan/SciFi

ALITA: BATTLE ANGEL

DECEMBER 21 · FOX

CAST Rosa Salazar, Christoph Waltz

DIR Robert Rodriguez

GENRE Act/Adv/Rom

AQUAMAN

DECEMBER 21 · WARNER BROS.

CAST Jason Momoa, Amber Heard

DIR James Wan

GENRE Act/Adv/Fan

BUMBLEBEE

DECEMBER 21 · PARAMOUNT

CAST Hailee Steinfeld, John Cena

DIR Travis Knight

GENRE Act/Adv/SciFi


ALSO UPCOMING IN 3D

THE LEGO MOVIE 2:

THE SECOND PART

February 8, 2019 – Warner Bros.

HOW TO TRAIN YOUR DRAGON:

THE HIDDEN WORLD

March 1, 2019 – Fox/Dreamworks

CAPTAIN MARVEL

March 8, 2019 – Disney

DUMBO

March 29, 2019 – Disney

UNTITLED AVENGERS

May 3, 2019 – Disney

TOY STORY 4

June 21, 2019 – Disney

THE LION KING

July 19, 2019 – Disney

SONY PICTURES ANIMATION TBA

July 26, 2019 – Sony

WONDER WOMAN 1984

November 1, 2019 – Warner Bros.

FROZEN 2

November 27, 2019 – Disney

ALADDIN

December 20, 2019 – Disney

STAR WARS: EPISODE IX

December 20, 2019 – Disney

SONY PICTURES ANIMATION TBA

December 25, 2019 – Sony

PIXAR TBA

March 6, 2020 – Disney

MULAN

March 27, 2020 – Disney

SONY PICTURES ANIMATION TBA

April 3, 2020 – Sony

UNTITLED MARVEL FILM

May 1, 2020 – Disney

SCOOBY

May 15, 2020 – Warner Bros.

REALD.COM


EVENT CINEMA CALENDAR

ELAINE STRITCH AT LIBERTY

MY NEIGHBOR TOTORO

CINELIFE ENTERTAINMENT CineLifeEntertainment.com 310-309-5774

ELAINE STRITCH AT LIBERTY Wed, 8/22/18 One Person Show

THE SLEEPING BEAUTY (TCHAIKOVSKY) Wed, 9/5/18 Ballet

THE NUTCRACKER (TCHAIKOVSKY) Wed, 12/12/18 Ballet

FATHOM EVENTS fathomevents.com 855-473-4612

ELVIS 50TH ANNIVERSARY COMEBACK SPECIAL Thurs, 8/16/18 and Monday, 8/20/18 Music

AN INTERVIEW WITH GOD Mon, 8/20/18, Tues, 8/21/18 and Wed, 8/22/18 Inspirational

NIGHT IS SHORT, WALK ON GIRL Tues, 8/21/18 and Wed, 8/22/18 Anime

RIFFTRAX LIVE: KRULL Thurs, 8/23/18 and Sat, 8/25/18 Comedy

TCM BIG SCREEN CLASSICS: SOUTH PACIFIC 60TH ANNIVERSARY Sun, 8/26/18 and Wed, 8/29/18 Classic Film

RUDY 25TH ANNIVERSARY Tues, 8/28/18 and Sun, 9/2/18 Classic Film

TCM BIG SCREEN CLASSICS: THE SOUND OF MUSIC Sun, 9/9/18 and Thurs, 9/12/18 Classic Film

SIGHT & SOUND THEATRES® PRESENTS: MOSES Thurs, 9/13/18 at and Sat, 9/15/18 Inspirational

DRAGON BALL Z: BROLY - THE LEGENDARY SUPER SAIYAN Sat, 9/15/18 and Mon, 9/17/18 Anime

DIGIMON ADVENTURE TRI.: FUTURE Thurs, 9/20/18 Anime

TCM BIG SCREEN CLASSICS: REBEL WITHOUT A CAUSE Sun, 9/23/18 and Wed, 9/26/18 Classic Film

NT LIVE: KING LEAR Thurs, 9/27/18 Arts & Entertainment

MY NEIGHBOR TOTORO 30TH ANNIVERSARY Sun, 9/30/18, Mon, 10/1/18 and Wed 10/3/18 Anime

THE TRUMP PROPHECY Tues, 10/2/18 and Thurs, 10/4/18 Inspirational

THE MET: LIVE IN HD: AIDA Sat, 10/6/18 and Wed, 10/10/18 Arts & Entertainment

TCM BIG SCREEN CLASSICS: MR. SMITH GOES TO WASHINGTON Sun, 10/14/18 and Wed, 10/17/18 Classic Film

MICHAEL JR.'S MORE THAN FUNNY Thurs, 10/18/18 Comedy

THE MET: LIVE IN HD: SAMSON ET DALILA Sat, 10/20/18 and Wed, 10/24/18 Arts & Entertainment

NT LIVE: FRANKENSTEIN Mon, 10/22/18 and Mon, 10/29/18 Theatre

THE MET: LIVE IN HD: LA FUNICULLA DEL WEST Sat, 10/27/18 and Wed, 10/31/18 Arts & Entertainment

60 BOXOFFICE ® AUGUST 2018


THE MET: LIVE IN HD: MARNIE

ROYAL OPERA HOUSE: MAYERLING

SPIRITED AWAY Sun, 10/28/18, Mon, 10/29/18 and Wed 10/31/18 Anime

DRAGON BALL Z SAIYAN DOUBLE FEATURE Sat, 11/3/18 and Mon, 11/5/18 Anime

THE MET: LIVE IN HD: MARNIE Sat, 11/10/18 and Wed, 11/14/18 Arts & Entertainment

BOLSHOI BALLET: LA SYLPHIDE Sun, 11/11/2018 Arts & Entertainment

TCM BIG SCREEN CLASSICS: DIE HARD 30TH ANNIVERSARY Sun, 11/11/18 and Wed, 11/14/18 Classic Film

CASTLE IN THE SKY Sun, 11/18/18, Mon, 11/19/18 and Wed, 11/21/18 Anime

THE MAGIC FLUTE SPECIAL HOLIDAY ENCORE Sat, 12/1/18 Arts & Entertainment

BOLSHOI BALLET: DON QUIXOTE Sun, 12/2/18 Arts & Entertainment

TCM BIG SCREEN CLASSICS: WHITE CHRISTMAS Sun, 12/9/18 and Wed, 12/12/18 Classic Film

THE MET: LIVE IN HD: LA TRAVIATA Sat, 12/15/18 and Wed 12/19/18 Arts & Entertainment

BOLSHOI BALLET: THE NUTCRACKER Sun, 12/23/18 Arts & Entertainment

ROYAL OPERA HOUSE roh.org.uk/cinemas cinema@roh.org.uk

MAYERLING Thu, 10/4/18 Ballet

DIE WALKÜRE Sun, 10/28/18 Opera

LA BAYADÈRE Tue, 11/13/18 Ballet

THE NUTCRACKER Mon, 12/3/18 Ballet

THE QUEEN OF SPADES Tue, 1/22/19 Opera

LA TRAVIATA Wed, 1/30/19 Opera

DON QUIXOTE Tue, 2/19/19 Ballet

LA FORZA DEL DESTINO Tue, 4/2/19 Opera

FAUST Tue, 4/30/19 Opera

WITHIN THE GOLDEN HOUR / NEW SIDI LARBI CHERKAOUI / FLIGHT PATTERN Thu, 5/16/19 Ballet

ROMEO AND JULIET Tue, 6/11/19 Ballet

SCREENVISION screenvisionmedia.com/events

PIPELINE Wed, 10/3/18, Fri, 10/5/18 and Sun 10/7/18 Theatre

AUGUST 2018 BOXOFFICE ® 61


ON SCREEN

SYNOPSES COURTESY OF QUICKLOOKFILMS.COM

ALPHA

AUG 17 / SONY • COLUMBIA / WIDE

>> Alpha is an epic adventure set in the last Ice Age, 20,000

years ago. While on his first hunt with his tribe’s most elite

group, a young man is injured and left for dead. Awakening to

find himself broken and alone, he must learn to survive and

navigate the harsh and unforgiving wilderness. Reluctantly

taming a lone wolf abandoned by its pack, the pair learns

to rely on each other and become unlikely allies, enduring

countless dangers and overwhelming odds in order to find

their way home before the deadly winter arrives.

CAST KODI SMIT-MCPHEE (ABOVE), NATASSIA MALTHE, LEONOR

VARELA DIRECTOR ALBERT HUGHES WRITER DAN WIEDENHAUPT

GENRE DRAMA, MYSTERY RATING PG-13 FOR SOME INTENSE PERIL

RUNNING TIME TBD

62 BOXOFFICE ® AUGUST 2018


ON SCREEN

ROSE BYRNE AND CHRIS O’DOWD

JULIET, NAKED

AUG 17 / ROADSIDE ATTRACTIONS • LIONSGATE / LIMITED

>> Annie is stuck in a long-term relationship with Duncan, an

obsessive fan of obscure rocker Tucker Crowe. Duncan is far more

devoted to his music idol than to Annie. When the acoustic demo

of Tucker’s hit record from 25 years ago surfaces, it leads to a lifechanging

encounter between Annie and the elusive rocker himself.

CAST ROSE BYRNE, ETHAN HAWKE, CHRIS O’DOWD DIRECTOR JESSE

PERETZ WRITERS EVGENIA PERETZ, JIM TAYLOR, TAMARA JENKINS

GENRE COMEDY, DRAMA, MUSIC RATING R FOR LANGUAGE RUNNING

TIME 105 MIN.

MILE 22

AUG 17 / STX ENTERTAINMENT / WIDE

>> In a visceral modern thriller from the

director of Lone Survivor, Mark Wahlberg

stars as James Silva, an operative of the

CIA’s most highly prized and least-understood

unit. Aided by a top-secret tactical

command team, Silva must retrieve and

transport an asset, who holds life-threatening

information, to Mile 22 for extraction

before the enemy closes in.

MARK WAHLBERG

CAST MARK WAHLBERG, LAUREN COHAN, RON-

DA ROUSEY DIRECTOR PETER BERG WRITERS

LEA CARPENTER, GRAHAM ROLAND GENRE

ACTION RATING TBD RUNNING TIME TBD

64 BOXOFFICE ® AUGUST 2018


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ON SCREEN

THREE SECONDS

AUG 17 / AVIRON / WIDE

>> Reformed criminal and former special-ops soldier Pete

Koslow, in order to free himself from jail and return to his wife and

daughter, has been working undercover for crooked FBI handlers

to infiltrate the Polish mob’s drug trade in New York. In a final

step toward freedom, Koslow must return to the one place he’s

fought so hard to leave, Bale Hill Prison, where his mission

becomes a race against time when a drug deal goes wrong and

threatens to reveal him as a mole.

CAST ANA DE ARMAS, ROSAMUND PIKE, JOEL KINNAMAN DIRECTOR

ANDREA DI STEFANO WRITER MATT COOK GENRE CRIME, DRAMA

RATING TBD RUNNING TIME TBD

WE THE ANIMALS

AUG 17 / THE ORCHARD / LIMITED

>> We three, we brothers, we kings. Manny, Joel,

and Jonah tear their way through childhood and

push against the volatile love of their parents. As

Manny and Joel grow into versions of their father

and Ma dreams of escape, Jonah, the youngest,

embraces an imagined world all his own.

CAST RAÚL CASTILLO, JOSIAH GABRIEL, TERRY HOLLAND

DIRECTOR JEREMIAH ZAGAR WRITERS DANIEL KITROSS-

ER, JEREMIAH ZAGAR GENRE DRAMA RATING R FOR

STRONG SEXUAL CONTENT, NUDITY, LANGUAGE, AND

SOME UNDERAGE DRUG AND ALCOHOL USE RUNNING

TIME 94 MIN.

THE WIFE

AUG 17 / SONY PICTURES CLASSICS / NY•LA

>> After nearly forty years of marriage, Joan and Joe Castleman are complements.

Where Joe is casual, Joan is elegant. Where Joe is vain, Joan is self-effacing.

And where Joe enjoys his very public role as Great American Novelist, Joan

pours her considerable intellect, grace, charm, and diplomacy into the private

role of Great Man’s Wife. Joe is about to be awarded the Nobel Prize for his acclaimed

and prolific body of work. Joe’s literary star has blazed since he and Joan

first met in the late 1950s. The Wife interweaves the story of the couple’s youthful

passion and ambition with a portrait of a marriage, 30-plus years later—a

lifetime’s shared compromises, secrets, betrayals, and mutual love.

CAST GLENN CLOSE, CHRISTIAN SLATER, JONATHAN PRYCE DIRECTOR BJÖRN RUNGE WRITER

JANE ANDERSON GENRE DRAMA RATING R FOR LANGUAGE AND SOME SEXUAL CONTENT

RUNNING TIME 100 MIN.

66 BOXOFFICE ® AUGUST 2018


ON SCREEN

A.X.L.

AUG 24 / GLOBAL ROAD FILMS / WIDE

>> A.X.L. is a top-secret robotic dog created by the military

to help protect tomorrow’s soldiers. Code named by

the scientists who created him, A.X.L. stands for Attack,

Exploration, Logistics, and embodies the most advanced,

next-generation artificial intelligence. After an experiment

gone wrong, A.X.L. is discovered hiding alone in the desert

by a kind-hearted outsider named Miles, who finds a way

to connect with him after activating his owner-pairing

technology. Together, the two develop a special friendship

based on trust, loyalty, and compassion. Helping Miles gain

the confidence he’s been lacking, A.X.L. will go to any length

to protect his new companion, including facing off against

the scientists who created him and who will do anything to

get him back. Knowing what is at stake if A.X.L. is captured,

Miles teams up with a smart, resourceful ally named Sara to

protect his new best friend on a timeless, epic adventure for

the whole family.

ALEX NEUSTAEDTER

CAST ALEX NEUSTAEDTER, THOMAS JANE, BECKY G DIRECTOR OLIVER

DALY WRITER OLIVER DALY GENRE SCI-FI RATING PG FOR SCI-FI AC-

TION/PERIL, SUGGESTIVE MATERIAL, THEMATIC ELEMENTS, AND SOME

LANGUAGE RUNNING TIME TBD

PAPILLON

AUG 24 / BLEECKER STREET / LIMITED

>> Based on the international best-seller, the film follows the epic story of Henri

“Papillon” Charrière, a safecracker from the Parisian underworld who is framed

for murder and condemned to life in the notorious penal colony on Devil’s Island.

Determined to regain his freedom, Papillon forms an unlikely alliance with a

convicted counterfeiter, Louis Dega, who, in exchange for protection, agrees to

finance Papillon’s escape, ultimately resulting in a bond of lasting friendship.

CAST CHARLIE HUNNAM, RAMI MALEK, TOMMY FLANAGAN DIRECTOR MICHAEL NOER

WRITER AARON GUZIKOWSKI GENRE CRIME, DRAMA, MYSTERY RATING R FOR VIOLENCE

INCLUDING BLOODY IMAGES, LANGUAGE, NUDITY, AND SOME SEXUAL MATERIAL RUNNING

TIME 133 MIN.

REPLICAS

AUG 24 / ENTERTAINMENT STUDIOS / WIDE

>> A scientist becomes obsessed with bringing back his family members

who die in a traffic accidents.

CAST KEANU REEVES, ALICE EVE, EMILY ALYN LIND DIRECTOR JEFFREY NACHMANOFF

WRITER CHAD ST. JOHN GENRE CRIME, MYSTERY, SCI-FI RATING PG-13 FOR THEMATIC

MATERIAL, VIOLENCE, DISTURBING IMAGES, SOME NUDITY, AND SEXUAL REFERENCES

RUNNING TIME TBD

CHARLIE HUNNAM IN PAPILLON

68 BOXOFFICE ® AUGUST 2018


ON SCREEN

SLENDER MAN

AUG 10 / SONY • SCREEN GEMS / WIDE

>> In a small town in Massachusetts, four high school girls

perform a ritual in an attempt to debunk the lore of Slender

Man. When one of the girls goes mysteriously missing, they

begin to suspect that she is, in fact, his latest victim.

CAST JOEY KING, JAVIER BOTET, JULIA GOLDANI TELLES DIRECTOR

SYLVAIN WHITE WRITERS DAVID BIRKE, VICTOR SURGE GENRE

HORROR RATING PG-13 FOR DISTURBING IMAGES, SEQUENCES OF

TERROR, THEMATIC ELEMENTS AND LANGUAGE INCLUDING SOME

CRUDE SEXUAL REFERENCES RUNNING TIME TBD

70 BOXOFFICE ® AUGUST 2018


THE HAPPYTIME

MURDERS

AUG 24 / STX ENTERTAINMENT

WIDE

>> No Sesame. All Street. The

Happytime Murders is a filthy

comedy set in the underbelly of

Los Angeles where puppets and

humans coexist. Two clashing

detectives with a shared secret,

one human and one puppet, are

forced to work together again to

solve the brutal murders of the

former cast of a beloved classic

puppet television show.

CAST MELISSA MCCARTHY, ELIZABETH

BANKS, MAYA RUDOLPH DIRECTOR

BRIAN HENSON WRITER TODD BERGER

GENRE ACTION, COMEDY, CRIME RAT-

ING R FOR STRONG CRUDE AND SEXUAL

CONTENT AND LANGUAGE THROUGH-

OUT, AND SOME DRUG MATERIAL

RUNNING TIME TBD

PUPPETEER BILL BARRETTA PERFORMS AS PUPPET P.I. PHIL PHILLIPS

AUGUST 2018 BOXOFFICE ® 71


ON SCREEN

KIN

AUG 31 / LIONSGATE • SUMMIT / WIDE

>> Kin, a pulse-pounding crime thriller with

a sci-fi twist, is the story of an unlikely hero

destined for greatness. Chased by a vengeful

criminal, the feds, and a gang of otherworldly

soldiers, a recently released ex-con

and his teenage brother go on the run with

a weapon of mysterious origin as their only

protection.

ZOË KRAVITZ

CAST JAMES FRANCO, ZOË KRAVITZ, CARRIE COON

DIRECTORS JONATHAN BAKER, JOSH BAKER WRIT-

ERS JONATHAN BAKER, JOSH BAKER GENRE ACTION,

SCI-FI RATING PG-13 FOR GUN VIOLENCE AND

INTENSE ACTION, SUGGESTIVE MATERIAL, LANGUAGE,

THEMATIC ELEMENTS, AND DRINKING RUNNING

TIME TBD

THE LITTLE STRANGER

AUG 31 / FOCUS FEATURES / WIDE

>> The Little Stranger tells the story of Dr. Faraday, the son

of a housemaid, who has built a life of quiet respectability

as a country doctor. During the long hot summer of 1948,

he is called to a patient at Hundreds Hall, where his mother

once worked. The Hall has been home to the Ayres family

for more than two centuries. But it is now in decline and its

inhabitants—mother, son, and daughter—are haunted by

something more ominous than a dying way of life. When he

takes on his new patient, Faraday has no idea how closely,

and how disturbingly, the family’s story is about to become

entwined with his own.

CAST DOMHNALL GLEESON, RUTH WILSON (BOTH ABOVE), CHAR-

LOTTE RAMPLING DIRECTOR LENNY ABRAHAMSON WRITER LUCIN-

DA COXON GENRE DRAMA, HORROR, MYSTERY RATING R FOR SOME

DISTURBING BLOODY IMAGES RUNNING TIME 111 MIN.

72 BOXOFFICE ® AUGUST 2018


FERNANDA CASTILLO, EMILIANO ARAMAYO,

AND MAURICIO OCHMANN

YA VEREMOS

AUG 31 / LIONSGATE • PANTELION / LIMITED

>> Ya Veremos is the story of Santi, a preteen who is dealing

with the recent separation of his parents, Rodrigo and Alejandra.

Despite their divorce, Santi’s parents are both desperately

devoted to their son. When the three learn that Santi has a

medical condition that could jeopardize his eyesight, Santi’s

father encourages him to make a list of places and things

he wants to see and do before losing his sight completely.

Santi immediately obliges with an elaborate list but with one

condition—the estranged couple must come together to help

him fulfill his dreams. As the three embark on the amazing,

sometimes wacky adventure, the couple must learn how to live

together for the sake of their son. But will the adventure open

their eyes and make separating impossible?.

CAST MAURICIO OCHMANN, ERIK HAYSER, ARIEL LEVY DIRECTOR PEDRO

PABLO IBARRA WRITER ALBERTO BREMER GENRE DRAMA RATING TBD

RUNNING TIME 97 MIN.

AUGUST 2018 BOXOFFICE ® 73


ON SCREEN

THE NUN

SEPT 7 / WARNER BROS. • NEW LINE / WIDE

>> When a young nun at a cloistered abbey in Romania

takes her own life, a priest with a haunted past and a

novitiate on the threshold of her final vows are sent by the

Vatican to investigate. Together they uncover the order’s

unholy secret. Risking not only their lives but their faith and

their very souls, they confront a malevolent force in the form

of the same demonic nun that first terrorized audiences

in The Conjuring 2, as the abbey becomes a horrific

battleground between the living and the damned.

CAST TAISSA FARMIGA, BONNIE AARONS, CHARLOTTE HOPE

DIRECTOR CORIN HARDY WRITER GARY DAUBERMAN GENRE

HORROR, MYSTERY, THRILLER RATING R FOR TERROR, VIOLENCE, AND

DISTURBING/BLOODY IMAGES RUNNING TIME TBD

74 BOXOFFICE ® AUGUST 2018


COLD SKIN

SEPT 7 / SAMUEL GOLDWYN /

LIMITED

>> On the edge of the Antarctic

Circle, a steamship approaches a

desolate island. On board is a young

man, poised to take up the post of

weather observer, to live in solitude

far from civilization. But on shore he

finds no trace of the man he has been

sent to replace, just a deranged brute

in the lighthouse who has witnessed

a horror he refuses to name. For the

next 12 months his entire world will

consist of a deserted cabin, rocks,

silence and the surrounding sea. Then

night begins to fall.

CAST RAY STEVENSON, DAVID OAKES, AURA

GARRIDO DIRECTOR XAVIER GENS WRIT-

ERS JESÚS OLMO, ERON SHEEAN GENRE

ADVENTURE, HORROR, SCI-FI RATING TBD

RUNNING TIME 108 MIN.

AUGUST 2018 BOXOFFICE ® 75


ON SCREEN

JENNIFER GARNER

PEPPERMINT

SEPT 7 / STX ENTERTAINMENT / WIDE

>> Peppermint is an action-thriller that

tells the story of young mother Riley

North who awakens from a coma after her

husband and daughter are killed in a brutal

attack on the family. When the system

frustratingly shields the murderers from

justice, Riley sets out to transform herself

from citizen to urban guerilla. Channeling

her frustration into personal motivation,

she spends years in hiding, honing her

mind, body, and spirit to become an

unstoppable force eluding the underworld,

the LAPD, and the FBI, as she methodically

delivers her personal brand of justice.

CAST JENNIFER GARNER, RICHARD CABRAL,

MICHAEL MOSLEY DIRECTOR PIERRE MOREL

WRITER CHAD ST. JOHN GENRE ACTION,

DRAMA, THRILLER RATING R FOR STRONG

VIOLENCE AND LANGUAGE THROUGHOUT

RUNNING TIME TBD

76 BOXOFFICE ® AUGUST 2018


KRISTIN STEWART AND CHLOË SEVIGNY

LIZZIE

SEPT 14 / SABAN • ROADSIDE ATTRACTIONS / LIMITED

>> 1892: Headstrong Lizzie Borden lives with her wealthy

father, stepmother, and sister in Fall River, Massachusetts. Lizzie

lovingly tends to her pet pigeons and is occasionally allowed

out of her dimly lit, foreboding house, but otherwise lives under

strict rules set by her domineering father. When her family hires

live-in maid Bridget, an uneducated Irish immigrant, the two

find kindred spirits in one another. Their friendship begins with

covert communication and companionship that blossoms

into an intimate relationship. Meanwhile, tension builds in

the Borden household, and Lizzie’s claustrophobic existence

becomes increasingly more oppressive and abusive, leading to

its inevitable breaking point.

CAST KIM DICKENS, KRISTEN STEWART, CHLOË SEVIGNY DIRECTOR CRAIG

WILLIAM MACNEILL WRITER BRYCE KASS GENRE BIOGRAPHY, CRIME,

DRAMA RATING R FOR VIOLENCE AND GRISLY IMAGES, NUDITY, A SCENE OF

SEXUALITY, AND SOME LANGUAGE RUNNING TIME 105 MIN.

AUGUST 2018 BOXOFFICE ® 77


ON SCREEN

THE

CHILDREN ACT

SEPT 14 / A24 / LIMITED

>> As her marriage to Jack

flounders, eminent High

Court judge Fiona Maye has

a life-changing decision to

make at work—should she

force a teenage boy, Adam,

to have the blood transfusion

that will save his life?

Her unorthodox visit to his

hospital bedside has a profound

impact on them both,

stirring strong new emotions

in the boy and long-buried

feelings in her.

EMMA THOMPSON AND STANLEY TUCCI

CAST EMMA THOMPSON, STANLEY

TUCCI, FIONN WHITEHEAD DIREC-

TOR RICHARD EYRE WRITER IAN

MCEWAN GENRE DRAMA RATING

R FOR A SEXUAL REFERENCE RUN-

NING TIME 105 MIN.

DON’T LEAVE HOME

SEPT 14 / CRANKED UP FILMS / LIMITED

An American artist’s obsession with a disturbing

urban legend leads her to an investigation

of the story’s origins at the crumbling

estate of a reclusive painter in Ireland.

CAST MARK LAWRENCE, HELENA BEREEN, KARRIE

COX DIRECTOR MICHAEL TULLY WRITER MICHAEL

TULLY GENRE THRILLER RATING TBD RUNNING

TIME 86 MIN.

HELENA BEREEN

78 BOXOFFICE ® AUGUST 2018


OPERATION

FINALE

SEPT 14 / MGM / WIDE

>> The thrilling true story

follows the 1960 covert

mission of legendary Mossad

agent Peter Malkin as he infiltrates

Argentina and captures

Adolf Eichmann, the Nazi

officer who masterminded

the transportation logistics

that brought millions of

innocent Jews to their deaths

in concentration camps.

BEN KINGSLEY

CAST JOE ALWYN, OSCAR ISAAC,

MÉLANIE LAURENT DIRECTOR

CHRIS WEITZ WRITER MATTHEW

ORTON GENRE BIOGRAPHY, DRA-

MA, HISTORY RATING PG-13 FOR

DISTURBING THEMATIC CONTENT

AND RELATED VIOLENT IMAGES,

AND FOR SOME LANGUAGE RUN-

NING TIME TBD

AUGUST 2018 BOXOFFICE ® 79


ON SCREEN

BLAKE LIVELY AND ANNA KENDRICK

A SIMPLE FAVOR

SEPT 14 / LIONSGATE / WIDE

>> A Simple Favor centers on Stephanie, a

mommy vlogger who seeks to uncover the

truth behind her best friend Emily’s sudden

disappearance from their small town. Stephanie

is joined by Emily’s husband, Seanin.

This stylish thriller is filled with twists and

betrayals, secrets and revelations, love and

loyalty, murder and revenge.

CAST LINDA CARDELLINI, BLAKE LIVELY, ANNA

KENDRICK DIRECTOR PAUL FEIG WRITERS JESSICA

SHARZER GENRE CRIME, DRAMA, MYSTERY RATING

TBD RUNNING TIME TBD

80 BOXOFFICE ® AUGUST 2018


MERRITT PATTERSON AND SAMUEL HUNT

KEEGAN-MICHAEL KEY

UNBROKEN: PATH TO REDEMPTION

SEPT 14 / PURE FLIX / WIDE

>> Haunted by nightmares of his torment, Olympian and World

War II vet Louis Zamperini sees himself as anything but a hero.

Then, he meets Cynthia, a young woman who captures his heart.

Louie’s quest for revenge drives him deeper into despair, putting

the couple on the brink of divorce. Until Cynthia experiences Billy

Graham’s 1949 Los Angeles Crusade, where she finds faith in God

and a renewed commitment to her marriage and her husband.

CAST SAMUEL HUNT, MERRITT PATTERSON, WILL GRAHAM DIRECTOR

HAROLD CRONK WRITER RICHARD FRIEDENBERG, KEN HIXON GENRE

BIOGRAPHY, DRAMA RATING PG-13 FOR THEMATIC CONTENT AND RELATED

DISTURBING IMAGES RUNNING TIME TBD

THE PREDATOR

SEPT 14 / FOX / WIDE

>> From the outer reaches of space to the small-town streets

of suburbia, the hunt comes home in Shane Black’s explosive reinvention

of the Predator series. Now, the universe’s most lethal

hunters are stronger, smarter, and deadlier than ever before,

having genetically upgraded themselves with DNA from other

species. When a young boy accidentally triggers their return to

Earth, only a ragtag crew of ex-soldiers and a disgruntled science

teacher can prevent the end of the human race.

CAST YVONNE STRAHOVSKI, OLIVIA MUNN, JACOB TREMBLAY DIRECTOR

SHANE BLACK WRITERS FRED DEKKER, SHANE BLACK GENRE ACTION,

ADVENTURE, HORROR RATING TBD RUNNING TIME TBD

AUGUST 2018 BOXOFFICE ® 81


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

A24 646-568-6015

THE CHILDREN ACT Fri, 9/14/18 NY/LA Emma Thompson, Stanley Tucci Richard Eyre R Dra

MID90S Fri, 10/19/18 LTD Sunny Suljic, Lucas Hedges Jonah Hill NR Com

UNDER THE SILVER LAKE Fri, 12/7/18 LTD. Andrew Garfield, Riley Keough David Robert Mitchell R Thr/Cri

ANNAPURNA PICTURES

WHERE’D YOU GO BERNADETTE? Fri, 10/19/18 LTD. Cate Blanchett, Troian Bellisario Richard Linklater PG-13 Com/Dra

MISSING LINK

Fri, 4/19/19 WIDE

Zach Galifianakis, Hugh

Jackman

Chris Butler NR Ani

DISNEY 818-560-1000 Ask for Distribution

THE NUTCRACKER AND THE FOUR

REALMS

Fri, 11/2/18 WIDE Keira Knightley, Mackenzie Foy Lasse Hallström NR Mus/Fan 3D

RALPH BREAKS THE INTERNET Fri, 11/21/18 WIDE John C. Reilly, Sarah Silverman

Phil Johnston, Rich

Moore

NR Ani/Adv/Fam 3D/IMAX

MARY POPPINS RETURNS

Fri, 12/19/18 WIDE

Emily Blunt, Lin-Manuel

Miranda

Rob Marshall NR Fam/Fan

CAPTAIN MARVEL Fri, 3/8/19 WIDE Brie Larson, Samuel L. Jackson

Anna Boden, Ryan

Fleck

NR Act/Adv/SF 3D/IMAX

DUMBO Fri, 3/29/19 WIDE Colin Farrell, Michael Keaton Tim Burton NR Fan/Fam 3D

PENGUINS Fri, 4/19/19 WIDE NR Doc

UNTITLED AVENGERS Fri, 5/3/19 WIDE NR

Act/Adv/

Fan/SF

ALADDIN Fri, 5/24/19 WIDE Will Smith, Mena Massoud Guy Ritchie NR Act/Adv/Com

TOY STORY 4 Fri, 6/21/19 WIDE NR Ani 3D/IMAX

THE LION KING Fri, 7/19/19 WIDE Donald Glover, Beyoncé Jon Favreau NR Fan

ARTEMIS FOWL Fri, 8/9/19 WIDE Ferdia Shaw, Josh Gad Kenneth Branagh NR Fan 3D

JUNGLE CRUISE Fri, 10/11/19 WIDE NR

FROZEN 2 Wed, 11/27/19 WIDE NR Ani 3D

STAR WARS: EPISODE IX Fri, 12/20/19 WIDE NR Act/Adv/SF 3D/IMAX/Dolby Dig

FOCUS FEATURES 424-214-6360 3D

THE LITTLE STRANGER Fri, 8/31/18 WIDE Domhnall Gleeson, Ruth Wilson Lenny Abrahamson R Hor/Thr

BOY ERASED Fri, 11/2/18 LTD Lucas Hedges, Nicole Kidman Joel Edgerton NR Dra

MARY, QUEEN OF SCOTS Fri, 12/7/18 LTD Saoirse Ronan, Margot Robbie Josie Rourke NR Dra/His

ON THE BASIS OF SEX Tue, 12/25/18 LTD Felicity Jones, Mimi Leder NR Dra/Bio

CAPTIVE STATE Wed, 3/29/19 WIDE John Goodman, Ashton Sanders Rupert Wyatt PG-13 SF

FOX 310-369-1000 212-556-2400

THE PREDATOR Fri, 9/14/18 WIDE Boyd Holbrook, Jacob Tremblay Shane Black NR Act/SF/Hor IMAX

BAD TIMES AT THE EL ROYALE Fri, 10/12/18 WIDE Jeff Bridges, Cynthia Erivo Drew Goddard NR Thr

THE HATE U GIVE

Fri, 10/19/18 WIDE

Amandla Stenberg, Russell

Hornsby

George Tillman Jr. PG-13 Dra

BOHEMIAN RHAPSODY Fri, 11/2/18 WIDE Rami Malek, Ben Hardy

Bryan Singer, Dexter

Fletcher

NR

Bio/Mus

WIDOWS Fri, 11/16/18 WIDE Michelle Rodriguez, Viola Davis Steve McQueen R Dra

ALITA: BATTLE ANGEL Fri, 12/21/18 WIDE Rosa Salazar, Christoph Waltz Robert Rodriguez NR Act/Adv/Rom 3D/IMAX

AD ASTRA Fri, 1/11/19 WIDE Brad Pitt James Gray NR SF/Thr

82 BOXOFFICE ® AUGUST 2018


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

DARK PHOENIX

Fri, 2/14/19 WIDE

Sophie Turner, Jennifer

Lawrence

Simon Kinberg NR Act/Adv/SF

THE KID WHO WOULD BE KING Fri, 3/1/19 WIDE Joe Cornish NR

BREAKTHROUGH Fri, 4/12/19 WIDE Chrissy Metz Roxann Dawson NR

Fan/Fam/Act/

Adv

STUBER Fri, 5/24/19 WIDE Dave Bautista, Kumail Nanjiani NR Act/Com

GAMBIT Fri, 6/7/19 WIDE Channing Tatum, Lizzy Caplan NR Act/Adv/SF

UNTITLED JAMES MANGOLD Fri, 6/28/19 WIDE Matt Damon, Christian Bale James Mangold NR Dra

THE NEW MUTANTS Fri, 8/2/19 WIDE Anya Taylor-Joy, Maisie Williams Josh Boone NR Act/Hor/SF

SPIES IN DISGUISE Fri, 9/13/19 WIDE Will Smith, Tom Holland

Nick Bruno & Troy

Quane

NR

Ani

THE WOMAN IN THE WINDOW Fri, 10/4/19 WIDE Amy Adams Joe Wright NR Cri/Dra/Mys

DEATH ON THE NILE Fri, 12/20/19 WIDE Sir Kenneth Branagh NR Dra

THE CALL OF THE WILD Wed, 12/25/19 WIDE Chris Sanders NR Dra

FOX SEARCHLIGHT 212-556-2400

THE OLD MAN & THE GUN Fri, 9/28/18 LTD. Robert Redford, Casey Affleck David Lowery PG-13 Cri/Com/Dra

CAN YOU EVER FORGIVE ME?

Fri, 10/19/18 LTD.

Melissa McCarthy, Richard E.

Grant

Marielle Heller R Bio/Com/Dra

THE FAVOURITE Fri, 11/23/18 LTD. Olivia Colman, Emma Stone Yorgos Lanthimos R Dra

THE AFTERMATH

Fri, 4/26/19 WIDE

Keira Knightley, Alexander

Skarsgård

James Kent R Dra/War

GLOBAL ROAD FILMS 310-696-7504

THE SILENCE Fri, 12/7/18 LTD Stanley Tucci, Kiernan Shipka John R. Leonetti NR Hor

PLAYMOBILE UNCHARTED Fri, 1/18/19 WIDE NR Ani

LIONSGATE 310-309-8400

KIN Fri, 8/31/18 WIDE Myles Truitt, Jack Reynor

Jonathan Baker, Josh

Baker

NR

Act/SF

YA VEREMOS

Fri, 8/31/18 MOD

Mauricio Ochmann, Fernanda

Castillo

Pitipol Ybarra NR Dra, Com

A SIMPLE FAVOR Fri, 9/14/18 WIDE Anna Kendrick, Blake Lively Paul Feig NR Sus

HELL FEST

Fri, 9/28/18 WIDE

Amy Forsyth, Reign Edwards,

Bex Taylor-Klaus

Gregory Plotkin NR Hor

HUNTER KILLER Fri, 10/26/18 WIDE Gerard Butler, Gary Oldman Donovan Marsh NR

ROBIN HOOD Fri, 11/21/18 WIDE Taron Egerton, Jamie Foxx Otto Bathurst PG-13 Adv

HELLBOY Fri, 1/11/19 WIDE David Harbour, Milla Jovovich Neil Marshall NR Act

FLARSKY Fri, 2/8/19 WIDE Seth Rogen, Charlize Theron Jonathan Levine NR Com

CHAOS WALKING Fri, 3/1/19 WIDE Tom Holland, Daisy Ridley Doug Liman NR Adv/SF

TYLER PERRY’S A MADEA FAMILY

FUNERAL

Fri, 3/1/19 WIDE Tyler Perry, Cassi Davis Tyler Perry PG-13 Com

FIVE FEET APART

Fri, 3/22/19 WIDE

Haley Lu Richardson, Cole

Sprouse

Justin Baldoni NR Dra/Rom

JOHN WICK: CHAPTER THREE Fri, 5/17/19 WIDE Keanu Reeves NR Act

MGM

OPERATION FINALE Fri, 9/21/18 WIDE Oscar Isaac, Ben Kingsley Chris Weitz PG-13 Dra

AUGUST 2018 BOXOFFICE ® 83


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

CREED II

FIGHTING WITH MY FAMILY

Fri, 12/21/18 LTD.

Fri, 3/1/19 LTD.

Sylvester Stallone, Michael B.

Jordan

Florence Pugh, Vince Vaughn,

Dwayne Johnson

Steven Caple Jr. NR Dra/Act

Stephen Merchant NR Dra/Bio

THE ADDAMS FAMILY Fri, 10/11/19 WIDE Oscar Isaac, Charlize Theron Conrad Vernon NR Ani

UNTITLED JAMES BOND 25 Fri, 11/8/19 WIDE Daniel Craig Danny Boyle NR Act/Thr

NEON

ASSASSINATION NATION Fri, 9/21/18 LTD. Odessa Young, Hari Nef Sam Levinson NR Thr

MONSTERS AND MEN

Fri, 10/5/18 LTD.

Anthony Ramos, John David

Washington

Reinaldo Marcus Green NR Dra

THIS ONE’S FOR THE LADIES Fri, 12/7/18 LTD. New Jersey Nasty Boyz Eugene Graham NR Doc/Com

OSCILLOSCOPE LABORATORIES

JOHN MCENROE: IN THE REALM

OF PERFECTION

Fri, 8/22/18 NY Mathieu Amalric Julien Faraut NR Doc

HAL Fri, 9/7/18 NY Amy Scott NR Doc

PARAMOUNT 323-956-5000

OVERLORD Fri, 11/9/18 WIDE Wyatt Russell and Jovan Adepo Julius Avery R War/Thr

NOBODY’S FOOL Fri, 11/2/18 WIDE Tiffany Haddish, Tika Sumpter Tyler Perry NR

BUMBLEBEE Wed, 12/21/18 WIDE Hailee Steinfeld, Pamela Adlon Travis Knight NR Act/Adv/SF 3D

ELI Fri, 1/4/19 WIDE Ciaran Foy NR Hor

WHAT MEN WANT Fri, 1/11/19 WIDE Taraji P. Henson NR Com

INSTANT FAMILY Fri, 2/15/19 WIDE Mark Wahlberg, Rose Byrne Sean Anders NR Com

RHYTHM SECTION Fri, 2/22/19 WIDE Blake Lively Reed Morano NR Thr

WONDER PARK Fri, 3/15/19 WIDE Mila Junis, Jennifer Garner Dylan Brown PG Ani/Adv/Com

PET SEMATARY

Fri, 4/5/19 WIDE

Kevin Kolsch and

Dennis Widmyer

NR

Hor

ROCKETMAN Fri, 5/17/19 WIDE Taron Egerton Dexter Fletcher NR Bio/Dra

LIMITED PARTNERS Fri, 6/28/19 WIDE Tiffany Haddish NR Com

TOP GUN Fri, 7/12/19 WIDE Tom Cruise, Val Kilmer Joseph Kosinski NR Act/Adv

DORA THE EXLPORER Fri, 8/2/19 WIDE Isabela Moner James Bobin NR Adv

GEMINI MAN

Fri, 10/4/19 WIDE

Will Smith, Mary Elizabeth

Winstead

Ang Lee NR Act/Thr

ARE YOU AFRAID OF THE DARK? Fri, 10/19/19 WIDE NR Hor

SONIC THE HEDGEHOG Fri, 11/15/19 WIDE James Marsden Jeff Fowler NR Ani/Adv/Com

UNTITLED TERMINATOR PROJECT Fri, 11/22/19 WIDE NR Act/SF

ROADSIDE ATTRACTIONS

JULIET, NAKED Fri, 8/17/18 LTD Rose Byrne, Ethan Hawke Jesse Peretz R Rom/Com

LIZZIE Fri, 9/14/18 LTD Chloë Sevigny, Kristen Stewart Craig William Macneill R Bio/Dra/Cri

BEN IS BACK Fri, 12/7/18 WIDE Julia Roberts, Lucas Hedges Peter Hedges NR Dra

SONY 212-833-8500

ALPHA

Fri, 8/17/18 WIDE

Kodi Smit-McPhee, Leonor

Varela

Albert Hughes PG-13 Act/Dra/Thr IMAX/3D

WHITE BOY RICK

Fri, 9/14/18 WIDE

Matthew McConaughey, Richie

Merritt

Yann Demange NR Dra/thr

84 BOXOFFICE ® AUGUST 2018


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

VENOM Fri, 10/5/18 WIDE Tom Hardy, Michelle Williams Ruben Fleischer NR SF/Act

GOOSEBUMPS 2: HAUNTED

HALLOWEEN

Fri, 10/12/18 WIDE Madison Iseman, Ben O’Brien Rob Letterman NR Com/Fam/Hor

THE FRONT RUNNER Wed, 11/7/18 LTD Jason Reitman NR Dra/Bio

THE GIRL IN THE SPIDER’S WEB Fri, 11/9/18 WIDE Claire Foy, Sverrir Gudnason Fede Alvarez NR Dra/Thr

UNTITLED JAMES GUNN HORROR

MOVIE

Fri, 11/30/18 WIDE NR Hor

SPIDER-MAN: INTO THE SPI-

DER-VERSE

Fri, 12/14/18 WIDE

Shameik Moore

Bob Persichetti,

Peter Ramsey, Rodney

Rothman

NR

Ani/Act/Fam

HOLMES AND WATSON Fri, 12/21/18 WIDE Will Ferrell, John C. Reilly Ethan Cohen NR Act/Thr

A DOG’S WAY HOME

Fri, 1/11/19 WIDE

Ashley Judd, Edward James

Olmos

NR

Dra

MISS BALA Fri, 1/25/19 WIDE Gina Rodriguez Catherine Hardwicke NR Act/Dra/Thr

ESCAPE ROOM Fri, 2/1/19 WIDE NR

GREYHOUND Fri, 3/22/19 WIDE Tom Hanks Aaron Schneider NR Dra/War

THE ROSIE PROJECT Fri, 5/10/19 WIDE NR Rom/Com

MEN IN BLACK SPINOFF

Fri, 6/14/19 WIDE

Chris Hemsworth, Tessa

Thompson

F. Gary Gray NR SF/Act/Com

SPIDER-MAN: FAR FROM HOME Fri, 7/5/19 WIDE Tom Holland, Michael Keaton NR

Act/Adv/SF/

Com

ONCE UPON A TIME IN HOLLY-

WOOD

Fri, 7/26/19 WIDE Leonardo DiCaprio, Brad Pitt Quentin Tarantino NR Dra

GRUDGE Fri, 8/16/19 WIDE Nicolas Pesce NR Hor

OVERCOMER Fri, 8/23/19 WIDE NR Dra/Rel

ANGRY BIRDS 2 Fri, 9/6/19 WIDE NR Ani

CHARLIE’S ANGELS Fri, 9/27/19 WIDE Kristen Stewart, Naomi Scott Elizabeth Banks NR Act/Com

ZOMBIELAND 2 Fri, 10/11/19 WIDE Emma Stone, Woody Harrelson Ruben Fleischer NR Act/Hor/Com

YOU ARE MY FRIEND Fri, 10/18/19 WIDE Tom Hanks Marielle Heller NR Dra

JUMANJI: WELCOME TO THE

JUNGLE SEQUEL

Fri, 12/13/19 WIDE Dwayne Johnson NR Com/Act/Adv

MASTERS OF THE UNIVERSE Fri, 12/18/19 WIDE NR Act/Adv/Fan

LITTLE WOMEN Fri, 12/25/19 WIDE Greta Gerwig NR Dra

SONY PICTURES CLASSICS Tom Prassis 212-833-4981

THE WIFE Fri, 8/17/18 NY/LA Glenn Close, Jonathan Pryce Björn Runge R Dra

AMERICAN CHAOS Fri, 9/14/19 LTD Jim Stern R Doc

THE HAPPY PRINCE Fri, 10/5/18 NY/LA Rupert Everett, Colin Firth Rupert Everett NR Dra/Bio

MARIA BY CALLAS Fri, 10/26/18 NY/LA Tom Volf PG Doc

CAPERNAUM Fri, 12/14/18 NY/LA Zain Alrafeea, Yordanos Shifera Nadine Labaki NR Dra

STX ENTERTAINMENT 310-742-2300

MILE 22 Fri, 8/17/18 WIDE Mark Wahlberg, John Malkovich Peter Berg NR Act IMAX

THE HAPPYTIME MURDERS Fri, 8/24/18 WIDE Melissa McCarthy Brian Henson R Com

PEPPERMINT Fri, 9/7/18 WIDE Jennifer Garner Pierre Morel R Act

SECOND ACT Fri, 11/21/18 WIDE Jennifer Lopez, Milo Ventimiglia Peter Segal NR Rom/Com

UNTITLED STX ACTION/THRILLER Fri, 1/25/19 WIDE NR Act/Thr

AUGUST 2018 BOXOFFICE ® 85


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

UGLYDOLLS Fri, 5/10/19 WIDE Robert Rodriguez NR Ani

UNIVERSAL 818-777-1000

THE HOUSE WITH A CLOCK IN ITS

WALLS

Fri, 9/21/18 WIDE Jack Black, Cate Blanchett Eli Roth PG Fan/Hor/Mys

NIGHT SCHOOL Fri, 9/28/18 WIDE Kevin Hart, Tiffany Haddish Malcolm D. Lee PG-13 Com

FIRST MAN Fri, 10/12/18 WIDE Ryan Gosling, Kyle Chandler Damien Chazelle PG-13 Dra/Bio IMAX

HALLOWEEN Fri, 10/19/18 WIDE Jamie Lee Curtis David Gordon Green NR Hor

JOHNNY ENGLISH STRIKES AGAIN Fri, 10/26/18 WIDE Rowan Atkinson, Ben Miller, David Kerr PG Act/Com

DR. SEUSS’ THE GRINCH Fri, 11/9/18 WIDE Benedict Cumberbatch

Peter Candeland,

Yarrow Cheney

GREEN BOOK Wed, 11/21/18 WIDE Viggo Mortensen, Mahershala Ali Peter Farrelly NR

NR Ani/Com/Fam 3D

MORTAL ENGINES Fri, 12/14/18 WIDE Hera Hilmar, Robert Sheehan Christian Rivers NR SF 3D/IMAX

WELCOME TO MARWEN Fri, 12/21/18 WIDE Steve Carell Robert Zemeckis NR Dra

GLASS Fri, 1/18/19 WIDE James McAvoy, Bruce Willis M. Night Shyamalan NR Thr

UNTITLED BLUMHOUSE HORROR

PROJECT

Thu, 2/14/19 WIDE NR Hor

THE TURNING Thu, 2/22/19 WIDE Floria Sigismondi NR Hor/Thr

HOW TO TRAIN YOUR DRAGON:

THE HIDDEN WORLD

Fri, 3/1/19 WIDE Jay Baruchel, Gerard Butler Dean DeBlois NR Ani/Com/Fam

US Fri, 3/15/19 WIDE Jordan Peele NR Thr

THE VOYAGE OF DOCTOR DOLITTLE Fri, 4/12/19 WIDE

Robert Downy, Jr., Ralph

Fiennes

Stephen Gaghan NR Com

A DOG’S JOURNEY Fri, 5/17/19 WIDE Gail Mancuso NR Fam

UNTITLED BLUMHOUSE PRODUC-

TIONS PROJECT

Fri, 5/31/19 WIDE NR Hor

THE SECRET LIFE OF PETS 2 Fri, 6/7/19 WIDE Chris Renaud NR Ani

COWBOY NINJA VIKNIG Fri, 6/28/19 WIDE Chris Pratt NR Act/Adv/Com

UNTITLED FAST & FURIOUS

SPIN-OFF

Fri, 8/2/19 WIDE NR Act/Adv

GOOD BOYS Fri, 8/16/19 WIDE Jacob Tremblay

Lee Eisenberg & Gene

Stupnitsky

NR

Com

UNTITLED DANNY BOYLE/RICH-

ARD CURTIS COMEDY

Fri, 9/13/19 WIDE Lily James, Himesh Patel Danny Boyle NR Com/Mus

LITTLE Fri, 9/20/19 WIDE Marsai Martin Tina Gordon NR Com

ABOMINABE Fri, 9/27/19 WIDE Tim Johnson NR Ani

THE HUNT Fri, 9/27/19 WIDE Craig Zobel NR Act/Thr

UNTITLED BLUMHOUSE PRODUC-

TIONS

Fri, 10/18/19 WIDE NR Hor

WILL PACKER COMEDY Fri, 11/15/19 WIDE NR Com

WARNER BROS. 818-977-1850

CRAZY RICH ASIANS Wed, 8/15/18 WIDE Constance Wu, Henry Golding Jon M. Chu PG-13 Com

THE NUN Fri, 9/7/18 WIDE Demian Bichir, Taissa Farmiga Corin Hardy NR Hor

SMALLFOOT Fri, 9/28/18 WIDE Zendaya, Channing Tatum

Glenn Ficarra, Ryan

O’Loughlin, John

Requa

NR Ani/Com/Fam

A STAR IS BORN Fri, 10/5/18 WIDE Bradley Cooper, Lady Gaga Bradley Cooper NR Dra/Mus/Rom

86 BOXOFFICE ® AUGUST 2018


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

FANTASTIC BEASTS: THE CRIMES

OF GRINDELWALD

Fri, 11/16/18 WIDE Eddie Redmayne, Johnny Depp David Yates NR Act/Adv/Fan

AQUAMAN Fri, 12/21/18 WIDE Jason Momoa, Amber Heard James Wan NR Act/Adv/SF 3D/IMAX

THE LEGO MOVIE 2: THE SECOND

PART

Fri, 2/8/19 WIDE Chris Pratt, Elizabeth Banks Mike Mitchell NR Ani

ISN’T IT ROMANTIC Fri, 2/14/19 WIDE Rebel Wilson, Liam Hemsworth Todd Strauss-Schulson NR Com

SHAZAM! Fri, 4/5/19 WIDE Zachary Levi, Asher Angel David F. Sandberg NR Act/Adv/Fan IMAX

THE CURSE OF LA LLORONA Fri, 4/19/19 WIDE NR Hor

DETECTIVE PIKACHU Fri, 5/10/19 WIDE Ryan Reynolds, Justice Smith Rob Letterman NR Adv

THE SUN IS ALSO A STAR Fri, 5/17/19 WIDE NR

MINECRAFT: THE MOVIE Fri, 5/24/19 WIDE NR

GODZILLA: KING OF THE MON-

STERS

Fri, 5/31/19 WIDE NR SF/Act

SHAFT Fri, 6/14/19 WIDE NR Act

UNTITLED CONJURING UNIVERSE

FILM

Fri, 7/3/19 WIDE NR Hor

UNTITLED WB EVENT FILM Fri, 8/2/19 WIDE NR

IT SEQUEL Fri, 9/6/19 WIDE NR Hor IMAX

THE KITCHEN Fri, 9/20/19 WIDE NR Cri/Thr

JOKER Fri, 10/4/19 WIDE Joaquin Phoenix Todd Phillips NR Act

THE GOLDFINCH Fri, 10/11/19 WIDE NR Dra

WONDER WOMAN 1984 Fri, 11/1/19 WIDE Gal Gadot, Kristin Wiig Patty Jenkins NR Act/Adv/Fan IMAX/3D

OUR SPONSORS

20TH CENTURY FOX 37

ATOM TICKETS

BACK COVER

BARCO (CINIONIC)

INSIDE FRONT COVER

C. CRETORS & COMPANY 31

CAMATIC SEATING 23

CARDINAL SOUND 88

DOLPHIN SEATING 55

ENPAR AUDIO 81

FANDANGO 5

GENEVA CONVENTION 13

GOLD MEDAL PRODUCTS 29

IRWIN SEATING COMPANY 15

LIGHTSPEED/DEPTH Q12 88

MOC INSURANCE 3

MOVIEPASS 47

MOVING IMAGE TECHNOLOGIES 39

NATIONAL CINEMEDIA 7

NEC DISPLAY 9

ODELL’S 71

OMNITERM 75

PROMOTION IN MOTION 21

QSC 11

QUEST CINEMA 41

READY THEATER SYSTEMS 79

REALD 58–59

RETRIEVER SYSTEMS 77

SCREENVISION 1

SENSIBLE CINEMA 88

SHOWEAST 67

SONIC EQUIPMENT 17

SPOTLIGHT CINEMA NETWORKS 49

ST. JUDE CHILDREN’S RESEARCH HOSPITAL 69

TELESCOPIC SEAT SYSTEMS

INSIDE BACK COVER

THAILAND FILM OFFICE 53

TIVOLI LIGHTING 19

USHIO 27

VENTURA FOODS 73

VIP SEATING 45

WEBEDIA MOVIES PRO 65

WHITE CASTLE 57

WILL ROGERS MOTION PICTURE PIONEERS FOUNDATIONS 63

AUGUST 2018 BOXOFFICE ® 87


MARKETPLACE

HELP WANTED

SENIOR LEVEL CHANNEL ACCOUNT MAN-

AGER wanted by NEC Display Solutions for

expanding Digital Cinema group. Seeking

minimum 8 years’ experience within hi-tech,

cinema or Pro A/V industry to drive strategic

growth. Field-based, travel throughout US &

Canada required. Apply: www.necdisplay.com/

careers

FOR SALE

USED DIGITAL PROJECTORS AND SOUND

EQUIPMENT. 3 Solaria One Plus projectors

with NAS and projector base. 14 JBL stage

speakers, 12 JBL surround speakers. Processors

and monitors. Contact: boothmw@chakerestheatres.com

or call Mark at (937) 323-6447.

BISTRO CHAIRS FOR SALE: (392) Red vinyl

and (328) gray vinyl seven year old Seating

Concepts Palermo style in-theatre bistro chairs

to be available in early Spring 2018. All chairs

equipped with tray tables. Some of the seats

will require covers/repairs. Please contact

mhooker@aztcorporation.comor 972-428-2943

for more information.

USED DIGITAL PROJECTORS, Five complete

booths including sound equipment. Three

years old. Contact seller at moviescope1000@

gmail.com.

TWO BRAND NEW 3000 watts Christie Xenon

lamps for 35mm projectors. Contact: Atul Desai

949-291-5700.

PREFERRED SEATING COMPANY, your source

for new, used and refurbished theater and stadium

seating. Buying and selling used seating

is our specialty. Call toll-free 866-922-0226 or

visit our website www.‐preferred-seating.com.

18 SETS OF USED 35MM AUTOMATED PRO-

JECTION 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.

MOBILIARIO high-back rockers with cup holders.

Located in Connecticut. Contact (203)758-

2148.

6 PLEX EQUIPMENT PACKAGE. Six complete

booths digital projectors/sound, 72 speakers,

seats, screens/frames, concession equipment,

computers, led signs/marquees, safe/

misc equipment. Serious inquiries only. For

equipment list email contact@digitalequipmenttechnologies.com

or call 801-548-0108 or

fax 801-281-0482.

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

The three-screen Stavros Niarchos Foundation

Parkway Film Center in Baltimore is seeking an

OPERATIONS DIRECTOR to oversee all aspects

of running the theater and concessions.

The Film Center, a partnership among the

Maryland Film Festival, Johns Hopkins University

and MICA will open in spring of 2017 and

offer a broad range of the world’s best arthouse,

independent, documentary, and classic

cinema. The full job description and application

instructions are found at mdfilmfest.com/

about-the-festival/jobs.php.

NEXT MONTH GENEVA CONVENTION

88 BOXOFFICE ® AUGUST 2018

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