Boxoffice - April 2017

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The Official Magazine of the National Association of Theatre Owners

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APRIL 2017

Vin Diesel returns as street racer

Dominic Toretto in the eighth

installment of Universal’s powerhouse

franchise, April’s The Fate of the Furious

CINEMACON

RECAP

THE AWARD WINNERS

THE INDUSTRY PANELS

THE STUDIO PRESENTATIONS

RECORD PACE

WHY 2017’S $11.5 BILLION POTENTIAL

IS A CRUCIAL CHECKPOINT

FROM SOUTH KOREA

TO SOUTHERN

CALIFORNIA

CJ CGV LOOKS TO BUILD

ON GLOBAL SUCCESS

IN THE U.S.

A HOLLYWOOD ICON

THE TCL CHINESE THEATRE

CELEBRATES ITS 90TH YEAR

The Official Magazine of the National Association of Theatre Owners


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HELLO

2017 VOL. 153 NO. 4

>> Another CinemaCon is in the books, and I have to say that I am

genuinely excited about the upcoming films that will be hitting screens

this year. One of the perks of this job is being able to sample all the new

exhibition offerings alongside those new titles, from the latest in digital

projection and screen technology to premium and immersive seating, and

even snacks at the concessions stand. Trends in exhibition have made the CinemaCon trade

show as important for trade press to cover as the world-premiere footage that studios unveil

at the Colosseum.

Talking about big movies, it’s hard to overestimate the impact that a title like Star Wars:

The Force Awakens has had beyond the box office records. The film’s release seemed like the

culmination of many efforts across the industry, and when I saw the opening scroll hit the

screen, I knew that everyone at the theater with me understood the power of this communal

experience. No matter how much cinemas innovate, or how many pages we devote to

those innovations in this trade publication, the people we most need to communicate that

message to is the audience.

In the same way that James Cameron’s Avatar played a crucial role in promoting digital

3D—and the premiums associated with it—to consumers, I believe that The Force Awakens

helped usher in the current era in exhibition. The Force Awakens welcomed audiences that

maybe hadn’t visited a movie theater for a while, and the success of box office figures since

then convinces me that they liked what they saw and have begun to experiment and embrace

the new ways of enjoying movies in a theater.

And the innovations continue. As I was happy to learn at CinemaCon, Transformers: The

Last Knight, shot in native 3D, and Dunkirk, filmed entirely with IMAX large-format celluloid,

are just two of the year’s hottest new titles that have technology at their heart. This era of

innovation in exhibition has not only given consumers the ability to customize their moviegoing

experience—it has also given new tools to filmmakers that will be remembered for

generations to come.

In that spirit, I’d like to point to some stories in this issue that reflect the current state of

affairs in Hollywood. You’ll find profiles of two Southern California cinemas that I believe

reflect the current times: South Korea’s CJ CGV new flagship location in Orange County, and

the iconic TCL Chinese Theatre—which is celebrating its 90th anniversary. These are only two

of many theaters that represent Hollywood’s legacy: maintaining a connection with the past,

while keeping an eye on what’s coming in the future.

Daniel Loria

Editorial Director

Boxoffice Media

daniel@boxoffice.com

FEATURES

RECORD PACE

Why 2017’s $11.5 billion potential

is a crucial industry checkpoint

by Shawn Robbins

36

HIGHLIGHTS FROM MPAA

THEATRICAL MARKET STATISTICS

REPORT 2016

A summary of the full report that can

be found at MPAA.org

52

FROM SOUTH KOREA

TO SOUTHERN CALIFORNIA

by Jason Kornfeld

CJ CGV looks to build on

global success in U.S.

62

A HOLLYWOOD ICON

The TCL Chinese Theatre celebrates

90th year this May

by Daniel Loria

64

HIDDEN FIGURES, BIG NUMBERS

Exhibitors reveal big audiences for Hidden

Figures through community initiatives

by Rob Rinderman

66

comingsoon synopses of upcoming releases

SLACK BAY / PHOENIX FORGOTTEN / BORN IN CHINA / FREE FIRE / THE PROMISE / UNFORGETTABLE / HOW TO BE A LATIN LOVER

BUSTER’S MAL HEART / THE CIRCLE / SLEIGHT / GUARDIANS OF THE GALAXY VOL. 2 / THE DINNER / THE LOVERS

KING ARTHUR: LEGEND OF THE SWORD / SNATCHED / PARIS CAN WAIT / LOW RIDERS / THE WALL / THE WEDDING PLAN

ALIEN: COVENANT / DIARY OF A WIMPY KID: THE LONG HAUL / EVERYTHING, EVERYTHING / THE COMMUNE

2 BOXOFFICE ® APRIL 2017


38

40

44

conventionrecap

AWARD WINNERS

MEET THE 13 STARS AND

FILMMAKERS JUDGED TO MAKE

A BIG IMPACT IN 2017

BEYOND THE POPCORN

INNOVATION CONTINUES TO

DRIVE THEATRICAL EXHIBITION AT

CINEMACON 2017 by Daniel Loria

STUDIO PRESENTATIONS

OUR TAKE ON THE HOTTEST TITLES

SHOWCASED IN LAS VEGAS by Daniel Loria

BOXOFFICE MEDIA

CEO

Julien Marcel

VP CREATIVE SERVICES

Kenneth James Bacon

VP CONTENT STRATEGY

Daniel Loria

BOXOFFICE ®

EDITORIAL DIRECTOR

Daniel Loria

MANAGING EDITOR

Laura Silver

CONTRIBUTORS

Melissa Cogavin

James Devin

John Fithian

Jason Kornfeld

Erica Lopez

Ameesh Paleja

Rob Rinderman

regularfeatures

2 HELLO

4 EXHIBITION BRIEFS

10 EXECUTIVE SUITE

16 LEVERAGING INNOVATION brought to you by Atom Tickets

20 CHARITY SPOTLIGHT

22 EVENT CINEMA

26 EXHIBITOR MARKETING brought to you by Webedia Movies Pro

28 CONCESSIONS

30 TECHNOLOGY

33 CHINESE MARKET

34 INSIDE YOUR THEATER

54 SECRET WEAPON brought to you by D-BOX

56 INDIE FOCUS brought to you by Spotlight Cinema Networks

59 NEW PRODUCTS

60 SOCIAL MEDIA

68 3D CALENDAR

70 EVENT CALENDAR

82 BOOKING GUIDE

88 MARKETPLACE

BOXOFFICE ® (ISSN 0006-8527), Volume 153, Number 4, April 2017. BOXOFFICE ® is published

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APRIL 2017 BOXOFFICE ® 3


EXHIBITION BRIEFS

NEW ZEALAND FINANCE MINISTER STEVEN JOYCE WITH VISTA GROUP CEO MURRAY HOLDAWAY

PHOTO: SHARLENE FERGUSON/FOCAL POINT PHOTOS

VISTA HOSTS BIENNIAL CUSTOMER CONFERENCE

>> More than 200 cinema professionals from around the

world gathered in Auckland, New Zealand, last month for the

eighth biennial VISTA Customer Conference. The conference

was the largest yet that Vista has held. Vista Group, a provider

of cinema management, film distribution, and customer

analytics solutions, provided updates on current and future

product developments.

Delegates from major multi-territory cinema chains

to independents heard from Vista experts about the

latest innovations in Vista Cinema, ranging from mobile

apps and food and beverage solutions to new products

that Vista Group is imagining and developing. In-depth

product tutorials were available in the Vista Lab, which was

configured especially for the event and proved very popular

with delegates.

In his opening remarks, Vista Group CEO Murray

Holdaway said: “Vista Group businesses enjoy very close

relationships with our customers in over 80 countries around

the world. With more than 500 people in New Zealand, the

USA, China, the UK, Australia, the Netherlands, and Romania,

we are well-known across the global cinema landscape

and that helps us to anticipate what new products will have

the most effect on a customer’s business.”

PATHÉ ACQUIRES GAUMONT’S STAKE IN LES

CINEMAS GAUMONT PATHÉ

>> The Gaumont-Pathé exhibition partnership has

come to an end. Pathé announced it will be purchasing

Gaumont’s 34 percent in the venture, Les

Cinemas Gaumont Pathé, for € 380 million. Terms

for the deal have already been approved by the

Pathé board of directors. The acquisition is pending

the approval of the Gaumont Works Council.

Forged in 2001 with the merging of two

historic brands of French exhibition, Les Cinemas

Gaumont Pathé today operates 108 cinemas and

1,076 screens in France, the Netherlands, Switzerland,

and Belgium. The circuit welcomed nearly 67

million guests in 2016.

Sidonie Dumas, managing director of

Gaumont, said in a press release, “We welcome

the fruitful cooperation with Pathé over the

last 16 years, which has allowed Les Cinémas

Gaumont Pathé to become one of the European

leaders in exhibition. The completion of this sale

will enable our group to accelerate the promising

development of its TV series production activities

in the United States and Europe, to strength-

4 BOXOFFICE ® APRIL 2017


en film production, and to consider expanding

Gaumont in Europe.”

Jérôme Seydoux, president of Pathé stated, “This

acquisition clearly affirms Pathé’s desire to develop

and modernize the movie theater. The movie theater

is essential to an audience’s enjoyment of a film, just

as films are indispensable for movie theaters.”

MARCUS THEATRES ADDS DREAMLOUNGERS AT

FOUR MORE WISCONSIN LOCATIONS

>> Marcus Theatres continues to invest in Dream-

Lounger recliner seating. On the heels of announcing

the recliner addition to 13 of 16 auditoriums

at the Majestic Cinema of Brookfield, Wisconsin,

four theaters will feature DreamLoungers in every

auditorium once construction is complete in

mid-summer. Locations receiving DreamLoungers

are North Shore Cinema in Mequon, Ridge

Cinema in New Berlin, Renaissance Cinema in

Sturtevant, and La Crosse Cinema.

“Guests frequently talk about DreamLoungers.

They are ecstatic that this signature seating

combines the comfort of home with the social

experience of going to the movies,” said Rolando

Rodriguez, chairman, president, and CEO of Marcus

Theatres. “By adding DreamLoungers at these

four Wisconsin theaters and to others across our

circuit, we continue to show our commitment to a

best-in-class moviegoing experience.”

DreamLoungers provide double the legroom

between rows and allow the guest to go from a

seated upright position to a full recline at the

touch of a button. Plus, reserved seating will be

introduced in all auditoriums so guests can select

their seats in advance, for a convenient, stress-free

experience upon arrival.

Moviegoers at both North Shore and Renaissance

Cinemas have already tried DreamLounger

seating as part of the UltraScreen DLX experience,

which also includes a massive screen and Dolby

Atmos sound. Plus, heated DreamLoungers are

offered in Renaissance Cinema’s SuperScreen DLX

auditorium. Positive feedback from guests at these

locations and others prompted Marcus Theatres to

expand the offering.

DEBBIE MANN RETURNS TO DELUXE AS SVP

>> Long-time film industry executive Debbie

Mann is returning to Deluxe Entertainment

Services Group Inc. (Deluxe) as SVP, Operations

and Client Relations, Deluxe Technicolor Digital

Cinema (DTDC). Mann will have a dual focus on

distribution services and the customer experience

as DTDC expands its business globally.

One of the four original executives of motion

picture distribution services company ETS,

Mann built and led the company’s operations and

client-facing services organization, growing ETS to

be an industry leader when it was acquired by Deluxe

and renamed Deluxe Film Services in 2002.

During her previous time with Deluxe, Mann led

strategy, operations, and all facets of the distribution

business as SVP, Deluxe Film Services. Under

her almost two decades of leadership, the ETS and

Deluxe teams successfully distributed 3.5 million

new release prints, supporting customers nationally.

Mann was also instrumental in the launch

and growth of Deluxe’s digital cinema business,

running operations and client relations. She rejoins

Deluxe most recently from having served as

director of theatrical sales for STXfilms, a division

of global media company STX Entertainment.

Mann said, “While it is bittersweet for me to

leave STXfilms after two years of working with

some of the most innovative leaders in the industry,

I look forward to collaborating with them in

my new role. I’ve enjoyed my STXfilms role but

really missed being on the vendor side, focusing on

operations and creating efficiency for studio and

exhibitor partners. Deluxe has always been the industry

leader and trusted partner, and I am thrilled

to be joining a strong leadership team. After meeting

with Walter and learning about the innovation

and global initiatives going on I got a clear sense

for the forward movement of the company. I feel

like I’m coming home at a very exciting time.”

SCREENVISION MEDIA EMBRACES MOVIO

MEDIA PLATFORM TO CREATE ULTIMATE VALUE

FOR ADVERTISERS

>> Movio, the data analytics company, has signed

a data licensing agreement with cinema advertising

company Screenvision Media.

“This agreement with Screenvision Media

highlights the desire of the media industry to

understand the moviegoing audience,” said Will

Palmer, Movio’s chief executive and co-founder.

“Screenvision Media will be amongst the first to

benefit from the Movio Media enhanced offering,

providing deeper insights, elevated campaign targeting,

and strengthened measurement of advertising

effectiveness.”

DEBBIE MANN, SVP

OPERATIONS AND CLIENT

RELATIONS, DTDC

Deluxe Technicolor Digital Cinema

(DTDC), a joint venture between

Deluxe Entertainment Services

Group and Technicolor, provides

theatrical digital cinema mastering,

distribution, and management

services for clients worldwide.

APRIL 2017 BOXOFFICE ® 5


EXHIBITION BRIEFS

SARAH LEWTHWAITE, MOVIO

“Sarah Lewthwaite has led the

exceptional growth of Movio within

EMEA, including growing our UK

Movio market share to 33 percent

and climbing,” –Will Palmer, CEO,

Movio

CRAIG JONES, MOVIO

“Craig’s experience leading

commercial strategies for

technology companies and large

international corporations makes

him perfectly suited to head the

growth of our game-changing film

industry media solution.” –Will

Palmer, CEO, Movio

“The Movio Media platform is very robust,

and we’re very impressed with the company’s

insightful thought leadership within the cinema

and media landscape,” said John McCauley, chief

strategic development officer, Screenvision Media.

“We’re looking forward to leveraging Movio’s moviegoing

data to become even smarter, more targeted

and better strategic partners for our advertisers to

enhance the value we create for and bring to them.”

MOVIO PROMOTES SARAH LEWTHWAITE,

APPOINTS CRAIG JONES AS CCO

>> Movio has promoted Sarah Lewthwaite to the

position of managing director, senior vice president

for Europe, the Middle East, and Africa (EMEA).

Previously she had been director of strategic partnerships,

EMEA. Craig Jones has been appointed

chief commercial officer.

Lewthwaite, who is based in the company’s London

offices, oversees business development across

the region and helps some of the world’s leading

cinema exhibitors to build, expand, and refine their

customer database strategies. She has over 18 years

of experience in the global cinema industry and

prior to her time at Movio was vice president of

marketing for Cineplex Entertainment, Canada’s

largest exhibitor. There, Lewthwaite was instrumental

in launching and operating Cineplex’s SCENE

program for cinema loyalty marketing, which now

has almost eight million members.

“Sarah Lewthwaite has led the exceptional

growth of Movio within EMEA, including growing

our UK Movio market share to 33 percent and

climbing,” said Will Palmer, co-founder and chief

executive of Movio. “That result comes from her

unique industry perspective, honed through extensive

experience. This brings tremendous value to

our clients and has established Sarah as a thought

leader in data-driven marketing.”

Craig Jones joins Movio after a decade at Vodafone.

He will divide his time between the company’s

Auckland headquarters and Los Angeles offices

and will be responsible for continuing the conception

and execution of Movio’s global business

strategy for Movio Media.

At Vodafone, Jones held a series of senior

national and global sales, and executive leadership

roles in New Zealand and India. While based in

India, he led global sales for one of Vodafone’s

largest international clients, significantly increasing

market share in India, the UK, and Europe, while

opening up new market opportunities in Africa

and Asia Pacific. Most recently, Jones led a multimillion-dollar,

multiyear business transformation

program for Vodafone New Zealand—the country’s

largest mobile telecommunications company with

revenues in excess of USD 1.5 billion.

“Movio Media is now well established in the U.S.

and poised for global expansion,” said Palmer. “Craig’s

experience leading commercial strategies for technology

companies and large international corporations

makes him perfectly suited to head the growth of our

game-changing film industry media solution.”

SITO MOBILE LAUNCHES SITO LABS MOBILE

MARKETING SOLUTION

>> SITO Mobile Ltd. has introduced its mobile

marketing solution SITO LABS (Location Audience

Behavioral Sciences), to help marketers analyze

and target consumers. Through SITO LABS, marketers

will use SITO Mobile’s location-based data

to access enhanced behavioral data and analytics

about custom audiences and locations.

Screenvision Media will be SITO LABS’ first

customer.

In addition to actual location data, the dynamics

of the mobile media ecosystem—hundreds of

millions of consumers continuously interacting

with mobile devices as they move throughout their

day—provides the opportunity for unique two-way

information sharing, so insights into consumers’

movements and behaviors can also be analyzed

and addressed. This dynamic data flow provides

constantly updated and ever-changing information

about consumer preferences and behavior. SITO

LABS further leverages the company’s location-based

data set by providing advertisers with

additional information about the efficacy of their

targeting and conversion efforts.

“SITO Mobile’s launch of SITO LABS represents

our initial steps toward productizing and

monetizing our owned-and-operated data asset

and is part of our broader efforts to leverage the

complementary value of our data management

platform (DMP) and its powerful location-based

mobile data.” said Jon Lowen, SITO Mobile’s EVP

of operations and product development. “Our large

and growing mobile data DMP provides unique

and dynamic insights into mobile consumers’

location-based behavior. Mobile location-based

consumer data extends the insights available to

marketers far beyond their traditional CRM tools.”

6 BOXOFFICE ® APRIL 2017


SITO Mobile’s marketing platform provides

access to more than 98 percent of U.S. and Canadian

mobile consumers via more than 200,000

of the most popular apps and feeds approximately

4.5 trillion monthly data points through its machine-learning

algorithms.

CINEPLEX TO ACQUIRE DANDY AMUSEMENTS

INTERNATIONAL

>> Cineplex is acquiring all of the assets of Dandy

Amusements International Inc. Upon completion

of the transaction, Dandy will become part of Cineplex’s

Player One Amusement Group. Financial

terms were not disclosed.

“With Player One, we remain focused on scaling

our U.S. operations through new and existing

customer development, segment expansion, and

strategic mergers and acquisitions like this one,”

said Ellis Jacob, president and CEO, Cineplex.

“Dandy is well-known in the industry as a leading

amusement gaming machine operator in the western

United States, and we are pleased to have them

join our rapidly growing amusement solutions

business. Today’s announcement further strengthens

our ability to service customers on a truly North

American scale.”

Dandy has a client portfolio focusing primarily on

theatrical exhibition and offers a mix of equipment

that is consistent with Player One’s existing product

portfolio. The acquisition adds over 50 employees to

the Player One team, including John Lemieux, who

has been with Dandy for 25 years and who will now

lead western operations for Player One.

“I am very pleased to be selling my business to

a company that is so committed to the amusement

gaming industry, as I believe they will take it to a

new level of excellence,” said Ed Pellegrini, founder

and owner, Dandy Amusements International Inc.

Headquartered in Toronto, Ontario, Player One

Amusement Group employs over 450 people in 21

offices throughout Canada and the United States.

It specializes in solution servicing and design for

theatrical exhibition as well as community-based

entertainment destinations such as bowling centers,

restaurants, arcades, shopping centers, and

water parks.

APRIL 2017 BOXOFFICE ® 7


EXHIBITION BRIEFS

FANDANGO TO

DEBUT FANSHOP

>> Fandango has

announced the debut

this month of Fandango

FanShop (FandangoFanShop.com), its first-ever

online merchandise store, offering a curated collection

of unique and exclusive wearables, collectibles,

experiences, and events tied to theatrical releases

and movie franchises. FanShop’s initial offerings

will feature gear from the highly anticipated movies

Guardians of the Galaxy Vol. 2, Wonder Woman,

Despicable Me 3, and others.

“At Fandango, we are building a digital

ecosystem dedicated to super-serving movie fans

with all of their needs throughout a film’s life

cycle,” said Fandango president Paul Yanover.

“With Fandango FanShop, we will immerse and

activate fans at home and on mobile devices with

new merchandise, experiences, and related content

they’ll want to share, beginning at the first

trailer drop, building excitement for theatrical,

and then extending through the home entertainment

release.”

According to Fandango, FanShop’s merchandise

are handpicked by studios, filmmakers, and fans.

New merchandise and experiences will be introduced

throughout a movie’s life cycle. In the coming

months, FanShop will also feature dedicated

hubs for various franchises.

Fandango plans to promote FanShop throughout

its digital network and connect consumers

directly to the store to peruse and purchase

merchandise. In the near future, fans will be able

to purchase movie tickets and merchandise in the

same transaction on Fandango and buy merchandise

with digital HD movies on FandangoNOW,

the company’s video-on-demand service. Fandango

also plans to offer movie ticket and merchandise

bundles as special promotions, gifts with

purchase, and other events. Some of the movie

ticket bundles will also include promo codes for

merchandise on FanShop.

ECLAIR AND ART HOUSE CONVERGENCE

ANNOUNCE STRATEGIC PARTNERSHIP

>> Eclair, Ymagis Group’s content services business

unit, has announced a strategic alliance with

the Art House Convergence (AHC), the U.S. nonprofit

association in support of independent film

exhibition and distribution. This new alliance was

sealed during AHC’s 10th Anniversary Conference

held just prior to the 2017 Sundance Film Festival.

As part of the alliance, Eclair’s CineConductor

for DCP management and delivery via broadband

network becomes AHC’s preferred “next-generation”

broadband digital cinema services provider

in the U.S. CineConductor was launched at the

AHC’s 2015 event, and over half of the more than

100 cinema venues and two-thirds of the rights

holders attending the 2017 AHC are already

CineConductor users. Cinema venues new to the

service that attended both 2016 and 2017 AHC

events are also entitled to receive additional benefits

with CineConductor.

Terms of the partnership include Eclair’s ongoing

financial support for the AHC Scholarship

Fund, which subsidizes selected cinemas to enable

them to attend the annual conference held in Midway,

Utah, the week leading up to the Sundance

Film Festival. The Art House Convergence annual

conference is presented in participation with the

Sundance Institute Art House Project, a joint program

in support of the indie film exhibition and

distribution community.

NCM AND AMC REACH AGREEMENT ON

CARMIKE MERGER

>> National CineMedia and American

Multi-Cinema (AMC) have reached an agreement

that enables AMC to comply with the Department

of Justice’s (DOJ) Final Order on its acquisition

of Carmike Cinemas, Inc. while reaffirming

the companies’ commitment to their continued

partnership. The DOJ Final Order required AMC

to transfer cinema advertising rights to 17 theaters

from NCM to another cinema advertising provider.

It also required the sale of additional theaters

(many of which were previously Carmike theaters),

which may be sold to any exhibitor including those

that are currently part of the NCM advertising

network (thus the impact on NCM of these sales

is yet to be determined, but at most represents

approximately 1 percent of NCM’s total network).

However, as per AMC’s long-term Exhibitor

Services Agreement (ESA) running through 2037,

NCM will continue to automatically welcome any

new or acquired theaters of the now larger AMC

chain into its network in the future.

“AMC will continue to be a great partner to

NCM, and I am pleased that we both remained

committed to the preservation of the integrity

8 BOXOFFICE ® APRIL 2017


of the ESA throughout this process,” said Andy

England, CEO of National CineMedia. “This

agreement is a win for both of our companies and

our shareholders, and is not expected to have a

material impact on our financial results in 2017.

In fact, we have already signed several new affiliate

partners that more than compensate for any

AMC attendance losses as a result of the settlement

with the DOJ and look forward to welcoming

them to the number one millennial weekend

network in America.”

NCM ADDS AFFILIATE PARTNERS

>> National CineMedia (NCM) has strengthened

its network with the addition of five new affiliate

partners, adding 71 new theaters, 533 screens, and

approximately 20 million attendees to its national

theater network, enabling it to better compete

in the broader premium video marketplace. The

cinema advertising company will welcome Bow

Tie Cinemas, Cinergy Entertainment, Main Street

Theatres, and Megaplex Theatres and expands its

existing partnership with MJR Digital Cinemas.

“While the recent outcome of the DOJ Final

Order regarding AMC’s acquisition of Carmike

resulted in the transfer of 17 theaters with 9.5

million attendees from NCM to another cinema

advertising provider, we have already more than

made up for it with new affiliate partnership

agreements with top theater circuits including

Bow Tie Cinemas, Cinergy Entertainment, and

Main Street Theatres, resulting in the movement

of 54 theaters and 10 million attendees to NCM,

as well as an additional 17 theaters and 10 million

new attendees joining us from Megaplex Theatres,

a major exhibitor which had previously sold their

own national advertising in-house. That’s a total

of 20 million new attendees joining the NCM

network to date in 2017, which is great news for

brands that want to reach these highly engaged and

enthusiastic moviegoers,” said Cliff Marks, president

of NCM. “This expanded national reach and

depth of coverage in key markets like New York,

Dallas, Detroit, Omaha, and Salt Lake City is just

another example of why NCM truly is America’s

Movie Network.” n

APRIL 2017 BOXOFFICE ® 9


EXECUTIVE SUITE

>> It was such an honor to be back at CinemaCon once again last month, joining everyone

in a celebration of the moviegoing experience. The contribution of everyone in the

exhibition community guided us toward another stellar year at the box office.

JOHN FITHIAN

President & CEO

NATO

A GREAT

START TO

THE YEAR

A BILLION-DOLLAR MARCH

SETS THE PACE FOR 2017

MORE CHARTS

ON PAGE 12

by John Fithian

In addition to passionate theater operators,

terrific box office returns also come from delicious

food and beverage service and cutting-edge cinema

technologies. NATO appreciates the support of

the National Association of Concessionaires and

its president, Terry Conlon, as well as the International

Cinema Technology Association and its

president, Michael Archer. Success in the movie

business also depends on exceptional

customer service, like that provided

by hundreds of Cinemark managers

who joined us at CinemaCon this year.

Excellent services and experiences would

mean little, though, without great

movies on the big screen. This year you

saw more product than ever before from

a record-breaking 10 different studios

at CinemaCon. The event would be

nothing without the support of these

companies.

It has been a great start to the year.

Entering 2017, analysts predicted that the first

quarter could not stand up to the same period

in 2016. Then along came unanticipated upsides

from movies like Get Out and Split, long-running

Academy favorites such as Hidden Figures and La

La Land, and predicted smash hits like Beauty and

the Beast, Logan, and LEGO Batman. The industry

has just achieved its first billion-dollar March in

history, and the slate for the rest of the year simply

looks amazing.

The strength of the movie theater industry has

not just been the story of this past year, though—

or the past two, or eight. Despite all the excited

talk about the Internet and streaming disrupting

the movie business, domestic box office has been

on a steady upward path for more than a decade.

There has been disruption in the industry—just

not in the movie theater industry.

In 2001, domestic box office totaled $8.11

billion. Last year, domestic ticket sales brought in

$11.37 billion. In the last 15 years, domestic movie

theaters and their distribution partners have seen

box office revenue increase by 40 percent.

This performance was not only a rebuke to

the idea of disruption—it was in the face of two

recessions, 10 percent unemployment, and a U.S.

median income that is only now returning to the

levels last seen 17 years ago.

Admissions have held steady, fluctuating with

the popularity of the movies we offer in a fairly

narrow but consistent range. At the same time, the

industry has not held still, investing billions of dollars

to completely change our core projection technology,

creating opportunities for new technologies

like 3D, high dynamic range, high frame rates, and

immersive sound. Theaters now offer premium

large-format screens, restaurant and alcohol service,

reserved ticketing, loyalty programs, and ticketing

apps, all while maintaining an average ticket price

that, adjusted for inflation, is lower than the average

ticket price in 1976. (continued on page 14)

$11.12 B

2015

2016 DOMESTIC BOX OFFICE COMPARISON

+2.3%

YEAR-OVER-YEAR

$11.37B

2016

Source: comScore

10 BOXOFFICE ® APRIL 2017


EXECUTIVE SUITE

$38.3B

2015

2016 GLOBAL BOX OFFICE COMPARISON

+1%

YEAR-OVER-YEAR

$38.6B

2016

THE STRENGTH OF THE THEATRICAL EXPERIENCE

$9.29B

2004

DOMESTIC BOX OFFICE

VS

$24.9B

2004

HOME ENTERTAINMENT

$11.37B

2016

DOMESTIC BOX OFFICE

VS

$12.05B

2016

HOME ENTERTAINMENT

Source: DEG, comScore

$2.13

1976

AVERAGE TICKET PRICE

$8.98

1976

IN 2016 DOLLARS

$8.65

2016

55%

of frequent moviegoers

defined as seeing four movies in

theaters over the past two months

–fall into the 18-34 age range

2,000

moviegoers

custom research conducted

by NATO’s Young Members Committee

MILLENNIALS & MOVIEGOING

15.2M

frequent moviegoers

who go to the cinema once a month

or more–in the 18-39 age group.

MILLENNIALS & MOVIEGOING

40%

of millennials

who’ve been to a theater with reclining

seats answered that they go to the

movies more often because of them

16%

increase year-over-year

from 13.1 million frequent millennial

movieqoers in 2015

Source: comScore’s PostTrak

32%

who have experienced

reserved seating

say that they seek out the theatrical

experience more frequently because of

that option. Source: comScore

12 BOXOFFICE ® APRIL 2017


EXECUTIVE SUITE

Strong domestic box office results would not

be possible without NATO’s diverse membership:

from large chains operating in major metropolitan

hubs to independently owned cinemas in small

towns across the country.

A common misconception about our industry

is that millennials aren’t going to the movies. Research

indicates otherwise. According to data from

comScore’s PostTrak in-theater polling, 55 percent

of frequent moviegoers—defined as seeing four

movies in theaters over the past two months—fall

into the 18–34 range. The MPAA defines frequent

moviegoing as once a month or more, and according

to their annual report 15.2 million millennials

showed that level of attendance in 2016—a 15

percent jump from 2015. Millennials are also

responding well to innovations in the theatrical

space. In our own custom survey of 2,000 moviegoers

that was conducted by NATO’s Young Members

Committee, 40 percent of millennials who’ve

been to a theater with reclining seats answered that

they go to the movies more often because of them,

and 32 percent who’ve experienced reserved seating

say that they seek out the theatrical experience

more frequently because of that option.

In terms of audience demographics, we are

seeing that in the United States, Hispanics constitute

the most frequent moviegoers in most years.

comScore’s data for 2016 indicates that Hispanics

made up more than 21 percent of the domestic

moviegoing audience, even though they were less

than 18 percent of the population.

Asian American per capita movie attendance

grew substantially in 2016, from 4.9 to 6.1 times a

year, and Asian Americans substantially over-index

on ticket buying compared to their population.

Similarly, African American per capita attendance

also grew in 2016, from 3.5 to 4.2 times

a year, and African Americans also over-index

compared to their population.

In recent years we’ve stressed how important it

is to have a diverse slate of films in order to achieve

strong box office results. The global nature of our

industry encourages directors from all around the

world to bring their unique visions to major productions.

At CinemaCon, we were able to see plenty

of exciting footage from directors who aren’t from

the United States. We’re already looking forward to

continuing to see their films as we enter the second

quarter of what promises to be a great 2017. n

Hispanics constituted more of the domestic

moviegoing audience even though they make

up less than 18% of the population

21%

MINORITY ATTENDANCE ON THE RISE

Asian American per capita movie attendance

grew substantially in 2016, from 4.9 to

6.1 times a year, and Asian Americans

substantially over-index on ticket buying

compared to their population

4.9

6.1

African American per capita attendance also

grew in 2016, from 3.5 to 4.2 times a year, and

African Americans also over-index compared

to their population

3.5

4.2

Source: MPAA

65,063

SCREENS

7,119

LOCATIONS

GLOBAL CHANGES IN EXHIBITION

91

COUNTRIES

639

COMPANIES

14 BOXOFFICE ® APRIL 2017


LEVERAGING INNOVATION

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

INTERVIEW

WITH BILL

WALKER, COO,

LANDMARK

CINEMAS OF

CANADA

Interview by

Ameesh Paleja,

CEO, Atom Tickets

& Matthew Bakal,

Chairman,

Atom Tickets

>> In this monthly column, Atom Tickets will feature conversations with studios and exhibitors on

their different innovative approaches to marketing movies and the moviegoing experience. This

month, Bill Walker, Landmark Cinemas of Canada’s chief operating officer, shares some insight on

how his circuit has kept up with the surge of innovations across the exhibition industry.

Looking back over the last year, have you

changed your marketing approach to connecting

with customers, and if so, how?

Each year, there seems to be a new marketing

channel that everyone gravitates toward. We take

an always-on-campaign approach across owned

and paid platforms that is balanced across digital

and radio, and, where appropriate, complemented

by outdoor and print. At Landmark, we’re

for movie lovers, and we take a very disciplined

approach in our activations and communication in

an effort to bring this proposition to life. With the

addition of an individual to lead our digital and

social platform strategy, we have increased our investment

within this space, specifically focused on

driving ticket transactions utilizing a mix of tactics

BILL WALKER

16 BOXOFFICE ® APRIL 2017


JACOB BERNSTEIN

Associate Director

In-Theatre Marketing

Jacob.Bernstein@Fox.com

310-FOX-0893

SUSAN COTLIAR

Vice President

In-Theatre Marketing

Susan.Cotliar@Fox.com

310-FOX-0373

SUSANA MENDOZA

Associate Director

In-Theatre Marketing

Susana.Mendoza@Fox.com

310-FOX-0884

FOX IN-THEATRE MARKETING

PABLO RICO

Executive Director

In-Theatre Marketing

Pablo.Rico@Fox.com

310-FOX-4582

SARAH RESNIKOFF

Associate Director

In-Theatre Marketing

Sarah.Resnikoff@Fox.com

310-FOX-4164

AKIRA EGAWA

Director

In-Theatre Marketing

Akira.Egawa@Fox.com

310-FOX-0885

DARLENE ELSON

Director, Canada

In-Theatre Marketing

Darlene.Elson@Fox.com

416-515-3359

JACQUELINE PEHA

Associate Manager

In-Theatre Marketing

Jacqueline.Peha@Fox.com

310-FOX-1677

SAM YONACK

Executive Assistant

In-Theatre Marketing

Samuel.Yonack@Fox.com

310-FOX-1696

Visit us at FoxInTheatre.com

TM & © 2017 Twentieth Century Fox Film Corporation. All Rights Reserved.

@foxintheatremarketing @foxintheatre @foxintheatre


LEVERAGING INNOVATION

RESERVE, RECLINE, RELAX

Landmark’s seating renovations have

resulted in increased revenues, and

patrons voiced their enthusiasm for

the premium experience: “This was

our first time at Landmark Cinemas

and you have ruined other venues

for me. Those chairs are amazing!”

centering on organic, social, and paid content marketing.

A component of our digital strategy was the

launch of a new website in February of 2017, a site

specifically designed to serve as an all-encompassing

destination for movie lovers and to provide us

with more user intelligence to inform decisions for

future campaigns, and the ability to reward these

users based on specific pre-set behaviors. And, we

are also actively working with our studio partners

and leading consumer brands in an effort to create

new and compelling reasons to get to the movies,

or extend the reach of existing campaigns. Regardless

of the execution, as a smaller exhibitor with

limited resources we are extremely focused on the

consistency of our communication and measuring

our results so that we are in position to continuously

adjust our creative and media spends in an

effort to optimize our investment.

How have emerging technologies—social

media, mobile apps, VR—changed the way you

communicate with customers?

The increasing availability of tracking and

measurement tools provided via social and marketing

platforms is the driving factor behind our

marketing initiatives. Putting conversion—whether

it is related to a direct transaction, engagement

or specific action taken—at the forefront of all our

metrics is enabling us to identify what messaging,

creative set, content types, and demographics engage

best with our brand. We leverage this intelligence

to cater our messaging and focus our spend

on the channels that provide optimal impact.

You have been renovating your theaters with

recliners. What changes have you noticed? Will

you continue to renovate more theaters?

Since our first conversion in July of 2015, the

box office and total revenue increases have been

remarkable, and these results have continued to

exceed our expectations. With four locations now

complete and seven scheduled for 2017, we are

fully committed to the recliner experience. We are

fortunate to have several locations with an occupancy

and competitive profile that are well suited

for recliner conversions. The model will not work

in every location, so we are diligent in selecting

locations that will provide the opportunity for

continued growth after the seating reduction. We

are seeing guests spend more at concessions, spill

over into other titles when their preferred film is

sold out, and plan early or adapt plans around

when seating is available. The premium experience

of recliners without the premium price, combined

with free reserved seating, is a powerful consumer

proposition and has allowed us to achieve occupancy

rates we never thought possible.

Over the last year, which avenues do you see

customers using to purchase tickets?

We are seeing tremendous growth in digital

ticketing, augmented by the implementation of free

reserved seating in several traditional locations and

all our recliner locations. In our reserved seating

and recliner locations, customers are two to three

times more likely to purchase tickets digitally, in

advance. In March of 2016 we launched Atom

Tickets in all our locations, which was a timely

addition for us. The growth in this app-based sales

channel seemed to be truly incremental to our previous

digital ticketing. The user experience in Atom

is a game changer—once users convert, I cannot see

a customer buying any other way.

Have you noticed any trend as it pertains to

concessions orders? Has it impacted the combos

you offer and concessions you sell?

We are focused on a perfect execution of the

core movie theater concessions experience—steak

is great, but not in the dark. The foundation of

our concession strategy is customization, or as

we like to say, “Just Say Yes,” that provides movie

lovers with the opportunity to personalize their

concession combo through upsizing, choice of

candy, and complementary add-ons. This strategy

continues to drive strong SPH growth, and the

introduction of Atom’s pre-order concession

module and its seamless consumer interface,

combined with the opportunity to skip the

concession line, has only served to enhance our

guests’ concession experience and improve our

financial performance. n

18 BOXOFFICE ® APRIL 2017


CHARITY SPOTLIGHT

Compiled by Erica Lopez, Executive Director, Variety – The Children’s Charity of the United States

VARIETY OF IOWA

Telethon

The Telethon is an entertainment

showcase that serves as Variety Iowa’s

largest fund-raiser. Broadcast on We

Are Local 5 from the Community

Choice Credit Union Convention

Center, Variety of Iowa’s 2017 Telethon

raised $4,162,143 for Iowa Kids.

Main attractions included the Variety

cast, more than 200 Very Interested

Persons (VIPs) and thousands of

volunteers!

VARIETY OF WISCONSIN

Variety Teen X Adaptive Rock Climbing

This afternoon at Adventure Rock provided an experience for teens to go adaptive rock

climbing. Adventure Rock Climbing Gym provided excellent volunteers, instruction,

adaptive gear, plenty of encouragement, and a cool community to help the teens reach

new heights.

VARIETY OF SOUTHERN

CALIFORNIA

Day at the Races

This event first started in 1998 as a way for

members and prospective members to enjoy

an afternoon with friends and colleagues.

On March 16 over 375 people came out to

Santa Anita Park to support Variety SoCal

and its 2017 Honoree, Dean Gordon (left),

Senior VP Sales, Western Division, The

Walt Disney Studios. This year’s event was

the highest-grossing ever, and all proceeds

support SoCal kids with special needs.

20 BOXOFFICE ® APRIL 2017


VARIETY OF NEW YORK’S

BET WITH HEART – A

CASINO CABARET FUND-

RAISER

April 5; 6 p.m.–10 p.m.

bit.ly/2ny7zRp

The Copacabana at 260

West 47th St., New York, NY

10036

Join Variety of New

York at this rooftop oasis

overlooking the streets

of New York City for an

evening of casino cabaret,

including open bar, food,

live cabaret performances,

and gaming.

UPCOMING EVENTS

VARIETY OF IOWA’S

SAVOR DES MOINES

April 29

State Historical Museum

bit.ly/2nnCPUn

An evening of culinary

sampling featuring appetizers

and cocktails from the best

restaurants in Greater Des

Moines. All proceeds benefit

Variety – the Children’s

Charity of Iowa. Savor Des

Moines is held at the State

Historical Museum, 600 E.

Locust Street. In addition

to sampling, the evening

includes a DJ, gift card tree,

and a raffle. Tickets are $40

in advance, $50 at the door.

This covers unlimited food

and drink samples all night.

VARIETY OF NEW YORK’S

OPEN YOUR HEART – A

YOUNG VARIETY FUND-

RAISER

May 6; 9 p.m.–12 a.m.

The Brooklyn Brewery at

79 N 11th St., Brooklyn, NY

11249

www.varietyny.org

Young Variety invites you

to join them at their third

annual Open Your Heart

Fund-Raiser at the Brooklyn

Brewery. Join the young

professional’s group for a

night of open beer bar, food

trucks, DJ, photo booth

fun, and incredible raffle

prizes.

VARIETY OF

WISCONSIN’S SPRING

GOLF CLASSIC AT

WESTERN LAKES

May 17; 11:30 a.m.

Shotgun Start

Western Lakes Golf Club,

Pewaukee, WI

Join Variety - the Children’s

Charity of Wisconsin as

we kick off the 2017 golf

season! E-mail contact@

varietywi.org to request a

registration brochure.

APRIL 2017 BOXOFFICE ® 21


EVENT CINEMA

ECA CONFERENCE 2017

THE AWARD WINNERS

A LOOK BACK AT THE AWARD RECIPIENTS FROM THIS YEAR’S

EVENT CINEMA ASSOCIATION CONFERENCE

by Melissa Cogavin

>> The ECA Conference is a golden opportunity

for the event cinema industry worldwide to gather at

the prestigious QEII Centre in Westminster, London,

opposite the Houses of Parliament, on an annual basis.

In this building more than 250 players in the industry

from over 20 territories worldwide meet to hear presentations,

exchange best practice, and engage in debate,

showcasing their upcoming releases and networking

with the best in the business. We also recognize excellence

across all areas in our acclaimed ECA Awards,

with medals awarded to high grosses at the box office,

excellence in exhibition, distribution, and outstanding

contribution to the event cinema industry. The

conference has become a high point in the sector and

a vital chance to catch up with old friends and make

new contacts, especially at the end of the day, when

we convene to an old-fashioned London pub and relax

over a pint of something warm and flat, and for those

who find that British tradition unappealing, a glass of

something cold and sparkling—either way a great end

to a very enjoyable day and a great start to the event

cinema season.

It’s easy to be flippant about what we have

achieved as a sector, but really, 10 years is nothing

in the film industry, which is in a pretty comfortable

place right now at over 100 years old and counting.

The Internet predates the event cinema industry by

only around 10 years—amazing considering how

reliant we are on it today.

We live in uncertain times, when the merit of

diversity is being questioned all over the world; no one

knows what the future really holds. In an era of rolling

news, the constant dramatic headlines are almost too

much to take at the moment. In total contrast, however,

the event cinema world continues to embrace diversity

in all its forms, and I am delighted to say that the Event

Cinema Association welcomed 50 new members this

year. We now have 170 members from 35 territories

around the world, from all kinds of businesses, and the

individuals behind them are all similarly captivated by

the potential and possibility of event cinema; it is still a

very exciting place to be.

The Event Cinema Association turns five years old

this year, and it’s been quite a roller-coaster ride, but

in the best way, it’s been an incredible experience for

all concerned—I am sure our board would agree. Our

mission remains the same: to support and promote

event cinema and those involved in it, and there is still

much to do..

With this in mind, I’d like to share the award winners

of our 2017 ECA Conference beginning on page 24. >>

22 BOXOFFICE ® APRIL 2017


EVENT CINEMA

EVENT CINEMA CONFERENCE

2017 BOX OFFICE AWARDS

GOLD AWARD

500K+ ADMISSIONS

DRAGON BALL Z:

RESURRECTION ‘F’

FUNIMATION, USA

Dame Judi Dench as Paulina in

William Shakespeare’s The Winter’s

Tale, a Silver Award winner

PHOTO: KENNETH BRANAGH THEATRE COMPANY

SILVER AWARD

250K+ ADMISSIONS

BATMAN: THE KILLING JOKE

FATHOM EVENTS, USA

DRAGON BALL Z: RESURRECTION ‘F’

FATHOM EVENTS, USA

BRANAGH THEATRE LIVE:

THE WINTER’S TALE

PICTUREHOUSE ENTERTAINMENT, UK

ROGER WATERS: THE WALL

PICTUREHOUSE ENTERTAINMENT, UK

BRONZE AWARD

100K+ ADMISSIONS

THE IMPRESSIONISTS –

AND THE MAN WHO MADE THEM

EXHIBITION ON SCREEN, UK

BBC SHERLOCK HOLMES

SEASON FOUR FINALE

FATHOM EVENTS, USA

ATTACK ON TITAN

LIVE ACTION MOVIES

FUNIMATION, USA

SHIN GODZILLA

FUNIMATION, USA

ANDRE RIEU 2015

MAASTRICHT CONCERT

CINEMALIVE, UK/AUSTRALIA

ANDRE RIEU 2016

MAASTRICHT CONCERT

CINEMALIVE, UK/AUSTRALIA

ANDRE RIEU CHRISTMAS

WITH ANDREW

CINEMALIVE, UK/AUSTRALIA

EMBRACE

GATHR, USA

THE IMPORTANCE OF BEING EARNEST

MORE2SCREEN, UK

THE ROLLING STONES HAVANA MOON

MUSICSCREEN, UK

ONE MORE TIME WITH FEELING

PICTUREHOUSE ENTERTAINMENT, UK

24 BOXOFFICE ® APRIL 2017


EXCELLENCE IN EXHIBITION

AWARDS

BEST CINEMA CHAIN

INTERNATIONAL

Event Cinemas, Australia

AMERICAS

Cineplex, Canada

EUROPE

Odeon, UK

BEST INDEPENDENT CINEMA

INTERNATIONAL

Bioscope Cinemas, South Africa

AMERICAS

Silverspot Theatres, USA

EUROPE

Olympic Studios, UK

EXCELLENCE IN

PROGRAMMING

BEST CONTENT PROVIDER

INTERNATIONAL

MusicScreen

AMERICAS

The Metropolitan Opera, USA

EUROPE

Royal Opera House, UK

BEST DISTRIBUTOR

INTERNATIONAL

Sharmill Films, Australia

AMERICAS

Fathom Events, USA

EUROPE

Picturehouse Entertainment, UK

OUTSTANDING CONTRIBUTIONS

TO EVENT CINEMA

CHAMPIONS OF THE SECTOR

Marc Allenby

Picturehouse Entertainment, UK

Rickard Gramfors

Folkets Hus och Parker, Sweden

APRIL 2017 BOXOFFICE ® 25


EXHIBITOR MARKETING

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

MORE SCREENS,

BIGGER AUDIENCES

GOODRICH QUALITY THEATERS TACKLES DIGITAL

TICKETING AS CIRCUIT EXPANDS

by James Devin, Chief Marketing Officer

Webedia Entertainment

>> Last month we took a look at the various digital ticketing

options available to exhibitors from a marketing perspective, and

I invited you all to share your points of view. Loyal Boxoffice

reader Kelly Nash, director of marketing for Goodrich Quality

Theaters, found some time in between preparing for CinemaCon

and opening a beautiful new location to share some thoughts

with us. (More on the new cinema in a moment!)

How has ticketing referral impacted your business?

We integrated the Google referral link with Webedia at the

end of January 2017, and looking from month to month, our

data show us a 15 percent migration in ticket sales from the

third-party platform move to our ticketing platform.

It will be important to continue to brand Goodrich Quality

Theaters (GQT) in-theater and online so customers recognize

our online platform as their choice to purchase tickets. In many

of our small towns and markets, our theater name lacks our

brand presence. Our theater names are simply named after cities

such as Hastings 4 or Savoy 16 IMAX. We look to make 2017 a

year to focus on brand reputation across many channels including

Google, Social, Yelp, and more.

Have you seen any correlation between loyalty club members

and digital ticketing purchases?

Our loyalty members are already heavily buying tickets on our

platforms (online or mobile app), but we did see a small percentage

migration month to month of 6 percent from third party to

our online ticketing platform.

As a marketer, what strategies have you employed to increase

digital ticket sales?

We ran a very successful mobile app promotion last holiday

where our loyalty members did not pay service fees when they

purchased tickets through our app. Our goals were to increase

mobile app downloads, acquire new loyalty members, and encourage

our members to purchase tickets at GQT. App download

growth month to month was up 20 percent. Ticket purchases

through the app were up 300 percent. Loyalty acquisition was up

200 percent.

Now, about that new theater ...

The newest addition to the family of Goodrich Quality Theaters

is the Riverview 14 GDX. It is packed with everything the

modern moviegoer could ask for, including: “FEATURES” their

gastro-pub restaurant and bar developed by celebrity chef Brian

Duffy, stadium seating, Dolby ATMOS, 2 PLF auditoriums,

reserved seating—the list goes on and on.

The investment is already showing incredible returns as

noted by Nash. “Riverview 14 GDX opened Thursday, March

17 just in time for Disney’s Beauty and the Beast premiere.

Opening weekend was amazing and beyond our best expectations.

We opened our doors merely two hours after government

approvals with nearly 1,300 tickets sold in the first two

hours. Overall, we sold more than 10,000 tickets opening

weekend, which we think is outstanding given many moviegoers

had already purchased their Beauty and the Beast tickets at

other theaters in advance.”

Congratulations to the team at Goodrich Quality Theaters,

and best of luck! n

EXECUTIVE PROFILE

Kelly Nash is the director of marketing for Goodrich

Quality Theaters, a theater chain with 31 locations in 5

states with 288 screens. She is based in Grand Rapids,

Michigan, and carries over 20 years of exhibition experience

along with a passion for cinema and an appetite

for fresh buttered popcorn.

26 BOXOFFICE ® APRIL 2017


Advertorial

Meet Dan Jamele.

The Man Behind MediaMation’s “theatre-to-arena”

eSports Initiative.

Known as “the man behind the MX4D ® theatre”, Jamele and his MediaMation

technical team continues to explore ingenious ways to offer revenue-generating,

MX4D ® EFX theatre capabilities to worldwide cinema chains.

MediaMation has gained acceptance throughout the global cinema community for its

American-made, immersive MX4D ® EFX theatre and attraction technologies -

designed for cinema chains, themed attractions and retail entertainment venues.

Dan Jamele: CEO

MediaMation, Inc.

FACTS

Founded 1991

Head-quartered in Los Angeles

Products manufactured in USA

MX4D ® worldwide theatre

installations in 25+ countries

20,000 MX4D ® EFX seats

in use around the globe

150+ MX4D ® EFX Theatre

installations worldwide

Global installation team

US-based customer support

Partnerships with major

Hollywood studios

- Dan Jamele

So what’s next...

Dan Jamele, CEO MediaMation:

eSports! MediaMation has created a new and

immersive “theatre-to-arena” eSports initiative.

MediaMation designs, engineers and installs

ultra-modern, modular eSports destination -

temporarily converting theatre space into a

full-scale, eSports tournament environment (then

back to theatre space!). The goal is to offer a

professional and immersive environment for

spectating while the audience “feels” the gaming

action in their MX4D ® theatre seat.

MMI: Is it true that you are planning to build the

world’s first MX4D immersive spectating

eSports theatre?

DJ: True! MediaMation has recently partnered with

the world-famous, TCL Chinese Theatre in

Hollywood. Soon we are starting construction of

MediaMation‘s first hybrid MX4D ® eSports Theatre.

MMI: Why is MediaMation getting into the

eSports space?

DJ: It just made sense for MediaMation to be in

the eSports space. The MX4D ® theatre-to-arena

initiative is immersive spectating at its’ very best!

We have a worldwide network of theatres already

outfitted with MX4D ® motion seats, 4D EFX and

animated lighting. MediaMation has adopted its

MX4D ® technology to coincide with the on-screen

gaming action of an eSports tournament.

MMI: eSports as a spectator sport?

DJ: I envision eSports to be the ultimate

immersive spectating experience - this is where

MX4D ® theatre seating technology comes in. The

number of worldwide eSports enthusiasts is

predicted to reach 145 million in 2017 [fig 1].

Competitive eSports has evolved into an

arena-based and online spectator sport; with as

many viewers as American football.

MMI: What are the future projections for

eSports?

DJ: My research shows that eSports has been

experiencing double-digit growth for several years.

The eSports global community is currently

148 million strong. The League of Legends

championship, in 2016, drew 36 million fans.

That's more than the NBA Finals!

MMI: What is your prediction for the eSports

industry?

DJ: Much of the eSports explosion is due to the

increased coverage that the market is receiving.

The passion for eSports competition is real and

the numbers are growing.

MMI: What’s in it for cinema chains or

entertainment complexes to feature eSports

tournaments at their facilities?

DJ: The draw of eSports tournaments is almost

guaranteed to increase the frequency of cinema

visits.

Cinema chains that partner with MediaMation

will enjoy a new revenue stream through the

MX4D ® “theatre-to-arena” eSports initiative.

MMI: What if a cinema owner is interested in

contacting you for more information about

your MX4D ® “theatre-to-arena” eSports

initiative?

DJ: I encourage anyone that is curious about

how this eSports initiative works to contact our

eSports sales team at (310) 320-0696 or email

sales@mediamation.com.

Fig 1: Source: Newzoo’s Global eSports Audience

Share this information with a colleague. Visit MX-4D.com/eSports

© 2017 MediaMation, Inc. All Rights Reserved

Visit MediaMation at E3 L.A. Booth 3233

MX-4D.com


CONCESSIONS STAND

THE

GOLD

STANDARD

JAMES ADAM BROWNING

NAMED PRESIDENT OF

GOLD MEDAL PRODUCTS

JAMES ADAM BROWNING

“This is a pivotal time in Gold

Medal’s history. We are fortunate

to have an extremely talented and

dedicated team. It is exciting to

consider all of the opportunities

before us, as what we do right

now will lay the foundation for

celebrating our 100th year in

business.”

by Daniel Loria

>> It has been a memorable decade for

James Adam Browning at Gold Medal

Products. The executive joined the company

in 2010, most recently ascending

to the posts of executive vice president

and general counsel before being named

as the company’s president in March.

Browning’s contributions have covered a

range of areas: from legal and compliance

issues to implementing operational efficiency

policies in order to boost productivity

and profitability.

Gold Medal CEO and chairman,

Dan Kroeger, offered his endorsement of the new

appointment: “Adam has demonstrated outstanding

leadership during his time at Gold Medal. His

knowledge, experience, and work ethic will be of

great benefit to guide our company’s journey into

the future of the concessions industry.”

Boxoffice caught up with Browning days before

CinemaCon to get his first reactions to the new role.

Congratulations on the new post. What do

you find most interesting about the challenges

ahead?

Thank you. I’m very excited and humbled by the

opportunity. Two things I’m most looking forward

to are continuing to grow Gold Medal’s reputation

as the leader in the concessions industry and

reimagining our equipment and food products in

a way that innovates, resulting in a better customer

experience. When I started at Gold Medal, I quickly

recognized that this is a relationship business, and

in order to build strong relationships you had to

build trust. We do that by delivering value with our

products, being easy to work with, and by focusing

on customer service. My goal is to not merely

“maintain” but to find ways to improve, strengthen

existing relationships, and build new ones. I’m also

looking forward to increasing our focus on new

product development and innovation. Customers

count on us to deliver new and exciting products

with features that improve user interaction, enhance

customer experiences, and grow the category. Gold

Medal has always been known for this, and I will

continue to make it a top priority.

How does Gold Medal stand out in such a

competitive marketplace?

I think it’s simple: we sell the best products at

a competitive price. We keep the focus of our customer

experience on delivering quality service and

prompt responsiveness. In this market, it’s important

to have fun too. We really enjoy what we do,

and that approach makes all the difference.

Popcorn is a cornerstone throughout many

entertainment venues. What does theatrical

exhibition represent for your business?

Popcorn is closely interwoven into the theater experience.

Given Gold Medal’s history and our focus

on popcorn, our relationships with theaters really

mean everything to us. We take great pride in it as a

showcase of our equipment and products and what

they can do for both the theaters and their customers.

For decades we have worked tirelessly with our

cinema partners to grow this aspect of their business

and improve the overall moviegoing experience, and

we’ll continue to do so.

Can you tell us a bit about the Gold Medal

presence at CinemaCon this year?

We always enjoy our time at CinemaCon and

appreciate the opportunity to showcase some of the

newest trends in the industry. This year we featured

gourmet popcorn. As one of the fastest-growing

snacking trends, it represents the next growth

opportunity for movie theaters. Also on display was

the PopClean Elite Series. These poppers are designed

for high-volume theaters and contain one of

the most advanced filtration systems available. Our

new bulk nacho cabinet was also well-received. Plus,

guests enjoyed taste testing, as we introduced many

new flavors and food concepts. n

28 BOXOFFICE ® APRIL 2017


TECHNOLOGY

ATMOS IN THE MIDDLE EAST

The 22-screen Reel Cinemas at The

Dubai Mall is the largest of its kind

in the region. The megaplex features

four Platinum Movie Suites, offering

the ultimate in cinema luxury, and

17 commercial halls, including the

first THX-certified cinema in Dubai.

“Dolby looks forward to working

with Reel Cinemas to bring Dolby

Atmos to movie lovers all over the

Middle East.” –Friedrich Deininger,

Dolby Laboratories

DOLBY ATMOS HITS MORE MILESTONES

WORLDWIDE

>> Dolby Atmos hit the 1,000-auditorium mark

in Asia Pacific this month, pushed by a surge of

multiplex-wide installations across the region.

“Ever since the debut of Dolby Atmos we’ve

seen tremendous passion in Asia Pacific from

both the industry and moviegoers embracing the

state-of-the-art sound format,” said Doug Darrow,

senior vice president, Cinema Business Group,

Dolby Laboratories. “Dolby has a significant

footprint in Asia Pacific, with Dolby Atmos now

available in 18 markets, and we look forward to

continuing our steady rollout with new and existing

exhibitor partners.”

Dolby Atmos also reached a benchmark in Russia,

installing its 100th screen in the market at the Kolizey

cinema in Kirov. The format has proved popular for

local productions; to date, 10 Russian movies have

been released using Dolby’s immersive audio offering.

In the Middle East, Dolby saw additional

Atmos adoption with the addition of the Reel

Cinemas circuit, the cinema brand of Emaar

Entertainment.

“Dolby looks forward to working with Reel Cinemas

to bring Dolby Atmos to movie lovers all over

the Middle East,” said Friedrich Deininger, senior

director of cinema, Dolby Laboratories. With Dolby

Atmos, the audience is no longer just watching a

movie; they are experiencing it, and we are confident

that moviegoers will continue to seek out the extraordinary

experience that only Dolby Atmos delivers.”

Reel Cinemas will also deploy Dolby’s latest

SLS loudspeaker, including the new SLS 3-Axis

Speaker MA390C, making it the first to install

the system across an entire cinema circuit. The

installation will be one of the largest rollouts of

Dolby Atmos screens by any multiplex chain in the

Middle East.

“Reel Cinemas aims to deliver the most revolutionary

and state-of-the-art technologies for our

guests; this collaboration with Dolby means that

cinemagoers can feel fully immersed in the story

unfolding on screen,” said Adon Quinn, senior

director, Reel Cinemas—a subsidiary of Emaar Entertainment.

“Reel Cinemas will become the first

cinema chain in the world to have Dolby Atmos

with SLS loudspeakers across our entire portfolio, a

testament to our commitment to offering the very

best experiences for cinemagoers.”

Overall, Dolby Atmos is present in more than

2,700 screens (installs and committed) in more

than 75 countries.

4DX REACHES RIO

>> 4DX just added another global hub to its portfolio

of theaters, signing an agreement with Brazil’s

UCI Cinemas to bring its immersive seating technology

to Brazil’s top-grossing theater: UCI’s New

York City Center in Rio de Janeiro. The location

will be 4DX’s seventh in Brazil. The company

currently features its immersive seats in more than

370 auditoriums in 47 countries.

Boasting 18 screens, UCI New York City

Center is the top box office generator in Brazil,

with $7.6 million in revenue from 2016 on total

admissions of 1.6 million. The new auditorium

is equipped with 112 seats and will feature a new

“rainstorm” effect that combines the feel of strong

winds with raindrops, creating swirls of storms

above viewers’ heads.

“This agreement between CJ 4DPLEX Americas

and UCI Cinemas is only the latest part of

our strategy to aggressively expand the 4DX footprint

throughout South America, particularly in

Brazil, where 4DX has already seen success across

six existing auditoriums,” said Byung-Hwan

Choi, CEO of CJ 4DPLEX. “The largest cinema

complex in the country is the optimal location for

the first 4DX auditorium in the city and state of

Rio de Janeiro, and we look forward to a mutually

beneficial partnership.”

“4DX has proven itself as the leading immersive

cinema technology that is quickly rolling

out around the world, and we are committed to

bringing our customers the optimal, highest-quality

moviegoing experience and focusing on bringing

innovation to our locations,” said Carlos Marin,

managing director of UCI Brazil, which overall

30 BOXOFFICE ® APRIL 2017


oasts 23 sites throughout 12 different states in

Brazil, accounting for nearly $70 million at the box

office last year. “We are confident that 4DX will

enhance the UCI New York City Center and are

excited to unveil the auditorium to our patrons.”

CINEMARK ADDS D-BOX RECLINERS

>> The recliner trend has now extended to immersive-seating

options in the United States. Cinemark

has agreed to install the first D-BOX recliner seats

in the country, slated for an auditorium in Albuquerque,

New Mexico, with an additional location

to be determined in the future. The D-BOX

motion recliners are equipped with extendable foot

rests and patented individual motion controls to

create a highly personalized, totally comfortable,

and immersive experience.

“This announcement comes at an opportune

time in the market as the trend towards luxury

recliners kicks into overdrive,” said Claude Mc

Master, president and chief executive officer of

D-BOX. “Our innovative motion technology,

turnkey installation, and individual motion controls

are a great fit for exhibitors who want to capitalize

on the high consumer interest in a unique

premium luxury experience.”

“We’ve had great success with D-BOX to date

and are pleased to expand our partnership further

with the installation of the first recliner motion

seat, said Mark Zoradi, Cinemark’s chief executive

officer. “With our continued focus on enhancing

the guest experience, we are thrilled to offer our

loyal guests in Albuquerque the opportunity to be

among the first to experience the motion technology

in a recliner format.”

IMAX REVS UP VR ACTIVITIES IN 2017

>> IMAX and Warner Bros. Home Entertainment

have announced a new virtual reality co-financing

and production agreement to develop and release

three premium interactive VR experiences based

on some of Warner Bros. Pictures’ most highly

anticipated upcoming blockbuster films, including

Justice League, Aquaman, and a third experience

that has yet to be announced. The companies plan

to launch one experience each year—beginning

MOTION OF THE OCEAN

Aquaman hits screens in late 2018

and will include an IMAX/WB VR

experience.

“It’s fitting that with IMAX and

Warner Bros.’ shared history of

launching Hollywood movies in

IMAX theaters, today we’re entering

into our first studio deal to bring

VR to the multiplex.” –Richard L.

Gelfond, IMAX

APRIL 2017 BOXOFFICE ® 31


TECHNOLOGY

WE ARE EXCITED TO

BE PARTNERING WITH

IMAX TO DEVELOP AND

DELIVER PREMIUM

VR EXPERIENCES,

AND BELIEVE THAT

CAPITALIZING ON

JUSTICE LEAGUE

AND AQUAMAN

CHARACTERS FROM

OUR WELL-KNOWN

DC PROPERTIES

WILL BROADEN THE

APPEAL OF THIS FAST-

GROWING TECHNOLOGY

with Justice League VR in late 2017—with all to

receive an exclusive window in IMAX VR centers

before being made available to other VR platforms,

including in-home and mobile offerings.

“It’s fitting that with IMAX and Warner Bros.’

shared history of launching Hollywood movies in

IMAX theaters, today we’re entering into our first

studio deal to bring VR to the multiplex,” said

IMAX Corp. CEO Richard L. Gelfond. “A key

component of our vision for VR is to help usher

in the first wave of high-end blockbuster-based

content. Justice League and Aquaman feature some

of the most beloved characters on the planet,

providing iconic properties to launch this effort.

This type of premium content will introduce

audiences to virtual reality in stand-alone and

multiplex-based IMAX VR centers as well as

other platforms.”

“We are excited to be partnering with IMAX

to develop and deliver premium VR experiences,

and believe that capitalizing on Justice League

and Aquaman characters from our well-known

DC properties will broaden the appeal of this

fast-growing technology,” said Ron Sanders, president,

Warner Bros. Worldwide Home Entertainment

Distribution. “Using content and characters

from these upcoming films and incorporating

creative direction from some of Hollywood’s most

innovative filmmakers will help us to bring a

groundbreaking experience to audiences and consumers

who are hungry for a cutting-edge virtual

reality experience.”

IMAX launched its flagship pilot IMAX VR

Center in Los Angeles in January and is set to open

five additional centers in New York City, California,

the UK, and Shanghai in the coming few

months. IMAX plans to use these pilot locations to

test several factors including the overall customer

experience, pricing models, and the types of content

featured. If successful, the intent is to roll out

the concept globally to select multiplexes as well as

commercial locations such as shopping centers and

tourist destinations.

The $50 million IMAX VR Fund, which

was announced at the end of 2016, brings together

leaders from the media, entertainment,

and technology sectors to aid in the creation of

high-quality VR content that can be leveraged

across the burgeoning VR industry. The fund will

help finance the creation of roughly 25 interactive

VR content experiences over the next three years—

targeting premium event-style productions with

its Hollywood studio and filmmaker partners that

complement IMAX’s film slate, as well as gaming

publishers and other leading content developers.

The centers, which will be located in multiplexes,

malls, and other commercial and stand-alone

destinations, employ a new modular design—proprietary

to IMAX—that consists of several “pods”

to allow multiple players to enjoy interactive,

exciting, moveable VR experiences. The pods,

which are designed to optimize user mobility and

interaction in virtual environments, can be adapted

for specific content experiences—whether singleor

multiplayer.

ALCONS TACKLES DOME INSTALLATION AT

CAPERTON PLANETARIUM & THEATER

VR DELVES INTO IMMERSIVE AUDIO TREND

>> As immersive sound continues to gain traction

in auditoriums around the world, G’Audio Lab, an

audio software company, is committed to ensuring

VR content can match its capabilities. “We

specialize in sound for virtual reality content. With

the rise of VR, right now they use primarily stereophonic

sound with only two channels,” said Karly

Choi, the company’s marketing director, referring

to the audio constraints of VR that prevent it from

becoming a more fully immersive experience.

“We build a software tool so audio engineers can

play sound in a 3D environment by attaching the

soundtrack to each moving object. Thereby, when

it’s rendered, the sound matches with the visuals as

a user’s head changes direction.”

Despite the fact that G’Audio is focusing on

the motion picture, live streaming, and video

game sectors, it is important to note that this

technology only applies to VR headsets and

would not compete directly with auditorium

immersive sound systems from companies like

Barco or Dolby. In fact, the role of the technology

at a movie theater would most likely be applied

outside feature films themselves. “I attended

both the Sundance and South by Southwest film

festivals, and the general trend that I’ve noticed

is that VR is not competing with movie theaters,

but can work as a complementary revenue-generating

force,” said Choi. Tie-in content, either

through VR 360 degree videos or video games,

has emerged as a compelling possibility for these

VR products. n

32 BOXOFFICE ® APRIL 2017


CHINESE MARKET

Spanning 14 years from first draft to enactment,

China’s first-ever film promotion law

went into effect on March 1, 2017. Many in the

industry lauded the long-awaited law, hoping

it would finally eliminate nefarious business

practices like box office fraud, but some,

including Hollywood studios, have questioned

the overtly protectionist language in its articles.

Below, we look at five things you should

know about China’s new film promotion law.

1. Domestic Industry Protection

The most direct impact on a Chinese

exhibitor’s profit-making ability is Article

29’s stipulation that “the screening time for

domestic films must not be less than twothirds

of the total screening time for all

films.” In other words, exhibitors are now

required by law to play more local-language

films than imported films even if it

affects their bottom lines. The article has

come under fire from both domestic and

foreign observers who believe this kind

of strict requirement will undermine the

laws of the market and isn’t conducive to

healthy market development.

2. Simplified Censorship Process;

Decreased Threshold to Market Entry

A screenplay will no longer be subject

to approval if the film deals with “general”

themes. For such films it will only

NEW RULES

FILM PRODUCTION LAW

MARKS THE FIRST CHAPTER

OF HOLLYWOOD AND CHINA’S

COLLABORATION

by Jonathan Papish

be necessary to file a synopsis. A screenplay

review is still required for movies

with “special” themes, that is, those that

“involve subject matters such as national

security, ethnicities, religion, and military

affairs.” The film promotion law also

abolishes pre-production licenses, making

it easier for individual producers and small

companies to enter the market.

3. Increased Penalties for Box Office

Manipulation

In recent years, several highly publicized

box office fraud cases have highlighted

the need for stricter laws to prevent

similar activity. For those exhibitors and/or

distributors falsifying transactions or falsely

reporting box office receipts, the film

promotion law allows the relevant film department

to “confiscate unlawful gains and

give a fine of between RMB 50,000 and

500,000.” In serious cases, the business is

required to halt operation until corrections

are made, and in extreme cases companies

may lose their licenses to operate.

4. “Promote Core Socialist Values”

Drug and sex scandals have enveloped

several popular Chinese performers over

the past decade, and authorities were keen

on promoting a squeaky-clean image of its

entertainment industry. For the first time

under Chinese law, cast and crew will now

be required to “uphold both virtue and art,

respect social morality, abide by professional

ethics, strengthen self-discipline,

and establish a positive social image.”

Furthermore, films from local companies

working with foreign entities on

co-productions must not contain content

deemed “harmful to the nation’s dignity,

honor, or interests, or that are harmful to

social stability.”

5. No Release Permit, No Public

Screenings

All films are required to obtain an

official film release permit, even those

intended to screen on the Internet or in

international film festivals. This new article

could affect China’s standing on the international

film circuit, where auteurs like Jia

Zhangke have been able to thrive abroad

without receiving public release permits for

their films at home. n

NEWS FROM THE CHINESE MARKET

WARNER BROS. OPENS NEW OFFICE IN CHINA

Warner Bros. opened a new office in Beijing to “house the company’s

film, television, home entertainment, games, and corporate

teams,” the studio said in a statement.

The opening was attended by Warner Bros. chairman and CEO

Kevin Tsujihara; executive vice president, international, Richard

Fox; and executive vice president and managing director, Warner

Bros. China, Gillian Zhao. Warner Bros. joint venture Flagship Entertainment

with China Media Capital and Hong Kong’s TVB is set

to produce 12 local-language films starting with next year’s shark

thriller Meg.

CHINESE CINEMAS PUNISHED FOR BOX OFFICE FRAUD

Three hundred and twenty-six cinemas were named and

punished for box office manipulation as China began to enforce

its new film law that went into effect on March 1. Box office fraud

is prevalent in China’s nascent film industry, and industry observers

are optimistic the new law, with heavy fines for offenders, will

finally deter illegal behavior.

HOLLYWOOD RULES POST-CHINESE LUNAR NEW YEAR

BOX OFFICE

Hollywood imports have completely dominated the Chinese

box office, scoring seven straight weekend victories since the end

of the popular Lunar New Year moviegoing period. According to

box office data from Weying Technology, the top performing films

from February 10 through March 27 are xXx: The Return of Xander

Cage ($163.8M), Resident Evil: The Final Chapter ($161.3M), Logan

($105.1M), A Dog’s Purpose ($84.5M), Beauty and the Beast ($73.2M),

and Kong: Skull Island ($72.4M). Hollywood’s hold over the market

will loosen slightly at the beginning of April for the Qingming

(tomb sweeping) Festival, but that grip will further tighten later

in the month with the release of Furious 8, the sequel to China’s

highest-grossing imported film of all time. n

APRIL 2017 BOXOFFICE ® 33


INSIDE YOUR THEATER

SEVERTSON SCREENS SHOWCASES

NEW OFFERINGS

>> Severtson Screens introduced a number

of new offerings at CinemaCon 2017,

including its next-generation SAT-4K

acoustically transparent cinema screen

and SēVision 3D GX, a line of giant electric

motorized projection screens.

“Our SAT-4K has received tremendous

accolades since its launch, and we

are proud to build upon its success with

the next generation, which features an

even finer weave and whiter material that

makes the viewing image even better

than before,” explained Toby Severtson,

president and CEO of Severtson Corp.

“Made in the USA, the SAT-4K’s acoustic

abilities are not hampered by the finer

weave, and we can now also seam SAT-

4K for larger cinema screens to virtually

limitless sizes.”

“The foldable SAT-4K is the ideal projection

screen for virtually all cinema requirements,”

Severtson continued. “Like

perforated screens, the soundstage can be

placed directly behind the screen at the

same horizontal axis, allowing the vocals

and the special effects to be completely in

sync with the brilliant images on display.

Due to almost no audio frequency loss,

the SAT-4K screen allows for a completely

immersive cinema experience.”

The SēVision 3D GX is offered in all

gain levels as well as in non-perf, cinema

(standard) perf, and microperf so the

soundstage can be placed behind the

screen similar to premier movie theaters.

Toby Severtson notes that these screens

are ideal for larger auditoriums and can

also be used in multipurpose spaces

such as schools, houses of worship, and

museums, where they can be installed

and removed.

“The SēVision 3D GX Giant Electric

Motorized projection screens were the

first giant electric high-quality 3D screens

available on the market at these larger

cinematic sizes,” says Severtson. “Due to

our folded screen technology and coating,

it has enabled us to create an electric

cinema screen that can be rolled up and

down frequently without damaging the

screen’s surface. It’s the perfect answer for

what was once an impossible scenario for

a large-format cinematic 3D screen.”

HARKNESS SCREENS TAKES CENTER

STAGE AT CINEMACON STUDIO

PRESENTATIONS

>> Harkness Screens showcased its Clarus

XC technology at Caesars Palace last

month, selected as the screen of choice

for CinemaCon 2017. The Colosseum

auditorium featured a 18.2 x 7.85 meter

(71 x 30.25 foot) Clarus XC 170 screen,

used to showcase the latest laser projection

technology and current generation

xenon projection in 2D and 3D.

“We’re delighted to continue our long

association with Cinemacon, providing

our Clarus XC technology to the Colosseum

for the fourth successive year,” said

Richard Mitchell, VP global marketing

and commercial development at Harkness

Screens, ahead of the event. “Each year

Mitch [Neuhauser] and his team, along

with the outstanding team from Boston

Light and Sound, create a truly magnificent

environment for major Hollywood

studios and manufacturers to showcase

the best of cinema, and we’re honored to

be a part of that.”

The Clarus XC technology features

fourth-generation “d-smooth” coating

technology, which has specific properties

more commonly seen in white screens.

This technology enables Clarus XC

screens to benefit from significantly wide

viewing angles, improved color and contrast,

and better light distribution compared

to traditional 3D silver screens. The

screen also featured Harkness’s exclusive

4K digital perforation pattern designed

to improve sound transmission in the

spoken range, reduce moiré effect often

seen in 4K projection, and increase light

reflectivity. In addition to the showcase

Clarus XC screen, Harkness also provided

a Matt Plus screen to the Colosseum for

showcasing the latest projection offerings

from Dolby and Christie.

ALCONS TACKLES DOME INSTALLATION

AT CAPERTON PLANETARIUM &

THEATER IN WEST VIRGINIA

>> Opened in 2003, Clay Center for the

Arts and Sciences in Charleston, West

Virginia, is a multipurpose venue that

promotes the performing arts, visual arts,

and sciences all under one roof. A key

facility is the Caperton Planetarium &

Theater, which presents planetarium shows

and large-format films on a giant domed,

34 BOXOFFICE ® APRIL 2017


perforated metal screen. The theater added

a state-of-the-art Alcons Audio pro-ribbon

sound reinforcement system in its most

recent renovation, presenting a unique

challenge because of the dome structure.

The Alabama-based installation professionals

MediaMerge came to the rescue,

however, using their professional expertise

to accommodate the new sound system.

“It is vital that dome cinemas can

differentiate their experience from the

flat screen down the street, but they offer

considerable and unique challenges to

systems designers,” said MediaMerge

owner Tim Ogletree. “Providing seamless

audio coverage for a flat-screen theater

is less complex than for a dome, and the

old system at the Caperton Planetarium

& Theater never really achieved what is

expected by modern audiences. It was 13

years old and needed updating anyway,

so we wanted to fix all the coverage and

quality issues to give audiences an exceptional

sound experience.”

Once installation was completed,

commissioning specialist Phillip Peglow

from the Broken

Chord Collective

was brought in

to help tune the

system. Because

of the venue’s

multipurpose

nature, prior to

applying cinema-specific

frequency

response

curves Peglow and

Ogletree tuned

the Alcons system

“flat,” from 20

Hz to 20 KHz,

averaged throughout the audience.

This allows for typical music or speech

presentations to sound normal. From

this point, DSP was used to lay in the

specific frequency responses expected by

the cinematic formats.

“Because of the capabilities of the Alcons

system, the Clay Center has a very

functional space that can perform a wide

variety of duties,” said Peglow. “I was

CLAY CENTER FOR THE ARTS AND SCIENCES

very pleased with the performance of the

Alcons system in what is a challenging

acoustic environment. I would recommend

Alcons for cinema use without

hesitation. Indeed, I actively look for

opportunities to specify Alcons systems

in the concert halls, theaters, and critical

listening environments that I design, as

well as on the live theater shows that I

am the sound designer for.”

PACIFIC THEATRES ADDS ALLURE MENU BOARDS

>> Allure, a Christie Company, added 12 digital menu boards at

the Pacific Northridge Fashion Center in Northridge, California,

making it the fifth installation of Allure Optimized Digital Menu

Boards for Pacific Theatres in the metro–Los Angeles area.

“Pacific Theatres values its long-standing relationship with

Allure and appreciates the expansion of this partnership across its

Los Angeles theaters,” said Steven Ramskill, director of food and

beverage at Pacific Theaters/ArcLight Cinemas. He added, “We

are excited to bring in Allure for the deployment of menu boards

in our concession area. We’re now working with Allure’s analytics

team to better understand consumer behavior so we can tailor

the offerings and marketing accordingly.”

Since its first digital menu board installation in 2013, Allure

has been a strategic partner to further Pacific Theatres’ continued

efforts to provide increased engagement in the concessions area.

The deployment at Northridge marks the newest addition to

Allure’s previous installations in Lakewood, The Grove, Winnetka,

and Glendale.

“We are happy to expand our relationship with Pacific Theatres.

We’re excited to once again have the opportunity to show

how our data-driven digital design influences consumer behavior,”

said Craig Chapin, president of Allure. He added, “Partnering

with a company like Pacific that has a strong understanding

of data and how to utilize it best is perfect for Allure. It gives us

a chance to show how our solutions go far beyond just putting

compelling imagery on the wall, to help our clients understand

the value of engaging content and how best to utilize it.” n

APRIL 2017 BOXOFFICE ® 35


NUMBER CRUNCH

RECORD PACE

WHY 2017’S $11.5 BILLION POTENTIAL IS

A CRUCIAL INDUSTRY CHECKPOINT

EIGHTH TIME’S A CHARM

Dwayne Johnson leads a cast

that includes Vin Diesel and Fast

newcomer Charlize Theron in the

latest installment of the Fast &

Furious franchise that wowed the

Vegas CinemaCon crowd last month.

by Shawn Robbins

>> CinemaCon 2017 is in the books, and as tradition would have it,

attendees are officially resetting the countdown clock until the marquee

confab’s return to Vegas in April 2018.

But, for a third straight year, studios and exhibitors are heading home

with a reasonably confident outlook toward the remainder of the year’s

release slate. This time, 2017 doesn’t just look poised to bring us another

yearly box office record—it may zoom past it with ease.

First, some perspective: Record years at the box office used to be

commonplace. During the 1980s and late 1990s through early 2000s,

total box office earnings in North America frequently improved year

over year with only a few exceptions. Seven yearly records were set

between 1981 and 1989, and 12 more between 1993 and 2004. 1991’s

$4.9 billion haul nearly doubled by the time 2004 was over, with $9.4

billion. (Everyone has an opinion on ticket price inflation debates, so

we’ll leave those aside here.)

Since then, a number of factors ranging from the pros and cons of

Hollywood’s increasing reliance upon franchises to the proliferation

of stronger television content and the ever-evolving ways in which

audiences (especially young ones) consume their entertainment have

changed the game. They—along with other elements—combined to

result in fewer guarantees of the consistent benchmarks that were

36 BOXOFFICE ® APRIL 2017


typical a generation ago when movies

couldn’t be watched in the palm of one’s

hand.

Whereas 19 individual years set new

box office records almost like clockwork

between 1981 and 2004, it has

only occurred six times since the end

of that era. Moreover, total box office

earnings haven’t shown year-over-year

improvement (regardless of records) in

three consecutive years since the end of

a monumental 13-year run from 1992

through 2004.

At least for now, the status quo is

changing.

Following the first-ever $11 billion

year in 2015 ($11.13 billion), and an

even stronger 2016 ($11.38 billion)

despite its notable dry periods, 2017

(through March 30) is already pacing

more than 3 percent ahead of 2016 and

a towering 16 percent over 2015. We

can thank a phenomenal first quarter

driven by the likes of Beauty and the

Beast, Logan, Get Out, Split, Hidden

Figures, La La Land, The LEGO Batman

Movie, and others for the excellent

jump start.

A few years ago, the conversation

centered on how more studios needed

to aim for non-summer and non-holiday

release windows to embrace

the year-round calendar as a viable

option for scheduling blockbuster

candidates. They started listening, and

2017 is poised to reap the rewards in

the biggest way yet: following a $2.9

billion start, we’re projecting all three

remaining quarters to exceed $2.75

billion each—with Q4 having a realistic

chance to top $3 billion.

How will we get there, though?

As with any potential record-breaking

year, there are certain films that must

generally live up to high expectations

while still leaving room for others to

break out. With Beauty and the Beast

currently pacing to become the eighth

member of the $500 million domestic

club (and the first not to be released

during summer or near Christmas),

sights now move toward April’s The Fate

of the Furious—which should be another

huge pre-summer hit.

Following that, Marvel will open

the summer box office yet again with

May 5’s Guardians of the Galaxy Vol.

2—a title that is already generating the

kind of buzz typical of films that go on

to compete for the $400 million club.

That’s coming from a franchise that

many in the industry viewed as Marvel’s

biggest risk just a few years ago. Now it’s

on the so-called A-list and stands as one

of their premier sub-franchises.

Beyond Marvel, this May also looks

considerably stronger on paper than last

year, with films like Pirates of the Caribbean:

Dead Men Tell No Tales, Baywatch,

Alien: Covenant, Snatched, and King Arthur:

Legend of the Sword all scheduled to

open before Memorial Day. Things won’t

slow down much heading into June, when

Transformers: The Last Knight, Wonder

Woman, The Mummy, Cars 3, and sleeper

contenders like Baby Driver and It Comes

at Night await a variety of audiences.

July may boast the highest potential

of the summer, though. From Spider-Man:

Homecoming and Despicable

Me 3 to Dunkirk, War for the Planet of

the Apes, The House, Valerian and the

City of a Thousand Planets, and The Emoji

Movie, moviegoers will have a plethora

of choices—both of the original film and

sequel varieties—at their local multiplexes.

(Some may argue too many choices—but

that’s another conversation.)

Beyond what may be a fairly quiet

August outside of The Dark Tower and

Annabelle: Creation, September will

bring promising titles like Stephen

King’s It (which is already generating an

unexpected record level of online trailer

views), Kingsman: The Golden Circle, and

The LEGO Ninjago Movie.

The final quarter will bring us home

with an utterly packed end-of-year slate:

October’s Blade Runner 2049, Insidious:

Chapter 4, and the next Cloverfield

installment; November’s Thor: Ragnarok,

Justice League, Red Sparrow, Coco,

Murder on the Orient Express, Daddy’s

Home 2, and Suburbicon; then, finally,

December’s basket of blockbusters and

awards-season candidates ranging from

Jumanji: Welcome to the Jungle and Pitch

Perfect 3 to the Hugh Jackman–led

The Greatest Showman and Alexander

Payne’s Downsizing.

That’s not even counting smaller films

whose potential awards buzz won’t be

measurable until later this year.

Oh, and there’s some little movie

called Star Wars: The Last Jedi, which

will only have to contend with its

Force Awakens predecessor in terms of

challenging various all-time records. It’s

probably worth mentioning, too.

Bottom line: February, March, April,

August, and October have already proven

capable of supporting high-profile

releases with blockbuster levels of attendance

thanks to respective examples like

Deadpool, The Hunger Games, The Jungle

Book, Guardians of the Galaxy, and Gravity.

If the industry continues committing

to this kind of output, we aren’t far from

a future that sees a month like January

or September host a tentpole superhero

film or some other four-quadrant event

that demands theatrical viewing and

smashes more box office preconceptions.

Long story made (somewhat) short:

Yes, summer and the holidays are still

of paramount importance because that’s

when kids are out of school and adults

take vacation time. But the fruits of

the industry’s labor to extend “movie

season” beyond a few key months out of

the year have been ripening sporadically

throughout the past half-decade. 2017

is the year, with its mammoth potential

to reach another record and possibly

run toward $11.5 billion (barring some

unforeseen circumstance), that we get

closer to reaping the rewards.

It’s time for us to retire the expression

“it feels like summer” when films

crush those old preconceptions and do

big business in the dead of winter—or

the heart of autumn. Every season is

movie season. n

APRIL 2017 BOXOFFICE ® 37


CONVENTION RECAP

BEYOND THE POPCORN

PAGE 40

Since taking its first step in 2011, CinemaCon has evolved

and grown to become the largest and most important

gathering for the worldwide motion picture theater industry.

CinemaCon is truly a global event, attracting attendees

from more than 80 countries. From exclusive Hollywood

product presentations debuting a slate of upcoming films,

to must-see premiere feature screenings, to the biggest

stars, producers, and directors, CinemaCon jumpstarted the

excitement and buzz that surrounds the summer season

(and beyond) at the box office.

THE STUDIO PRESENTATIONS

PAGE 44

BREAKTHROUGH PERFORMER OF THE YEAR > BRENTON THWAITES

STAR OF PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

PRODUCER OF THE YEAR > CHRIS MELEDANDRI

PRODUCER OF DESPICABLE ME 3

RISING STAR OF THE YEAR > ISABELA MONER

STAR OF TRANSFORMERS: THE LAST KNIGHT

DIRECTOR OF THE YEAR > JORDAN PEELE

DIRECTOR OF GET OUT

INTERNATIONAL ACHIEVEMENT IN COMEDY > EUGENIO DERBEZ

STAR OF HOW TO BE A LATIN LOVER

38 BOXOFFICE ® APRIL 2017


DISTINGUISHED DECADE OF ACHIEVEMENT > NAOMI WATTS

STAR OF THE BOOK OF HENRY

ACTION STAR OF THE YEAR > JOHN CENA

STAR OF THE WALL

MALE STAR OF TOMORROW > ANSEL ELGORT

STAR OF BABY DRIVER

FEMALE STAR OF TOMORROW > SOFIA BOUTELLA

STAR OF THE MUMMY

COMEDY STAR OF THE YEAR > KUMAIL NANJIANI

STAR OF THE BIG SICK

CINEMACON VANGUARD AWARD > SALMA HAYEK

STAR OF HOW TO BE A LATIN LOVER

MALE STAR OF THE YEAR > CHARLIE HUNNAM

STAR OF KING ARTHUR: LEGEND OF THE SWORD

FEMALE STAR OF THE YEAR > JESSICA CHASTAIN

STAR OF THE ZOOKEEPER’S WIFE

APRIL 2017 BOXOFFICE ® 39


CONVENTION RECAP

>> Each year in the

lead-up to Cinema-

Con, journalists and

exhibitors attempt

to predict the topics

and questions that

will dominate the

convention. This year, in addition to the

regular wedge issues and hype concerning

evolving distribution business models,

an inopportune quote from Netflix CEO

Reed Hastings was getting outsize attention.

Talking to reporters, Hastings said

that the movie business hasn’t innovated

in the last 30 years, quipping, “Well, the

popcorn tastes better, but that’s about it.”

It was a surprising, and incorrect,

statement. Innovation has always been

at the heart of cinema, which was first

birthed as a technology before growing

into an entertainment platform and maturing

into an industry. CinemaCon has

been the host of these innovations since

its inception, and in the last decade alone

BEYOND THE POPCORN

INNOVATION CONTINUES TO DRIVE THEATRICAL

EXHIBITION AT CINEMACON 2017

by Daniel Loria

exhibition has demonstrated an invigorated

effort in enhancing the moviegoing experience.

The continuous advancement of

digital projection, expanded concessions

offerings, recliner seating, and proprietary

premium large-format auditoriums are

only a few examples.

“Cinema has always been, and continues

to be, a place for innovation,” said

Ted Schilowitz, chief creative officer at

Barco, at CinemaCon. “Exhibitors have

always been about finding new and interesting

ways to entertain their audience

through technology.”

“The past 10 years have produced

more format innovations in cinema than

the past 100 years,” said David Hancock,

director of cinema at

IHS Screen Digest,

during his presentation

at CinemaCon. “I

know there was innovation

before that—

sound, especially, and

in image as well—but the past 10 years

have unleashed so much more.”

How have audiences responded? The

industry has achieved record heights in

box office revenue in four of the last five

years, even as admissions have remained

more or less flat over the same period.

What we’re seeing are the results of exhibition’s

aggressive investment in maintaining

a competitive advantage while

surrounded by entertainment alternatives

coming from every direction.

A counter argument would point to a

slide in overseas box office in 2016, with

double-digit decreases in key markets.

That dip, however, only exists by judging

the data by a single metric: U.S. dollars.

40 BOXOFFICE ® APRIL 2017


That very metric overshadowed growth in admissions

and screen counts at numerous overseas markets;

the strength of the U.S. dollar is a factor that

affected countless other industries in 2016. “Out

of the top 15 markets in the world last year, if measured

in local currency, only one—Germany—did

not grow,” stated NATO president and CEO John

Fithian in his annual CinemaCon press conference.

“That’s a much better reflection of people coming

to the cinemas than the devaluation of currencies

might suggest.”

Is the pace of growth sustainable? Every year

can’t be a record year, but these benchmarks help

redefine the baseline for measuring future results.

Admissions in North America might not hit the

record highs of exhibition’s heyday again. The

question, then, is how to maximize consumer

spending in the midst of such a competitive and

fragmented marketplace.

The numbers speak for themselves: exhibition’s

investment is paying off. The admissions figures

tell us that there is a core base that is responding

and embracing the premiums in the cinemagoing

experience.

It is no longer about what you want to see at

the movies; it’s about how you want to see it.

An ongoing concern for exhibition at large,

however, is if audiences are taking note of these

changes. Laser projection and immersive sound

have set new standards in cinema technology, but

can consumers tell the difference? Do they factor

them into their decision-making when going to

the movies?

A BoxofficeProfile study conducted in February

and March of 2017 (sponsored by Boxoffice

parent company Webedia Movies Pro), reported

that 20,000 people who had visited a movie

theater in the past week were asked why they

had done so. Just over 52 percent of them cited

a specific movie they wanted to see as the main

factor—meaning that nearly half of the participants

went to the cinema for reasons unrelated to

programming. Another 16.8 percent of the participants

said they simply wanted to go out to the

movies—the venue and title were secondary. And

15.5 percent of them mentioned they wanted to

visit a particular theater, the specific cinema itself

being the main driver. These results underscore

the importance of what the moviegoing experience

means to consumers today and the role that

each cinema plays in that relationship.

For which reason did you decide to visit the movie theater?

I wanted an out-of-the home

entertainment option

I wanted to go to a specific cinema,

the choice of movie was secondary

I wanted to watch a movie, the choice of the

movie and the theater was secondary

I absolutely wanted to watch a specific

movie, no matter the theater

53.10%

50%

40%

30%

20%

10%

0%

PROXIMITY

SHOWTIMES

COMFORT

7.4%

15.5%

16.8%

The study also addressed the reasons that

consumers decided to visit a particular cinema.

The BoxofficeProfile study concluded that while

the proximity of a theater and show times combine

to represent the biggest factors in deciding on a

theater, other factors played a bigger role than

one might expect. Presenting these findings on a

Thursday morning panel at CinemaCon, Webedia

Movies Pro CEO Julien Marcel remarked,

“Comfort comes almost at the same level as show

times—33 versus 35 percent—and ticket price

was only 22 percent. When we look at what moves

the needle in terms of moviegoing, bearing that in

mind is essential.”

Consumer outreach and marketing is a crucial

part of that process, itself a hot topic at numerous

panels in the four-day conference. Communicating

with audiences on digital media is quickly becoming

a vital part of exhibition’s viability in today’s

oversaturated media market. Going beyond a

company website and complementary Twitter and

52.2%

0.0% 10.0% 20.0% 30.0% 40.0% 50.0% 60.0%

Based on your last trip to a cinema,

how did you select the theater?

35.90%

33%

22.40%

TICKET PRICE

15.30%

LOYALTY CARDS

13.30%

PROGRAMMING

BOXOFFICEPROFILE

BY VERTIGO

A new service launched by Webedia

Movies Pro (Parent Company of

Boxoffice Media), BoxofficeProfile

offers audience analytics and

research on recent moviegoers.

APRIL 2017 BOXOFFICE ® 41


CONVENTION RECAP

Facebook presence is crucial. What was

once called “showmanship” in this industry

overlaps with a more corporate-friendly

term: “digital strategy.”

Jake Katz, VP of audience insights and

brand strategy at Revolt Media, addressed

the topic in a pair of presentations at

CinemaCon, suggesting an approach that

goes beyond a strictly transactional relationship

with the consumer. “How can

your employees be brand ambassadors for

your theater on social media?” he asked,

suggesting that every theater has the

power to advance its brand through its

employees in addition to its official social

media accounts.

Similarly, Webedia’s Marcel stressed a

comprehensive approach to developing a

winning digital strategy. “It’s important to

think of your digital presence as a complete

ecosystem,” he said in his panel. “It’s

not just your cinema’s website.”

Amber Ayer Stepper, VP of strategic

planning and accounts at Charles River

Interactive, a digital media agency, and

a former exhibition industry executive,

echoed Marcel’s sentiment at the same

session. “In many places, [audiences] may

not even be going directly to your cinema’s

website,” she said. “Certainly not in

Google’s Alicia Sabuncuoglu Speaking at the

Webedia Movies Pro Seminar.

the U.S.” Stepper’s exhibition background

taught her an important lesson concerning

digital strategy: “The conversion rate

of social [media] to buying tickets is not

nearly as strong as it is from search.”

While Jake Katz’s advice resonates

in terms of brand presence, especially

among younger audiences, exhibitors are

still tasked with converting web traffic

into transactions. That’s something

that fellow participants at the Webedia

seminar stressed as well. “Search accounts

for 80 percent of all the traffic that leads

to our website, and Google is obviously a

massive part of that,” said Steve Knibbs,

chief operating officer of UK circuit Vue

Entertainment.

Bobbie Bagby Ford, VP of marketing

at B&B Theatres, agrees. “Our stats are

very similar—the conversion rate of Google

search to our website is very high,”

she said. “Even as a consumer myself, I go

to Google right away. The challenge is to

make sure we continue working together

to make sure that information is up-todate

as much as possible.”

Google is up to the challenge. Alicia

Sabuncuoglu, a strategic partnerships

executive at Google, joined the panel

to share her insights into how the tech

search giant can optimize its relationship

with the exhibition community. Citing

trailers as one of the most effective tools

that help consumers make moviegoing

decisions on Google, Sabuncuoglu used

the occasion to showcase Google’s new

interface for show times and movie titles,

released to the public the day before the

panel. “Part of what we’ve tried to do

is use a lot more imagery and video, let

reviews and strong content from various

sources speak, and let users pick their

own path through our open platform.”

Ensuring that a theater’s data on

Google is accurate and up-to-date is less

daunting than it might seem, according

to Bobbie Bagby. “If you have one or

two locations, even if you have a lot of

locations, starting with Google Plus pages

and getting your information on there is

the stepping-stone to making that happen.

That’s an easy and completely free

way to get your information out there.”

In this age of premiums and amenities,

however, simply providing consumers

with accurate show times isn’t enough.

“The current enhancement of the cinema

experience poses a specific challenge in

terms of marketing,” explained Julien

Marcel. “Fifteen or 20 years ago, when

you opened a newspaper to find a show

time, you knew what to expect in terms

of the experience, of the price. Now you

have so many different experiences, even

within a single movie theater.”

“Being able to convey a show time

and price point, it’s not copy and paste,”

admitted Bobbie Bagby. “All of our auditoriums

are growing and changing,” she

said, referring to trends such as dine-in,

recliner seating, and private-label PLF—

all offerings currently available at B&B

Theatres locations.

Julien Marcel believes this is an area

in which exhibition can improve. At the

moment there is no standardization of

movie theater amenities that is either

accessible or easy to understand for consumers.

Marcel compares this effort to the

airline industry’s creation of the business

class category; standards and features vary

42 BOXOFFICE ® APRIL 2017


from airline to airline, often creating a

significantly different experience between

companies, but the category provides a

clear distinction at a higher price point

that consumers recognize.

Patrick von Sychowski, editor of the

exhibition trade website Celluloid Junkie,

was quick to note that regardless of new

amenities or different price points, it is

crucial for exhibitors to keep their focus

on customer service first and foremost.

Even the most basic tasks in theater

operations can have the most profound

impact. “I don’t think it’s about price,”

he said. “It’s about value for money. If a

cinema’s toilet is dirty, it doesn’t matter

how much the ticket costs—it’s always

going to be a bad experience.”

If exhibition can meet the challenge

of informing audiences about their latest

offerings, it’ll have to do so quickly, as

new technology continues to be developed

by the world’s leading manufacturers.

One of the biggest stories

to come out of CinemaCon this year

concerns new 8K LED systems from

Sony, Samsung, and GDC Technology

that don’t require a cinema screen or

projector. One exhibitor at the event was

visibly impressed, calling it “the death of

laser projection,” while another industry

insider failed to muster similar enthusiasm:

“You mean the big TV?” he replied,

wincing at the question. This technology

has the power to signal a truly revolutionary

shift in the industry, but the

economic viability and ROI for exhibitors

remain to be seen at this early stage.

Dolby Laboratories, for their part,

arrived at CinemaCon with an expanded

footprint for their cinema technology

portfolio, including Dolby Atmos, their

immersive audio format, which hit 1,000

screens in Asia Pacific. “It’s a great testament

to the technology that we’ve been

able to change and develop the technology

since we brought it to market to the

point where it’s maybe more attainable

for exhibition,” said Stuart Bowling,

the company’s director of content and

creative relations. We’re seeing multiple

deployments of all-Atmos complexes

around the world.”

Dolby Cinema, the company’s PLF

offering, continues to grow as well, with

commitments from Wanda Cinema Line,

AMC Theatres, and Jackie Chan Theatres.

There are currently more than 60 Dolby

Cinema auditoriums at AMC locations

in the U.S., with overseas exhibitors beginning

to take note. “The deployments

are happening significantly sooner than

we anticipated,” said Bowling. “That’s a

testament to the feedback we’ve received

from consumers and exhibitors. It’s why

companies like AMC accelerated their

deployments ahead of schedule.”

Likewise, Barco’s immersive screen format,

Barco Escape, continues to pick up

steam from content creators—a crucial

factor for the format’s success. Following

the release of Star Trek Beyond in Barco

Escape, announced at CinemaCon last

year, the company will welcome the release

of Six Below in 2017—the first film

to be shot entirely in the format. Barco

Escape currently has a footprint of 36

auditoriums installed or committed.

We shouldn’t mistake these advancements

as creating a “new normal” in the

industry, instigating a cinema technology

Julien Marcel introduces the panel at the

Webedia Movies Pro seminar.

arms race where only the richest circuits

survive. As John Fithian has noted, the

power of exhibition comes from the

diversity of its offerings—providing

consumers a range of different ways of

going to the movies, with a price point

for everyone.

“We value the diversity of our membership

from big to small because they

provide different customer services,”

Fithian said at his annual CinemaCon

press conference. “If you’re a big national

chain, and you have the CapEx to go

to these high-end [options] and can add

enhancements to premium large-format

screens and have a big metropolitan

population support it—great. But those

types of really expensive amenities don’t

work everywhere; there are population

bases that don’t want to pay the ticket

price for a much higher-end experience.

We like to offer consumers choices, and

those choices depend on where you are.

If you’re in small-town America, having

come through 10 difficult economic

years where your wages are only now

coming back to the level they were at

15 years ago, having an affordable ticket

price option at a small-town theater is

really important.” n

APRIL 2017 BOXOFFICE ® 43


CONVENTION RECAP

BLADE RUNNER 2049

Thirty years after the events of the

first film, a new blade runner, LAPD

Officer K, unearths a long-buried

secret that has the potential to

plunge what’s left of society into

chaos. K’s discovery leads him on a

quest to find Rick Deckard, a former

LAPD blade runner who has been

missing for 30 years. Pictured are

Harrison Ford and Ryan Gosling.

CINEMACON 2017

THE STUDIO PRESENTATIONS

OUR TAKE ON THE HOTTEST TITLES SHOWCASED IN LAS VEGAS

by Daniel Loria

SONY

>> Day One of CinemaCon 2017 was off to a

fast start when director Edgar Wright and actors

Ansel Elgort and Jon Hamm took the stage to

present a high-octane first look at a car chase

scene from Baby Driver. Wright, a self-professed

cinema buff, cited the theatrical experience as his

reason for making his film “large and loud.” In

pitching the film to his producer, Wright called

Baby Driver “a car movie driven by music,” and

the early footage demonstrated its reliance on a

heart-thumping soundtrack.

“I now know car chases are as arduous to film

as they are fun to watch,” he said. Wright opted for

practical effects for the film’s car chase sequences,

avoiding CGI wherever possible. “There’s not a lot

of acting when you see me in the back seat, terrified

and visibly sweating,” said Hamm. “Everything we

shot is real, and it’s up there.”

Sony’s presentation showcased various films in

its upcoming slate, including an effects-heavy and

action-packed Dark Tower, the debut of the second

Spider-Man: Homecoming trailer, and a preview of

upcoming titles from Sony Pictures Animation.

The standout moment occurred when Sony Pictures

chairman Tom Rothman took the stage and

asked the audience a simple question: Where were

you on June 5, 1982? That’s when he first saw Blade

Runner in a New York City theater. The executive

described the experience succinctly: “The technical

term: cool as shit.”

Rothman then welcomed Ryan Gosling to

the stage. He’s the star of the hotly anticipated

sequel, Blade Runner 2049, which Sony will be

distributing internationally. Gosling explained his

own excitement about the film’s visual flare before

unveiling never-before-seen footage, which stole the

show at Sony’s presentation. Director Denis Villeneuve’s

style seems to blend seamlessly with Ridley

Scott’s aesthetic, giving the film a visual link to its

44 BOXOFFICE ® APRIL 2017


predecessor. Rothman also emphasized the strength

of the screenplay, calling it, “A script that expands

the mythology and expands the story.”

Dwayne “The Rock” Johnson closed Sony’s

presentation by introducing the first look at

Jumanji. The footage revealed several key plot

points of the film, which is shaping up to be an enticing

cross-quadrant option for the holiday season.

STX ENTERTAINMENT

>> Valerian and the City of a Thousand Planets

was the standout title from the STX presentation,

emerging as a potential gem for the upstart distributor.

The film’s lush sci-fi visuals recall director Luc

Besson’s modern cult classic The Fifth Element. The

film, with its impressive special effects, looks great

in 3D. Valerian is a passion project for Besson, who

has been a fan of the comic strip since he was a kid.

“I was 10 years old,” Besson told the CinemaCon

crowd, recounting how long he’s wanted to tackle

the project. “I’m pretty stubborn.”

He finally decided the time was right for a

big-screen adaptation after seeing James Cameron’s

Avatar and realizing that cinema technology was

ready for such an ambitious project. “There are two

human characters and, like, one thousand aliens,”

said the French director.

STX also previewed footage from Renegades,

another release from its relationship with Luc

Besson’s Europacorp. Besson has built a reputation

throughout his career for delivering what STX

chairman Adam Fogelson calls “the underserved

mid-budget action genre,” and this latest title

promises to continue that trend.

Among other STX titles previewed was The

Circle, a tech thriller for the Internet age starring

Emma Watson and Tom Hanks, which drew positive

reactions from the crowd at the Caesars Palace

Colosseum. There was also Molly’s Game, pairing

Aaron Sorkin with Jessica Chastain and based on

the true story of the woman who ran one of the

most notorious high-stakes underground poker

games in the country.

The Foreigner is a departure from Jackie Chan’s

usual tongue-in-cheek rock-’em-sock-’em fare, in

what promises to be a dark action thriller co-starring

Pierce Brosnan.

STX’s initial foray into the animation genre,

Ugly Dolls, will hit screens on May 10, 2019, with

Robert Rodriguez joining the film as it continues

pre-production. The company shared its long-term

plan to develop a pipeline of animated titles.

And then there’s Mile 22. “Mark and I have

made three films that are pretty heavy, to put it

mildly,” said director Peter Berg as he took the

stage with Mark Wahlberg to talk about their latest

collaboration. This film won’t have any ties to truelife

events, a factor Berg considers liberating. “We’re

planning it to be a trilogy,” Wahlberg revealed,

before saying that he believes this will be the role

he will be remembered for. “I’m really hoping this

is going to be the first thing people think of when

they think Mark Wahlberg.”

The presentation came to a close with an appearance

by Mila Kunis, who spoke about the upcoming

Bad Moms Christmas, set to hit theaters this

holiday season.

PARAMOUNT

>> Dwayne “The Rock” Johnson took the stage

to introduce what he called the “Avengers of the

Beach,” at which point the cast of the raunchy summer

comedy Baywatch joined him onstage to reveal

a first look at several scenes from the film. Perhaps

the most curious detail of the evening followed,

when the cast announced the “Baywatch Challenge,”

a contest that pits theater managers against each

other in a nationwide competition to see who can

sell the most tickets ahead of the film’s release. The

winning managers will be flown to New York City

to join the cast for the film’s premiere.

And who could imagine a better transition than

The Rock and bikini-clad extras welcoming former

vice president Al Gore, who took the stage to promote

An Inconvenient Sequel: Truth to Power. The

audience was shown the film’s trailer, which included

several moments from Donald Trump’s presidential

campaign and scenes showing Gore promoting his

environmental message across party lines.

As foreboding as the climate change documentary

looked, it was nothing compared to early footage

from Annihilation. Alex Garland’s promising

follow-up to sci-fi thriller Ex Machina stars Natalie

Portman and Oscar Isaac.

George Clooney, Matt Damon, and Julianne

Moore exchanged barbs onstage as they presented

scenes from their dark comedy, Suburbicon. Based

on the footage screened at CinemaCon, there’s no

mistaking it for anything other than a Coen Brothers

script; the opposite of a $200 million tentpole,

BAYWATCH

The story follows devoted lifeguard

Mitch Buchannon as he butts heads

with a brash new recruit. Together,

they uncover a local criminal plot

that threatens the future of the Bay.

APRIL 2017 BOXOFFICE ® 45


CONVENTION RECAP

PIRATES OF THE CARIBBEAN:

DEAD MEN TELL NO TALES

This fifth Pirates adventure finds

down-on-his-luck Captain Jack

feeling the winds of ill-fortune

blowing strongly his way when

deadly ghost sailors, led by the

terrifying Captain Salazar (Javier

Bardem, pictured), escape from the

Devil’s Triangle bent on killing every

pirate at sea—notably Jack.

TRANSFORMERS:

THE LAST KNIGHT

In the absence of Optimus Prime, a

battle for survival has commenced

between the human race and the

Transformers. Cade Yeager forms

an alliance with Bumblebee, an

English lord, and an Oxford professor

to learn why the Transformers keep

coming back to Earth.

the film is nevertheless scheduled as counterprogramming

against Thor: Ragnarok on November 3.

Michael Bay made an appearance to present an

extended look at Transformers: The Last Knight,

the latest entry in Paramount’s global box office

juggernaut. The Last Knight was shot in native 3D

and will be the first feature film to be shot in IMAX

3D, an important factor as the franchise continues

its path in a new direction.

The highlight of the Paramount presentation,

however, was a significantly smaller film than

Transformers. The studio screened 10 minutes of

Alexander Payne’s Downsizing, an offbeat comedy

in the mold of Being John Malkovich or The Lobster,

starring Matt Damon and Kristen Wiig. The film

imagines a world in which Norwegian scientists

have invented a shrinking process for human beings

in order to avoid the perils of overpopulation.

It sounds weird, yes, which is why it was such a

good idea to show as much of the film as they did.

Downsizing entered the event with a low profile

but was brought up in conversations long after the

Paramount event ended.

DISNEY

>> Anticipation was high to see what Disney,

coming off a record-setting year—the first that saw

releases across the studio’s five brands (Disney, Walt

Disney Animation Studios, Pixar, Marvel, and Lucasfilm)—would

preview from its hotly anticipated

slate. The studio, however, opted to put all its chips

on an advance screening of Pirates of the Caribbean:

Dead Men Tell No Tales nearly two months

before its commercial release.

UNIVERSAL

>> Strong female characters were a common

theme throughout Universal’s presentation, which

featured a diverse array of titles from multiple

genres starring or co-headed by women. The studio

welcomed the ensemble cast of the upcoming raunchy

comedy Girls Trip, who introduced a series

of clips that recalled much of the same spirit that

made Bridesmaids a runaway hit in 2011.

Universal screened a quick retrospective of its

legacy connection with classic monster movies

before introducing Sofia Boutella, who plays the

titular character in this summer’s The Mummy.

Boutella related her initial concerns about the

role, including the long hours it would require to

get in and out of makeup, before finally being sold

by the studio’s insistence on the character’s depth

and strength. The early look at The Mummy lacked

46 BOXOFFICE ® APRIL 2017


any semblance of camp elements as the franchise

relaunches with the star power of Tom Cruise

behind it. If the CinemaCon footage served

as any indication, Universal’s new take on The

Mummy will have much more in common with

the stunt-laden direction of Tom Cruise’s Mission:

Impossible franchise.

Coming off a highly touted sneak screening

at the South by Southwest Film Festival, Atomic

Blonde received a dedicated slot in Universal’s

presentation, despite the film’s release under the

company’s Focus Features imprint. It was a sign

of the studio’s confidence in the film; Focus was

already scheduled to present later that day, and

Atomic Blonde was the only title included in

both presentations. Star Charlize Theron took

the stage to support her latest project, which she

first discovered as a treatment without a finished

screenplay. “I’ve definitely been interested in the

genre and exploring it as a woman,” said Theron

about this new action heroine stage in her career.

She dedicated her time through pre-production to

bring Atomic Blonde to the screen, following her

iconic role in Mad Max: Fury Road and presence

in the latest Fast & Furious entry.

The studio brought Vin Diesel onstage moments

later to offer a heartfelt anecdote about The Fate

of the Furious. Diesel recalled late co-star Paul

Walker’s insistence that there would be an eighth

installment of the blockbuster franchise, a factor

that motivated Diesel in making the film despite his

initial reservations. “It was a hard decision to make,

but part of Paul’s legacy lives on through every

frame that we shoot,” he said. “It was Paul Walker

who promised eight; that played over and over in

my brain.” Diesel reminded the audience of his

promise last time he appeared onstage at Cinema-

Con, that the eighth movie in the series would be

its best. He doubled down on the statement this

time around, calling The Fate of the Furious the

beginning of the next trilogy in the franchise before

revealing a big surprise for the attendees: rather

than screening footage of the latest Fast and Furious

movie, Universal would use the remaining time in

its presentation to screen the film for the first time

to the public.

FOCUS FEATURES

>> At a CinemaCon luncheon celebrating its

15th anniversary, Focus Features chairman Peter

Kujawski called his company’s 2017 slate the best

lineup in its history. That’s a strong statement

considering the awards pedigree of Focus features,

an art house favorite that many believed would

lean toward a more mainstream approach since the

departure of former CEO James Schamus in 2013.

While CinemaCon is generally known to preview

the biggest box office blockbusters of the year, the

participation of specialty outfits like Focus suggests

the event could also become an early launching

pad for awards-season candidates. That was certainly

the approach of Focus, which offered advance

looks at Victoria and Abdul, The Book of Henry,

Beguiled, and Atomic Blonde.

Most impressive, however, was the opportunity

to see Gary Oldman’s surprising transformation

into Winston Churchill for Darkest Hour. The

film will be opening on a prime awards-season

date, Thanksgiving 2017, and will surely be

picking up additional buzz in the coming months

following the overwhelmingly positive reception

at CinemaCon.

WARNER BROS.

>> Christopher Nolan isn’t known for making too

many promotional appearances, let alone sharing

advance looks at his upcoming projects. Cinema-

Con attendees only have to look back to the 2014

edition of the event, when Nolan sat down for

an extended conversation ahead of the release of

Interstellar but refrained from showing any actual

footage of the film. That was not the case this year.

Nolan appeared in person to offer his commitment

to the exhibition industry as talk of release

windows continue to swirl in the press. “The only

platform I’m interested in talking about is theatrical

exhibition,” said the director, who shot his latest

film, Dunkirk, entirely in large-format celluloid.

Nolan has been a big proponent of IMAX technology

with his tentpole, and he cites Dunkirk as

the first time he feels he’s used IMAX cameras to

their full potential. Nolan called the project more

of a survival story than a war movie. “To me, it’s

the ultimate suspense story,” he said. “I wanted to

tell the story in the most visceral way possible.”

He promised to immerse the viewer in the events

developing on-screen. If that sounds vague, all

questions were answered by the exclusive screening

of an entire combat sequence, which captivated the

auditorium. The heart-pounding footage had an

DUNKIRK

The film recounts the miraculous

evacuation of Allied soldiers from

Belgium, Britain, Canada, and

France, who were cut off and

surrounded by the German army

from the beaches and harbor of

Dunkirk, France, between May 26

and June 4, 1940, during the Battle

of France in World War II. Pictured is

actor Fionn Whitehead.

APRIL 2017 BOXOFFICE ® 47


CONVENTION RECAP

LEGO NINJAGO MOVIE

Ninja, samurai, and sensei

fight side-by-side against

dragons, armies of snake men,

and a once-banished warlord

who is now seeking to return

to power.

IT

In a small town in Maine, seven

children known as The Losers Club

come face to face with life problems,

bullies, and a monster that takes the

shape of a clown called Pennywise.

Based on the novel by Stephen King.

intimate, first-person feel and helped raise already

high expectations for the title.

Warner Bros. followed Nolan by screening clips

of horror titles Annabelle: Creation and It along

with the jilted-lover thriller Unforgettable. A look

at comedies Bastards and The House helped lighten

the mood significantly, with footage from both

titles eliciting approving laughs from the audience.

Footage from The House, a comedy starring Will

Ferrell and Amy Poehler, about empty-nest parents

who decide to run an illicit casino out of their suburban

home, received arguably the best reception of

any comedy previewed at CinemaCon.

Charlie Hunnam, star of Guy Ritchie’s King

Arthur, introduced footage from the film, emphasizing

Ritchie’s irreverent take on the mythical

story. Rather than portraying Arthur as a noble gentleman,

Hunnam said the film takes the opposite

approach. “He’s as far as you can imagine from

royalty.” Hunnam described the project as “a little

bit cheeky, a little bit naughty, and a lot of fun,”

with the footage drawing comparisons to Ritchie’s

take on the Sherlock Holmes franchise.

The CinemaCon audience was treated to a further

look at Blade Runner 2049, which had already

made a splash in the week’s first presentation.

Warner Bros. will be handling domestic distribution

of the film and brought onstage co-star Jared

Leto, who called the project one of the biggest

honors of his career. “There are very few films in

my life that have struck me as deep as the original

Blade Runner,” he said.

And then there were the cinematic universes.

Warner Bros. showed footage from the upcoming

LEGO Ninjago Movie, continuing to ride the wave

of the unexpected global success of the first LEGO

Movie. The presentation underlined Warner’s confidence

in the franchise; a property that could have

plausibly existed as a profitable home video series

for the studio has emerged as one of its marquee

properties for cinemas.

The unquestionable gem in the Warner Bros. IP

arsenal is DC Comics. Rather than taking a producer-focused

approach as Disney’s Marvel Films

has done, spanning different genres and directors

all under the supervision of executive Kevin Feige,

Warner Bros. has given filmmaker Zack Snyder a

pace-setting role in establishing the overall tone of

the series. Jason Momoa appeared onstage hours before

going on location to begin shooting Aquaman,

giving the audience a glimpse at animated concept

art from the 2018 release. Gal Godot was unable

to be present in Las Vegas to introduce Wonder

Woman footage but showed her support of the

48 BOXOFFICE ® APRIL 2017


ALIEN: COVENANT

Bound for a remote planet

on the far side of the galaxy,

the crew of the colony ship

Covenant discovers what

they think is an uncharted

paradise, but is actually a dark,

dangerous world—whose sole

inhabitant is the “synthetic”

David, survivor of the doomed

Prometheus expedition.

Director Ridley Scott is

pictured with actor Katherine

Waterston.

film via a video message—leaving co-star Chris

Pine and director Patty Jenkins to pitch the film in

person. “It has a Casablanca feel that I don’t think

we’ve seen before in this type of universe,” said Pine

before screening a couple of dramatic and action

sequences from the film. Finally, Warner Bros.

closed the presentation with a new trailer for Justice

League on the big screen, assembling director Zack

Snyder and most of the film’s super-ensemble cast

for a brief send-off to cap the presentation.

FOX

>> Fox decided to emphasize exhibition’s roots in

showmanship with its presentation, opening with

an intricately choreographed dance number and

closing with a slew of executives singing onstage.

The studio’s highlights included an advance look

at the upcoming survivalist drama The Mountain

between Us, starring Idris Elba, Kate Winslet, and

a whole bunch of snow—the pair attempts to make

their way out of a mountain following a plane crash.

There was also a first look at Red Sparrow, an international

spy thriller that reunites Jennifer Lawrence

with Hunger Games director Matthew Lawrence.

Footage from Kingsman: The Golden Circle

was well received by the CinemaCon audience,

who responded most strongly to Channing

Tatum’s turn as an all-American undercover agent

in the action-comedy sequel. Kenneth Branagh

offered a video introduction to footage from his

upcoming Agatha Christie adaptation, Murder

on the Orient Express. That footage offered a

glimpse of what promises to be another intricately

detailed production from Branagh, with

special attention paid to the set and costumes,

and a silky cinematography to complement a

star-studded cast.

Two of the standouts from the presentation

were the new installments of the sci-fi Planet of

the Apes and Alien franchises. “I hope you enjoy it,

and I hope it scares the shit out of you,” said Alien:

Covenant director Ridley Scott in a video message

before screening footage that revealed a number of

answers to questions raised in Prometheus, the previous

installment in the series. The footage confirmed

that Alien: Covenant will very much embrace the

franchise’s roots in horror that Ridley Scott planted

in the first installment.

Fox screened an entire scene from this summer’s

War for the Planet of the Apes and unveiled the

world premiere of the film’s trailer. After being confined

to the Bay Area in the first two films of the

current franchise, War for the Planet of the Apes will

WAR FOR THE PLANET

OF THE APES

Caesar and his apes are forced into

a deadly conflict with an army of

humans led by a ruthless Colonel.

After the apes suffer unimaginable

losses, Caesar wrestles with his

darker instincts and begins his own

mythic quest to avenge his kind. As

the journey finally brings them face

to face, Caesar and the Colonel are

pitted against each other in an epic

battle that will determine the fate

of both their species and the future

of the planet.

APRIL 2017 BOXOFFICE ® 49


CONVENTION RECAP

CAPTAIN UNDERPANTS:

THE FIRST EPIC MOVIE

This family comedy tells the

story of two overly imaginative

pranksters named George and

Harold, who hypnotize their

principal into thinking he’s a

ridiculously enthusiastic, incredibly

dimwitted superhero named Captain

Underpants.

DIARY OF A WIMPY KID:

THE LONG HAUL

Based on the book series, a family

road trip to attend Meemaw’s 90th

birthday party goes off course—

thanks to Greg’s newest scheme to

become famous.

be expanding the narrative universe in its grounded

reimagining of the sci-fi series.

That isn’t to say the entire slate is dark, however,

with animated titles Captain Underpants and

Ferdinand and the relaunch of the family-friendly

Diary of a Wimpy Kid series. Certainly not family-friendly

but nevertheless tension breaking was

footage from R-rated comedy Snatched, co-starring

Amy Schumer and Goldie Hawn in a film about a

mother-daughter trip gone horribly wrong. “I read

the script and knew there was no one else I could

do this movie with other than Goldie,” said Schumer;

Snatched marks the return of Goldie Hawn to

the big screen after a decade-plus hiatus.

Fox closed its presentation with an early look

at this holiday season’s musical, The Greatest

Showman. Star Hugh Jackman took the stage,

thanking exhibitors for their support of Logan

in the weeks leading up to the event and sharing

personal anecdotes of his previous visits to CinemaCon.

The audience was treated to footage from

the musical and one of its headlining numbers,

“This is Me,” as balloons rained down from the

auditorium’s ceiling. It was a festive end to the

presentation, with Fox guests rising from the

audience to join Jackman onstage and sing along

to the final notes of the song.

AMAZON STUDIOS

>> Amazon raised eyebrows at CinemaCon last

year when they decided to present footage at the

annual exhibition convention in their first year as

a member of the film industry. It’s fair to say there

was some hesitation ahead of last year’s event, as

the company’s role in the theatrical space was still

nascent. Only a year later, exhibitors showed a clear

sign of support for Amazon’s approach to the film

business, packing the house during a luncheon

at which the company showcased its 2017 slate.

“We believe in the theatrical window fully for our

releases,” said VP worldwide of motion pictures

Jason Ropell at the occasion, a statement that was

met with a round of applause.

While the company had very little footage to

share at last year’s event, their participation at

CinemaCon 2017 is an indication of their ambitious

plans in the feature-film world and included

footage of Richard Linklater’s Last Flag Flying,

dramedy Brad’s Status, and The Only Living Boy

in New York. Amazon will also be promoting two

documentaries in theaters this year, City of Ghosts

and Generation Wealth.

The comedy The Big Sick got the biggest reaction

at the luncheon, mostly from the efforts of star

50 BOXOFFICE ® APRIL 2017


WONDER

Auggie Pullman (Jacob Tremblay)

is a young boy born with a facial

deformity who has been in and out

of hospitals for years. With the help

of his mother, Isabel (Julia Roberts),

and his father, Nate (Owen Wilson),

he tries to fit in at a new school

named Beecher Prep and shows

everyone that he is just an ordinary

kid, no different than the rest of

the world.

PHOTO: DALE ROBINETTE

Kumail Nanjiani, who wrote the film with his wife,

based on the first year of their relationship.

LIONSGATE

>> 2016 was a rebound year for Lionsgate,

with the studio successfully transitioning from

a tentpole-focused strategy to one that pursues

relationships with heralded filmmakers while

releasing a diverse set of films in a variety of

genres. Their presentation at CinemaCon proved

that the company will remain committed to that

approach. Footage from cross-cultural comedy

How to be a Latin Lover showed crossover potential.

The film features Mexican stars Eugenio

Derbez and Salma Hayek, along with familiar

Hollywood names like Rob Lowe, Kristen Bell,

and Michael Cera.

Derbez might not be a household name in the

U.S., but he is one of Mexico’s most recognizable

comedians today and has already proved he can

carry a box office hit in both countries after the

runaway success of 2013 Instructions Not Included.

Footage from the long-awaited film on Tupac

Shakur, All Eyez on Me, teased what could be

another box office hit for Lionsgate. The obvious

comparison, of course, is Universal’s N.W.A.

hip-hop biopic Straight Outta Compton, which

grossed $161 million in 2015. That’s where the

similarities between the two films end. The brief

preview screened at CinemaCon focused on Tupac’s

activism—and his shortcomings—especially as he

rose to fame.

Michael Keaton’s comeback continues in full

force, as seen in footage from American Assassin,

a gritty thriller set in the age of international

terrorism. Dylan O’Brien plays a man who loses his

partner in a terrorist attack, then dedicates himself

to getting respect from the group that carried out

the attack. Keaton stars opposite as a mentor in the

art of brutal, ruthless combat.

A film with a different tone was Wonder,

featuring Room star Jacob Tremblay. The film is

based on the popular novel by R.J. Palacio. Lionsgate

expressed high hopes for the family-drama,

which it referred to as the highest-testing movie

in its history.

Salma Hayek returned to the stage to close out

the event, introducing the first public screening of

The Hitman’s Bodyguard, an action-comedy starring

Ryan Reynolds and Samuel L. Jackson.

With its range of stars, movies, and genres, it

looks like Lionsgate is heeding the call of audiences

looking for more diversity on the big screen. n

AMERICAN ASSASSIN

Mitch Rapp (Dylan O’Brien, above)

is a CIA black ops recruit under the

instruction of Cold War veteran

Stan Hurley (Michael Keaton). The

pair then is enlisted by CIA Deputy

Director Irene Kennedy to investigate

a wave of apparently random attacks

on military and civilian targets.

Together they discover a pattern in

the violence that leads them to a

joint mission with a lethal Turkish

agent to stop a mysterious operative

intent on starting a world war in the

Middle East.

APRIL 2017 BOXOFFICE ® 51


BY THE NUMBERS

HIGHLIGHTS FROM THE

MPAA THEATRICAL MARKET STATISTICS REPORT 2016

TO ACCESS THE FULL REPORT, VISIT: www.bit.ly/2nl0xMu

GLOBAL BOX OFFICE

$45

$40

$35

$30

$25

$20

$15

$10

$5

$0

Global Box Office – All Films (US$B)

2012 2013 2014 2015 2016

% Change

16 v 15

% Change

16 v 12

U.S./Canada $10.8 $10.9 $10.4 $11.1 $11.4 2% 5%

International $23.9 $25.0 $26.0 $27.3 $27.2 0 14%

TOTAL $34.7 $35.9 $36.4 $38.4 $38.6 1% 11%

Global box office increased 1 percent in 2016 to reach a

total of $38.6 billion. The international marketplace continues

to represent 71 percent of the global total. A record year in the

North American market made up ground for stalled international

growth.

INTERNATIONAL BOX OFFICE BY REGION

$16

$14

$12

$10

$8

$6

$4

$2

$0

$34.7

$23.9

(69%)

International

$35.9

$25.0

(60%)

$36.4

$26.0

(72%)

U.S./Canada

$38.4

$27.3

(71%)

$38.6

$27.2

(71%)

$10.8 $10.9 $10.4 $11.1 $11.4

2012 2013 2014 2015 2016

International Box Office by Region – All Films (US$ Billions)

EMEA Asia Pacific Latin America

$ 10.7 $ 10.4

$ 2.8

$ 10.9 $ 11.1

$ 10.6

$ 12.4

$ 3.0 $ 3.0

2012 2013 2014 2015 2016

2012 2013 2014 2015 2016

% Change

16 v 15

% Change

16 v 12

Europe, ME & Africa $10.7 $10.9 $10.6 $9.7 $9.5 -2% -11%

Asia Pacific $10.4 $11.1 $12.4 $14.2 $14.9 5% 44%

Latin America $2.8 $3.0 $3.0 $3.4 $2.8 -18% 2%

TOTAL $34.7 $35.9 $36.4 $38.4 $38.6 0% 14%

Currency devaluation hit Chinese growth in 2016, causing

a 1 percent decrease in USD despite a 4 percent gross in local

currency. Asia Pacific’s growth in 2016 was therefore driven by

strong gains in India (28%) and Japan (27%), leading the region

to a 5 percent increase over 2015.

Brexit made its presence felt in EMEA, causing a 10 percent

slide in UK box office due to currency devaluation. Gains in Italy

(6%) and France (5%) were offset by a 13 percent downturn in

$ 9.7

$ 14.2

$ 9.5

$ 14.9

$ 2.8

Germany, causing a 2 percent slip in the region when compared

to 2015.

A strong U.S. dollar affected several countries in the Latin

America region, resulting in dramatic changes in key markets

such as Argentina (-37%), Venezuela (-31%), and Mexico

(-15%). This chain reaction resulted in an 18 percent downturn

for the region as a whole. Despite an economic recession, Brazil’s

box office proved resilient with a 5 percent increase over 2015.

2016 Top 20 International Box Office Markets—All Films (US$ Billions)

SOURCE: IHS MARKIT, LOCAL SOURCES

1 China $6.6 11 Italy $0.7

2 Japan $2.0 12 Russia $0.7

3 India $1.9 13 Spain $0.7

4 U.K. $1.7 14 Netherlands $0.3

5 France $1.6 15 Indonesia $0.3

6 South Korea $1.5 16 Taiwan $0.3

7 Germany $1.1 17 Argentina $0.3

8 Australia $0.9 18 Hong Kong $0.3

9 Mexico $0.8 19 Poland $0.2

10 Brazil $0.7 20 Turkey $0.2

WORLDWIDE PLF SCREENS

Worldwide PLF Screens

SOURCE: IHS MARKIT

2014 2015 2016

% of total screens

2016

U.S./Canada 763 889 945 2%

EMEA 191 248 295 1%

Asia Pacific 558 763 859 1%

Latin America 154 205 231 2%

Total 1,666 2,105 2,330 1%

%Change vs. Previous Year — 26% 11% —

The big-screen revolution continues with PLF screens continuing

to increase their footprint worldwide. PLF only represents

1 to 2 percent of total screens in each region, signaling

important potential for growth as digital 3D reaches a maturity

level in the marketplace. The global PLF screen count increased

by 11 percent in 2016.

NORTH AMERICA (US & CANADA) BOX OFFICE

Although admissions in North America remained at 1.32 billion

in 2016, premiums helped the box office reach a record $11.4

billion in sales. 3D box office was down 8 percent in 2016, suggesting

that innovations such as PLF and luxury seating are helping

52 BOXOFFICE ® APRIL 2017


complement ticket sales in the region. Ticket prices also influenced

the box office boost, rising 3 percent over the previous year.

$12

$10

$8

$6

$4

$2

$0

ADMISSIONS (BILLIONS)

Average Cinema Ticket Price (US$)

SOURCES: NATO (TICKET PRICE), BUREAU OF LABOR STATISTICS (CONSUMER PRICE INDEX)

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

Average Ticket Price 6.88 7.18 7.50 7.89 7.93 7.96 8.13 8.17 8.43 8.65

% Change vs. Previous Year 5% 4% 4% 5% 1% 0% 2% 0% 3% 3%

CPI % Change vs. Previous Year 3% 4% 0% 2% 3% 2% 2% 2% 0% 1%

NORTH AMERICA (US & CANADA) 2016 AVERAGE 3D/LARGE-

SCREEN FORMAT MOVIES VIEWED PER MOVIEGOER BY AGE

2016 Average 3D/Large Screen Format Movies Viewed Per Moviegoer By Age

6.0

5.0

4.0

3.0

2.0

2.5

3.2

5.2

4.1

U.S./Canada Box Office (US$ Billions)

SOURCES: comSCORE - BOX OFFICE ESSENTIALS (TOTAL), MPAA (3D)

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 16v15

U.S./Canada Box Office (US$B) $9.6 $9.6 $10.6 $10.6 $10.2 $10.8 $10.9 $10.4 $11.1 $11.4 2%

3D Box Office $0.1 $0.2 $1.1 $2,2 $1.8 $1.8 $1.8 $1.4 $1.7 $1.6 -8%

1.80

1.60

1.40

1.20

1.00

0.80

0.60

0.40

0.20

0.00

$9.6

1% 2% 10% 21% 18% 17% 16% 14% 15% 14%

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

1.40

2007

$9.6

1.34

2008

$10.6

1.42

2009

$10.6 $10.2 $10.8 $10.9 $10.4

$11.1 $11.4

U.S./Canada Admissions

1.34

2010

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 16v15

U.S./Canada Admissions (B) 1.40 1.34 1.42 1.34 1.28 1.36 1.34 1.27 1.32 1.32 0%

U.S./Canada Admissions per cap 4.4 4.2 4.3 4.1 3.9 4.1 4.0 3.7 3.8 3.8 -1%

3.1

3.9

1.28

2011

1.36

2012

1.34

2013

3.0 3.2 3.6

2015 2016

2.8

1.27

2014

2.6

1.32

2015

3.6

1.32

2016

6.0

5.0

4.0

3.0

2.0

1.0

0.0

2.4 2.6

ADMISSIONS (PER CAPITA)

NORTH AMERICA (US & CANADA) BOX OFFICE TOP 25 –

CALENDAR YEAR 2016

Top 25 Films by U.S./Canada Box Office Earned in 2016

SOURCES: comSCORE - BOX OFFICE ESSENTIALS, CARA (RATING)

Rank Title Distributor B.O. (US$M) Rating 3D

1 Finding Dory Disney $486.3 PG •

2 Rogue One: A Star Wars Story Disney $408.2 PG-13 •

3 Captain America: Civil War Disney $408.1 PG-13 •

4 The Secret Life of Pets Universal $368.4 PG •

5 The Jungle Book Disney $364.0 PG •

6 Deadpool Fox $363.1 R

7 Zootopia Disney $341.3 PG •

8 Batman v Superman: Dawn of Justice Warner Bros. $330.4 PG-13 •

9 Suicide Squad Warner Bros. $325.1 PG-13 •

10 Star Wars: The Force Awakens Disney $284.7 PG-13 •

11 Doctor Strange Disney $229.9 PG-13 •

12 Fantastic Beasts and Where to Find Them Warner Bros. $222.7 PG-13 •

13 Moana Disney $206.5 PG •

14 The Revenant Fox $182.8 R

15 Jason Bourne Universal $162.4 PG-13

16 Star Trek Beyond Paramount $158.8 PG-13 •

17 X-Men: Apocalypse Fox $155.4 PG-13 •

18 Sing Universal $152.9 PG •

19 Trolls Fox $150.1 PG •

20 King Fu Panda 3 Fox $143.5 PG •

21 Ghostbusters Sony $128.4 PG-13 •

22 Central Intelligence Warner Bros. $127.4 PG-13

23 The Legend of Tarzan Warner Bros. $126.6 PG-13 •

24 Sully Warner Bros. $125.0 PG-13

25 Bad Moms STX Entertainment $113.3 R

*Film still in theaters in 2017; total reflects box office earned from Jan. 1–Dec. 31, 2016

** Film released in theaters in 2015; total reflects box office earned from Jan. 1–Dec. 31, 2016

Finding Dory was the highest earner of the calendar year in

2016, one of three Disney releases in the top three spots to have

earned over $400 million domestically. Fox’s Deadpool stands out

as a possible game changer for the industry, breaking into the

top 10 despite an R rating and opening the door for more adult

superhero releases in the near future. Warner Bros. rebounded

in 2016 with their two DC Comics franchise films placing on

the bottom half of the top 10; Batman v Superman: Dawn of

Justice and Suicide Squad each earned over $300 million respectively

on the domestic front. Art house audiences helped turn

The Revenant into a bona fide box office hit, helping the awards

contender place in the top 15 with $182.8 million. Newcomer

STX Entertainment rounds out the list with their first hit, Bad

Moms, an R-rated, female-driven comedy that crossed the $100

million mark.

1.0

0.0

2–11

12–17 18–24 25–39 40–49 50–59 60+

U.S. SCREENS BY TYPE OF VENUE

Films Released

SOURCES: comSCORE—BOX OFFICE ESSENTIALS (TOTAL), MPAA (SUBTOTALS)

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 16v15

Films released 611 638 557 563 609 678 661 709 708 718 1%

—3D film releases 6 8 20 26 45 40 45 47 40 52 30%

—Large format releases 11 15 14 16 21 26 32 30 36 42 17%

Over a third of the general population attended a premium-format

screening (3D or large screen) in 2016, with younger

moviegoers aged 12 to 17 once again leading the pack. Premium-format

releases reached record levels in 2016.

U.S. Screens by Type of Venue

SOURCES: IHS Markit

2012 2013 2014 2015 2016

1–4 screens 6,386 6,487 6,133 6,076 6,076

5+ screen venues 33,276 33,537 33,824 34,098 34,316

Total 39,662 40,024 39,957 40,174 40,392

The number of cinemas in the United States saw a slight

increase, reaching a total of 40,392 venues in 2016 due to an

increase in 5-plus screen locations. n

APRIL 2017 BOXOFFICE ® 53


SECRET WEAPON

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


ADAM CUTHBERT

Executive Director

National Operations and

Guest Experience

Cineplex Entertainment

Cineplex has been a D-BOX partner

circuit since 2010. Today, D-BOX’s

immersive seating technology has a

presence across 70 Cineplex auditoriums,

around 40 percent of the overall

circuit, including a rollout of the new

D-BOX recliner seats

In this monthly column,

we profile the different

executives who play key

roles in making the moviegoing

experience so

memorable. In this issue

we speak to Adam Cuthbert, who oversees operations

and the guest experience at Cineplex, Canada’s largest

exhibitor.

What was your first job in exhibition?

I began my career with Cineplex at the age of 15. I started out

working at the concession stand in a 3-plex cinema in Brampton,

Ontario. It is no longer there but at the time was named Cineplex

Odeon Centennial Cinemas.

What is an average day or week like for you?

I work in national operations so I have an opportunity to

support many diverse initiatives in the organization. One of my

current projects is leading the implementation of recliner seating.

I also oversee both our guest experience and our projection

and sound teams. Every day presents new and unique challenges

and opportunities.

What are some of the lessons or values that influence the way

you approach your job?

Working in national operations, we can have a large impact

on the way our guests experience our theaters. Managing staffing

levels, processes, procedures, and enhanced cinema experiences

to name a few. The “value” I look to add every day is our operations

mantra: “The Guest is Why.” This helps guide our decision

making to ensure that we always consider the impact of our

decisions on the guest and their experience, in everything we do.

What is your favorite part about your job?

The diversity. A lot goes into operating our theaters, and in

one way or another, I have an opportunity to be involved in most

exhibition-related initiatives in our organization.

What are some of the unique challenges of your role? Are

there any special considerations that you need to factor in

when mapping out a strategy?

Seeing the business through the eyes of our guests is important,

but also our employees and our investors. It is a great

compass to use when mapping out our strategies, but it can be a

challenge in finding the balance between the three.

Do you have someone you consider a professional mentor?

Growing up in our theaters, I have met many amazing individuals

that have helped shape me professionally. Since moving

to Cineplex home office in 2007, I have had the good fortune

of working directly for our senior vice president, operations,

Paul Nonis. Paul has a broad role in our organization, leading

exhibition, merchandising, and our amusement-gaming business,

Player One Amusement Games. Paul has always encouraged

his team to learn everything they can about our business; keep

abreast of upcoming trends; and most importantly to influence

people or situations where you can influence. I think these are

great words to live by.

What are some of the innovations in moviegoing that have

become popular at Cineplex locations?

When I think back to my start in the industry in 1990, the

only difference between one cinema and another was the size of

the auditorium and the screen. It was definitely a one-size-fits-all

approach. What I love about Cineplex is that we’ve enhanced

the moviegoing experience to give our guests much more choice.

From an adult-only VIP Cinemas, PLF experiences such as our

proprietary UltraAVX auditoriums and IMAX, to fully immersive

environments like 3D, D-BOX, 4DX, and Barco Escape.

Most recently, our recliner program began and has already been a

huge success. By offering the audience a larger menu of experiences

to choose from, it has really changed the moviegoing

experience for our guests. n

54 BOXOFFICE ® APRIL 2017


DON’T LET

YOUR RECLINER

JUST SIT THERE.

Add the premium power of D-BOX

to your current premium and give

your box office a powerful boost.

1-888-442-3269 theatrical@d-box.com d-box.com

MOVE THE WORLD


INDIE FOCUS

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

LIVING ROOM THEATERS, PORTLAND, ORE.

LIVING ROOM

THEATERS

PORTLAND, ORE.

& BOCA RATON, FLA.

by Steve Herring, Chief Executive Officer

HISTORY

Founded by award-winning writer/

director Ernesto Rimoch, Living Room

Theaters (LRT) was born out of Rimoch’s

frustration with the state of exhibition for

independent and foreign cinema in the

early 2000s. While many successful art

houses existed in the U.S., a majority of

them were in historic single- or double-screen

buildings with uncomfortable

seating and less-than-ideal sound and

projection. The first LRT location was

designed and permitted to begin construction

in Miami’s nascent Design District

back in 2005 but was derailed by Florida

Power & Light when they required the

neighboring power lines to be buried for

the project to move forward.

Rimoch began to look elsewhere and

soon settled on Portland, Oregon, where

a long-time friend convinced him it

would be the perfect spot. The search for

a building led to the intersection of S.W.

10th and S.W. Stark Street, only a block

away from the world-famous Powell’s

Books. The chosen building was built in

the 1920s, housed approximately 10,000

square feet, and had served as an electrical

warehouse, tire store, paint store, and

most recently an after-hours dance club

called the Panorama.

After the building was acquired in

2006, it was gutted, auditoriums were dug

out, and the space for the kitchen and

lounge were placed to face what would

become one of the busiest pedestrian

intersections in downtown Portland.

Wider aisles and seats, in-theater delivery

of food and drinks from the full restaurant

and bar, and more intimate auditoriums

allowed for a low-hassle one-of-a-kind

experience at LRT.

The theater opened in December of

2006 with six digital auditoriums running

an experimental software from Microsoft

called Pro Exhibitor. It quickly became

apparent that without proper lighting-cue

and playlist automation and more robust

playback support, the theaters could not

be successful. As with many new businesses,

LRT faced tremendous competitive

pressure for titles and operational

SCREENS

10 (at two locations)

CAPACITY

48 (average per auditorium)

TOP-PERFORMING TITLES (2016)

Portland: The Big Short; Hail, Caesar!; The Girl on the Train;

The Secret Life of Pets; Hello, My Name is Doris

Boca Raton: Dough; Remember; The Lady in the Van;

A Man Called Ove; The Man Who Knew Infinity; The Imitation Game

challenges with a new restaurant model

offering in-theater service and a full bar.

It was at this point that Rimoch’s son, Diego,

moved to Portland full time to help

turn the initial financial losses around.

Diego set to work, and slowly each

challenge was met and new revenue

milestones were set every year. As distributor

relationships strengthened and

the business became stable, attention was

turned to a long-term solution to non-

DCI playback of independent and foreign

films. After considering all the commercial

options available on the market, their

costs, strengths, and weaknesses, LRT

decided to develop their own solution.

Proludio was born and spun off in 2011

as a separate entity to provide a low-cost

digital alternative to DCI for independent

exhibitors. Proludio is thriving today with

systems deployed supporting approximately

50-plus screens across the U.S.

With the Portland location stabilizing,

the search for a second location was the

next logical step. A chance plane-ride

conversation in 2006 between Diego and

Professor Michael Budd from Florida

Atlantic University led to the formation

of a unique public/private partnership

that paved the way for LRT’s next move.

FAU’s School of Communications created

a new building on the Boca Raton campus

with some funding provided by LRT.

Four “Living Room”–sized 48-seat-occupancy

theaters were to be used by the

56 BOXOFFICE ® APRIL 2017


INDIE FOCUS

LIVING ROOM THEATERS, BOCA RATON, FLA.

movies, can be very successful. Event

programming or one-off screenings

present a unique challenge for LRT with

the low seat counts as the bar for success

is usually a sold-out auditorium.

school on weekdays and operated by LRT

on evenings and weekends. Being on a

university campus logically precluded

selling hard liquor, so the café stuck with

beer and wine, coffee and tea, and a full

restaurant menu.

In 2012, Diego decided to return to

school to complete his MBA and turned

over the CEO role of the company to

Steve Herring, who continues to oversee

operations to this day. For the past

several years, LRT has explored potential

expansion possibilities in various locations

throughout the U.S.

COMMUNITY

Diversity of locations has yielded a

wide diversity of audiences. In Portland,

moviegoers tend to be in their mid- to

late 20s up to seniors. Movies catering to

a female audience perform better, but the

gender mix of attendees is nearly evenly

split. In Boca Raton, the majority of

customers tend to be seniors, and LRT

continues to search for the elusive magic

formula to entice more FAU students into

the cinema. Dramas, comedies, and some

documentaries are well-received, while

Jewish-themed movies play well because

of the large Jewish population in the

greater Boca Raton area.

Trip Advisor lists the Portland location

as one of the top privately owned

businesses to visit in Portland, and

the theater has strong ties to the local

filmmaking community. In Boca on the

university campus, LRT consistently

helps expose patrons to lectures, live

theater, and other performances that

the university offers to the community

at large. FAU faculty are encouraged to

participate in pre- and post-discussions

of films on a regular basis.

CONCESSIONS

Popcorn is the obvious performer,

but beer, wine, and spirits are hot sellers

in Portland. Vegan chocolate truffles,

house-made caramel corn, pizzas, burgers,

and panini round out the top-performing

concessions items in Portland. The older

demographic in Boca doesn’t consume

nearly as much wine or beer as Portlanders,

but they do enjoy full meals prepared

in the kitchen and consumed in the café

or in the theater.

PROGRAMMING

The filmmaker side of owner Ernesto

Rimoch has really helped LRT set itself

apart from other theaters in programming

choices. Rimoch is actively involved

week to week in the film-buying

process for both locations. Portland has

found an even mixture of mainstream

commercial titles and challenging

indie and foreign titles to be a key to

success. In Boca, Jewish-themed titles

that wouldn’t work in Portland, as well

as more challenging foreign subtitled

SHOWMANSHIP

Marketing presents unique challenges

for every movie. Early on in LRT’s

history, an especially memorable effort

involved getting the hero costume from

the movie Kabluey. In the movie, the

main character wears the blue Kabluey

suit and hands out flyers to promote a

local business. LRT employed this same

marketing gag to garner attention for the

movie, and it was one of the first breakout

successes for the theater.

CINEMA ADVERTISING

From inception, LRT was wholly

opposed to advertising on-screen. Other

theaters’ extensive exploitation of ads

seemed to cheapen their experience, and

Ernesto was annoyed by ads himself. Then

came Spotlight’s Ronnie Ycong at an Arthouse

Convergence several years ago. He

patiently presented the value proposition

that his company brought to art house

theaters specifically. Several Proludio customers

were already utilizing Spotlight in

the local area, and they were very positive

about their experiences.

With assurances that all Spotlight ads

would be specifically approved by LRT,

and direct integration with Proludio

playback systems to make scheduling and

programming easy, the Portland location

took the plunge. Every potential ad was

carefully reviewed and playtime limited

to no more than two minutes. To LRT’s

pleasant surprise, the process was easy and

overwhelmingly positive, while generating

significant annual revenue.

With the great experience in Portland,

Boca Raton also came on board. LRT

especially appreciates the one-on-one

interactions with Spotlight’s staff even

though they are handling many theaters

throughout the country, and the positive

vibes continue to this day. n

58 BOXOFFICE ® APRIL 2017


NEW PRODUCTS

VENUE VALET’S CALLCONNECT SOFTWARE HELPS DINE-IN

CINEMAS

>> The big data revolution has met the dine-in cinema trend.

Venue Valet’s Call Connect product line now includes a reporting

and operations-management software designed to improve

efficiency for specialized circuits.

“During a typical night, a dine-in cinema manager tries to

make sense of dozens of bits and pieces of data coming from

multiple theater systems such as ticket, food and beverage, point

of sale, time clock, and customer response times. Our software

consolidates data from all these systems and presents it on a single

screen,” says Matthew Mader, president of Venue Valet. “We

spent a great deal of time working directly with dine-in theater

management and server staff to understand exactly what information

they use to make timely decisions that improve customer

service and maximize operational efficiency.”

Real time metrics such as ticket, food and beverage sales,

current and future occupancy, clocked-in employees, and service

quality are all automatically pulled in from operations systems

throughout the theater and presented on an easy-to-read operations

dashboard.

“At any given point, we can have over 100 employees clocked

in and serving hundreds of guests an hour,” said John Walsh, VP

of operations at Star Cinema Grill. “Prior to using this system

from Venue Valet, we needed to log into several different systems

and manually calculate the data which Venue Valet now provides

to us on a single dashboard. It gives us all the information we

need to keep our operations running smoothly and efficiently.”

The CallConnect reporting and operations-management software

also consolidates data across all of a circuit’s sites. “Many of

our customers want to see how their entire chain is doing at any

given point, not just one store,” said Mader from Venue Valet.

“Or, they use our software to compare different stores side by side

to see how each is performing against one other. Cinemas will

then spot trends and make

tweaks to its operations that

can help all their sites.”

The software identifies

sales and service trends

that are not available from

a single system. Cinemas

can use it as a planning

tool to optimize employee

coverage for upcoming

shows or predict future

sales. It provides a snapshot

of current information but

also taps into historical data

to help plan in advance.

For example, managers

can compare current-week

ticket sales against previous weeks. Or they can focus on one

movie time slot across all sites and have visibility to all data and

analytics all on a single screen.

CHRISTIE ROLLS OUT ALLURE AUTOFOCUS

>> Allure AutoFocus from Christie, a new advanced contentautomation

technology for digital signage and devices, was unveiled

at CinemaCon 2017. Allure AutoFocus enables exhibitors,

retailers, and other food-service operations of any form to drive

consumer behavior and revenue by automatically adapting the

digital messages in real time in response to their environment.

Already in use at more than 2,000 retail sites, Allure AutoFocus

is the latest advancement in the field of digital signage, dynamically

applying pre-established “rules” to prioritize, configure,

and present digital content elements without the need for human

oversight to manage content changes. Interfacing with multiple

data sources such as point of sale, inventory systems, ticket sales,

external news, and weather feeds, among other features, Allure

AutoFocus can adapt to multiple settings or situations. The engine

applies a series of relational algorithms that drive the Allure

content management system with the what, when, where, why,

and how content is presented on any digital display or device on

any digital network.

“The idea of a fully automated content rules engine was an

offshoot of our highly successful insights and analytics business,”

said Jason McCallum, EVP of operations for Allure. “Early

testing validated we had something special, but the incredibly

complex nature of ingesting data from a wide range of data

sources and applying algorithms to create relevant and easy-toapply

rules that leveraged data-based insights and clients’ human

capital knowledge/experience required extensive development

and validation testing—an exciting and daunting challenge that

has produced a remarkable product.” n

APRIL 2017 BOXOFFICE ® 59


SOCIAL MEDIA

SUMMER

HEAT

TRACKING SOCIAL BUZZ

FOR THE SUMMER SLATE

by Alex Edghill

>> As of press time, we’re gearing up

for a big summer that will feature 42

wide releases from 24 different distributors,

all vying for box office supremacy.

Every year one of the most hotly

debated topics is which films will break

out and which will occupy the inevitable—and

unenviable—flop positions.

Pundits generally formulate their

predictions based on a gut feel coupled

with comparisons to past films, but this year we

at Boxoffice Pro are leveraging the Facebook and

Twitter returns for all 42 films to create our list of

winners and losers.

Our methodology looked at the tally of all

tweets for each summer-wide release from January

1 to late March and paired that with the total gain

in Facebook likes over the same period. The one

caveat is that while we have complete Twitter data

for all films, 7 of the 42 films still do not have official

Facebook pages. A further 17 films didn’t have

official Facebook pages as of January 1 and hence

had a smaller window of time to generate gains. In

addition, this analysis favors films opening early in

the summer, since their marketing campaigns have

geared up already in some cases, but even with

that in mind it still offers valuable insights into

potential returns.

NO SURPRISES HERE

Guardians of the Galaxy Vol. 2

This is one of the few sure-fire hits of the

summer, as the numbers clearly show. With almost

100,000 more tweets than its nearest competitor it

was the most talked-about film on Twitter; it ended

up in eighth place in Facebook rank. The first

film raked in over $770 million worldwide, but

given the goodwill and fans it created back in 2014

and the massive wave of merchandising gold that

has followed, it has a very good chance at crossing

the magic $1 billion worldwide mark.

Pirates of the Caribbean: Dead Men Tell No Tales

The fifth Pirates film easily led in the Facebook

like increase charts with over one million new

likes, more than three times the closest film. On

Twitter its fifth spot was also very impressive and

completes one of the best all-round social media

performances of the summer films. The last three

films in the franchise have all crossed or been very

close to the $1 billion worldwide mark, and we’re

expecting another big turnout despite the gap

between releases and Johnny Depp’s recent box

office slips.

ZOE SALDANA

AS GAMORA IN

GUARDIANS OF

THE GALAXY VOL. 2

Transformers: The Last Knight

The Last Knight is in a similar boat with

Pirates. It is the fifth film of a storied franchise

that has consistently been a lock for the magic

$1 billion worldwide mark. It performed best

on Twitter with a second-place finish, while on

Facebook it was only eleventh. It’s important to

mention, however, that for films such as this,

and even Pirates, when you already have tens of

60 BOXOFFICE ® APRIL 2017


millions of Facebook likes, it’s more difficult to

generate big increases, as so many core fans are

already following the official page.

Despicable Me 3

One of the strongest animated franchises

returns with its third film, which was the second

biggest like-getter in 2017 so far, despite already

having over 17 million total likes. It was way back

in 11th spot on Twitter over the same period, but

in general family-friendly films have a harder time

on that platform, and it was the second-biggest

animated summer film there behind only Cars 3.

This rounds out the list of summer 2017 films that

have a good chance at $1 billion worldwide.

HIGH RISK, HIGH REWARD

Wonder Woman

With a reported price tag of over $100 million,

the DC adaptation is one of the titles that had

a lot of questions surrounding its release—including

its lack of star power and little to rely on

outside of Wonder Woman’s name. These social

media returns are indeed very reassuring, with its

third-place finish on Twitter putting it ahead of

most giant blockbusters. Its Facebook progress was

lagging outside the top 10, which applies a bit of a

caution, but given these returns it’s hard to see how

it doesn’t land in the top 10.

THE DARK HORSE

Everything, Everything

In recent years summer has been fertile ground

for youth-orientated adaptations of popular

romantic novels. 2014 had The Fault in Ours Stars,

2015 had Paper Towns, and last year saw Me before

You. This year it would seem as though Everything,

Everything is poised to take that crown after its

trailer set it on fire on both Twitter and Facebook,

where it finished in eighth and fourth position

respectively. With a micro-budget, it could potentially

have the greatest percentage profit of any

summer wide release.

TROUBLE BREWING?

It may be too early to make a generalization,

but not a single August wide opener was in the

top 12 for either Twitter or Facebook. This might

prove to be a blessing in disguise for late July releases

such as Dunkirk, which could take advantage

of a generally underperforming August.

Dunkirk

Christopher Nolan is no stranger to steering big-budget original screenplays

into box office glory, as his summer blockbuster Inception proved

back in 2010. Dunkirk looks to be another winner for the acclaimed

director. A fourth-spot finish on Twitter and ninth on Facebook was an

eye opener, given the limited amount of information that has been released

about the film. The presence of Harry Styles of One Direction fame in the

film doesn’t hurt its online appeal either, but even with that in mind it is

clearly well on its way to success. n

APRIL 2017 BOXOFFICE ® 61


CIRCUIT PROFILE

FROM SOUTH

KOREA TO

SOUTHERN

CALIFORNIA

CJ CGV LOOKS TO BUILD ON

GLOBAL SUCCESS IN U.S.

by Jason Kornfeld

>> Already one of the world’s top-five multiplex theater

companies, CJ CGV opened its flagship U.S. location in

Buena Park, California, at the new The Source OC shopping

center in January.

With a large global presence operating 2,877 screens

in 376 locations in seven countries, a stronger footprint in

the U.S. seemed like a logical next step.

“CGV feels very strongly that the emerging Asian market

has been here for a while,” said Paul Richardson, chief

operating officer of CJ CGV Americas, who joined the

company in December 2016. “Truthfully we’d like to be

further along than we are now, and bringing me on board

is part of energizing that.”

While CJ CGV already had a smaller location in Koreatown,

Los Angeles, the Buena Park location marks the

first chance for the U.S. market to experience the company’s

“Cultureplex” concept.

“Cultureplex,” which is a staple of CJ CGV sites worldwide,

looks at a movie theater as a total and immersive

cultural experience. CJ CGV aims to attract moviegoers

from all generations, though strong Asian communities are

the focal point.

Using their international experience, CJ CGV says

they wanted to be strategic in entering an already mature

U.S. market. Buena Park, with its significant Vietnamese,

Korean, and Chinese communities, was targeted.

“That location specifically was picked because of that

360-degree ring around there of strong Asian communities,”

Richardson said. “That’s the niche we are aiming at in

the U.S., [which] is a very mature [and] overbuilt market.”

Even though the Asian community is their niche,

CJ CGV says they hope their state-of-the-art facility is

attractive to all moviegoers. Films are played with Korean,

Vietnamese, and Mandarin subtitles, which CJ CGV

hopes is not a deterrent.

“Our plan is to cater to both worlds [because] we need

everyday moviegoers [too],” Richardson said. “We haven’t

62 BOXOFFICE ® APRIL 2017


PHOTO CREDIT: LARMOTION

gotten negative feedback about the subtitles,

and I think part of it is [because] the

experience in the facility is a nice one.”

CGV Cinemas Buena Park will also

be the first location where the industry’s

leading immersive cinema technologies,

4DX and ScreenX, are both available at

one U.S. theater complex. In addition

to these formats, moviegoers can enjoy

Premium Cinema, which offers dine-in

service, recliners, and cell phone chargers.

4DX, which was created by sister

company CJ 4DPLEX in 2009, features

motion seats that move in six different

directions in addition to 20 environmental

effects such as fog, wind, lightning,

bubbles, and scents. CGV Cinemas Buena

Park is the fifth U.S. location featuring

the technology.

ScreenX, which was created by CJ

CGV in 2012, is the world’s first 270-degree

multi-projection system for movie

theaters. CGV Cinemas Buena Park is the

third location in the U.S. where ScreenX

is available.

CJ CGV developed a “3S” concept of

sound, seat, and screen to bring moviegoers

a total immersive experience. With

4DX, the technology was already in the

marketplace, but CJ CGV brought it to

the cinema world.

“We believe this 3S concept is the

basis for Cultureplex,” said Brandon

Choi, COO of CJ 4DPLEX Americas.

“We have to be providing our innovation

concept to the audience from a technology

standpoint.”

As of March 2017, there are 370 4DX

auditoriums in 47 countries and 107

ScreenX auditoriums in four countries.

Though both formats are growing in

popularity, currently 4DX and ScreenX

cannot be experienced at the same time.

“We are thinking of putting [them]

together but we don’t want to give

[moviegoers] too much,” Choi said. “We

are researching, but from a technology

standpoint it is separate with a separate

business model.”

CGV Cinemas Buena Park has a bar

serving beer, wine, and special cocktails,

as well as gourmet snacks. They also have

a Popcorn Factory, which sells Popcornoplis

products and CGV’s signature

popcorn flavors like caramel, as well as

sour cream and onion.

Richardson, who served as president

and CEO at Sundance Cinemas as well

as Landmark Theaters earlier in his

career, makes sure every detail, from

theater design to customer service, is

paid attention to.

“The theaters are beautiful, and we

really care about the customer experience,

[even if] it’s how to pop the popcorn,” he

said. “They [even] have CGV University

where they teach you how to pour soda.”

The technology side of the theater is

also a priority for CJ CGV.

“What I find gratifying is how much

attention is paid to technical aspects,

[because with] U.S. exhibitors it’s hit and

miss with how much care goes into the

screen,” Richardson said. “Every millimeter

of that [screen] border is debated—

how much light on the screen is debated,

how much sound is debated. We take

great pride in the presentation.”

For Richardson, his first priority is

making sure Buena Park succeeds, but he

has his eye on other U.S. locations, too.

“My task was to get Buena Park open

and functioning,” Richardson said.

“[Then I can] go out and scout the rest of

the country to find the right opportunities

that fit our niche.”

With trends pointing to smaller movie

theaters with more amenities, Richardson

sees CGV Cinemas Buena Park as an

example of things to come.

“I think it is the wave of the future

because the industry is being more

fractured,” Richardson said. “People are

going to nicer theaters. I think that’s going

to continue and it’s how we’re going

to differentiate ourselves.” n

APRIL 2017 BOXOFFICE ® 63


A HOLLYWOOD ICON

THE TCL CHINESE THEATRE CELEBRATES ITS 90TH YEAR THIS MAY

by Daniel Loria

PHOTO CREDIT: TCL CHINESE THEATRES

>> Legacies aren’t built overnight.

Arguably the most iconic movie theater

in the world, the TCL Chinese Theatre—

originally named the Grauman Chinese

Theatre when it opened in 1927—has

become a destination for both tourists

and film industry veterans in its storied

90-year history. According to the cinema’s

records, over five million people visit the

TCL Chinese Theatre each year to get a

glimpse of the movie star handprints and

footprints in its forecourt or to catch the

latest Hollywood release in one of its six

auditoriums.

The story begins with exhibitor Sid

Grauman, who opened the theater in

1927 with partners Howard Scheck and

silver screen stars Mary Pickford and

Douglas Fairbanks. When actress Norma

Talmadge accidentally stepped in cement

while touring the unfinished venue, a

world-famous tradition was born. Since

then, over 290 sets of handprints/footprints

have been unveiled in the theater’s

forecourt. “It’s a very rare and exclusive

honor,” explains current TCL Chinese

Theatre president, Alwyn Hight Kushner.

“It’s something that we really only offer to

the industry’s top influencers.”

The theater officially opened to the

public on May 18, 1927, with a screening

of Cecil B. DeMille’s The King of Kings.

Ever the showman, Sid Grauman preceded

the film with a live prologue, “Glories

of the Sculptures,” accompanied by a

Wurlitzer organ and a 65-piece orchestra—not

bad for a pre-show. Built at a

cost of $2 million, the theater underwent

an 18-month construction that required

authorization from the U.S. government

to import and install temple bells,

pagodas, giant guardian lions (“heavenly

dogs”), and other Chinese artifacts that

can still be spotted decorating the theater

today. Currently, the cinema welcomes

upward of 40 red carpet premieres each

year and has the pedigree of having

hosted the Academy Awards ceremony on

three occasions.

With its status as both a tourist and

VIP film destination, the TCL Chinese

Theatre sits at a peculiar intersection

between Hollywood glamour and the

democratic accessibility that continues

to define exhibition as an affordable pastime

for people around the world. Rather

than a challenge, Kushner sees this as

an opportunity to establish the highest

possible standards for the cinema. “We

cater to a very specific audience,” she

says. “We have premieres every week and

we also show first-run films each day, so

we get a lot of well-known filmmakers,

actors, and producers coming to see

a movie here—and we need to ensure

that our presentation is perfect. When

Christopher Nolan comes here to watch

Interstellar, we want to make sure it’s

perfect for him and that we can offer

that same quality to the rest of our audiences

as well.”

The TCL Chinese Theatre has a

unique design that includes 40-foot-high

curved walls and copper-topped turrets,

along with 10-foot-tall lotus-shaped

fountains. The theater itself stands 90 feet

high with two coral-red columns topped

by wrought-iron masks that hold the

64 BOXOFFICE ® APRIL 2017


onze roof. A 30-foot-tall dragon

carved from stone welcomes

guests and passersby.

Declared a historic-cultural

landmark in 1968, the theater has

undergone several renovations to

ensure it can preserve the seismic

risks of its Los Angeles location.

The biggest renovation in its history,

however, came in 2013 when

its main auditorium was retrofitted

to become the largest IMAX

location in America and one of

the first theaters in the world to

install IMAX laser.

“It was a really big challenge to find a

way to respect the theater’s storied legacy

while at the same time becoming a leader

in innovation and technology in our

industry,” recalls Kushner.

“In the case of the 2013 renovation

we sought to preserve, and in a lot of

cases to restore, the defining historical

features of the building because it is a

landmark. In order to put in stadium

seating and accommodate the larger

screen for IMAX, we needed to dig into

the ground and take out the basement

and orchestra pit that hadn’t been used

in many decades. We had to remove a

lot of dirt in order to get the volume

we wanted. We weren’t able to go up

because the ceiling is incredibly beautiful

and ornate, the proscenium is historic,

and we wanted to preserve

those incredible character-defining

features that the theater is

still known for. At the same time,

we were committed to upgrading

with wider rows and stadium

seating so that every seat in the

house would be a great seat.”

As to the future, Kushner

admits that the theater’s strategy

was drawn up nearly a century

ago by its first operator. “Every

day is a new adventure; there are

always new challenges ahead to

preserve and promote the legacy,” she

says. “I really see our role as following

Sid Grauman’s footsteps that were

established in 1927, by taking pride

in our showmanship; whether you’re

a tourist passing through or a studio

executive at a premiere, we want to

provide the best possible moviegoing

experience that exists.” n

APRIL 2017 BOXOFFICE ® 65


FROM HOLLYWOOD TO A THEATER NEAR YOU

EXHIBITORS REVEAL BIG AUDIENCES FOR HIDDEN FIGURES THROUGH COMMUNITY INITIATIVES

by Rob Rinderman

>> By any measure of success, Fox’s initially unheralded Christmas

Day 2016 limited release of Hidden Figures has exceeded

even the highest of expectations.

Robust box office receipts are already well in excess of $185

million domestically, the film has an enviable 90%+ “certified

fresh” Rotten Tomatoes ranking, and it has achieved several

noteworthy awards-season victories and garnered numerous

prestigious nominations.

Two of the nation’s leading theatrical exhibitors—AMC and

Marcus—independently launched promotions to help spread

the positive messaging behind the movie in celebration of February’s

Black History Month.

In Marcus’s case, the top-four exhibitor teamed with both

the public school system and regional chapter of the Boys &

Girls club in Milwaukee, Wisconsin, their corporate-headquarters

city.

MARCUS THEATRES TIES IN WITH STEM EDUCATION

CURRICULUM

The Marcus Theatres promotion took place during the first

half of February, and over that fortnight more than 10,000 sixth

and seventh graders from the Milwaukee Public School (MPS)

system enjoyed Hidden Figures at one of the cinema chain’s local

theaters. Marcus provided in-kind support for the educational

initiative, including reduced-price admissions.

The company had previously spearheaded something similar

for students, but on a smaller scale, with Selma, which chronicled

a three-month period in the mid-1960s. The Rev. Dr.

Martin Luther King led a campaign to secure equal voting rights

for African Americans and an epic Alabama march from Selma

to Montgomery culminated in President Lyndon B. Johnson’s

signing of the Voting Rights Act of 1965. This was a significant

milestone of the civil rights movement.

This year’s tie-in was designed to help promote STEM

(science, technology, engineering, and math) studies to students

in middle school, a critical stage in their learning and development.

The award-winning film stars Taraji P. Henson, Octavia

66 BOXOFFICE ® APRIL 2017


Spencer, and Janelle Monae and documents the inspiring story

of three unsung African American NASA mathematicians who

together made material positive contributions to the 1960s

U.S. space race, including helping send astronaut John Glenn

into orbit.

MPS provides strong STEM offerings across its district and

viewed Hidden Figures as a means to bring STEM careers to life

for young people. “We want

students to see that STEM

careers are real options

regardless of gender

or race,” said school

superintendent Darienne

Driver.

According to

Denise Callaway,

director of communications

and outreach

for Milwaukee

Public Schools, “This

was a tremendous community-wide

effort in support of

our young people. This

was about more than

seeing a movie; this was

an opportunity for young

people to see how incredible

opportunity presents

itself when you are

prepared. It is an untold

but incredibly important

part of America’s history

that is finally being told

and we are grateful for

our partners, including

Marcus Theaters, for their

support.”

The Hidden Figures partnership

also involved several other

organizations including Beta Alpha

Boulé of Sigma Pi Phi Fraternity Inc. and the

Boys & Girls Clubs of Greater Milwaukee (BGCGM).

“When Hidden Figures was released, local leaders recognized

the motivational power of the movie and worked with

Marcus Theatres to send as many kids as we could to see it,” said

Vincent Lyles, president and CEO of BGCGM. “Our mission

at the Clubs is to inspire and empower young people to realize

their full potential, and we hope that’s exactly what seeing this

movie did for our kids; the women in the movie are real-life

heroes, and we want our Club members to reach for the stars

just like they did,” he added.

AMC AND FOX HELPING BREAK BARRIERS

AMC Theatres, the largest theatrical exhibitor in the

world—with more than 10,000 screens globally—teamed up

with 21st Century Fox (21CF) to provide free Hidden Figures

movie screenings in 14 cities across the country during Black

History Month.

On the morning of February 18, AMC locations in the

following cities showed free screenings of the movie: Atlanta;

Baltimore; New York; Charlotte, North Carolina;

Chicago; Dallas; Detroit; Los Angeles; New Orleans;

Philadelphia; Oakland, California; St. Louis; Miami;

and Washington, D.C.

AMC also launched an initiative

encouraging various

schools and community

groups around the

U.S. to apply for

hosting additional

special screenings

to be held in their

respective towns

in March 2017, in

conjunction with the

nationwide celebration

of Women’s

History Month.

“We at 21CF

were inspired by

the grassroots movement

to bring this

film to audiences that

wouldn’t otherwise be

able to see it—audiences

that might include

future innovators and

barrier breakers—and

we wanted to support and

extend that movement,”

said Liba Rubenstein, 21st

Century Fox’s senior vice

president of social impact.

Fox also recently completed a contest

entitled “The Search for Hidden Figures.”

Over $200,000 in scholarships and awards were distributed in

an effort to help uncover the next generation of STEM scholars.

According to Elizabeth Frank, EVP and chief content and

programming officer at AMC, “The storytelling and message

that Hidden Figures carries is endearing and inspiring, and

based on the remarkable community support this movie has

received, we have witnessed firsthand the powerful impact it is

having on audiences.” n

APRIL 2017 BOXOFFICE ® 67


COMING SOON IN 3D

GUARDIANS OF THE GALAXY VOL. 2

MAY 5 · DISNEY

CAST Chris Pratt, Zoe Saldana

DIR James Gunn

GENRE Act/Adv/SF

KING ARTHUR: LEGEND OF THE SWORD

MAY 12 · WARNER BROS.

CAST Charlie Hunnam, Astrid Bergés-Frisbey

DIR Guy Ritchie

GENRE Act/Adv

PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES

MAY 26 · DISNEY

CAST Johnny Depp, Geoffrey Rush

DIR Joachim Rønning, Espen Sandberg

GENRE Act/Adv

WONDER WOMAN

JUNE 2 · WARNER BROS.

CAST Gal Gadot, Chris Pine, Robin Wright

DIR Patty Jenkins

GENRE Act/Superhero

CAPTAIN UNDERPANTS

JUNE 2 · FOX/DREAMWORKS ANIMATION VOICE

CAST Kevin Hart, Ed Helms

DIR David Soren

GENRE Ani/Com/Fam

CARS 3

JUNE 16 · DISNEY

VOICE CAST Owen Wilson, Cristela Alonzo

DIR Brian Fee

GENRE Ani/Adv/Fam

TRANSFORMERS: THE LAST KNIGHT

JUNE 23 · PARAMOUNT

CAST Mark Wahlberg, Anthony Hopkins

DIR Michael Bay

GENRE Act/Sci-Fi/Sequel

DESPICABLE ME 3

JUNE 30 · UNIVERAL

CAST Steve Carell, Miranda Cosgrove

DIR Kyle Balda, Pierre Coffin

GENRE Ani/Sequel

SPIDER-MAN: HOMECOMING

JULY 7 · SONY

CAST Tom Holland, Marisa Tomei

DIR Jon Watts

GENRE Act/Superhero


ALSO UPCOMING IN 3D

WAR FOR THE PLANET

OF THE APES

July 14 – Fox

VALERIAN AND THE CITY

OF A THOUSAND PLANETS

July 21 – STX/EONE

THE EMOJI MOVIE

August 4 – Sony

THE NUT JOB 2:

NUTTY BY NATURE

August 18 – Open Road

THE SOLUTREAN

September 15 – Columbia

THE LEGO

NINJAGO MOVIE

September 22 – Warner Bros.

BLADE RUNNER 2049

October 6 – Warner Bros.

THOR:

RAGNAROK

November 3 – Disney

THE STAR

November 10 – Sony/Columbia

JUSTICE LEAGUE:

PART ONE

November 17 – Warner Bros.

COCO

November 22 – Disney

STAR WARS:

EPISODE VIII

December 15 – Disney

FERDINAND

December 15 – Fox

JUMANJI

December 22 – Columbia

GEOSTROM

October 20 – Warner Bros.

REALD.COM


EVENT CINEMA CALENDAR

FATHOM EVENTS fathomevents.com 855-473-4612

TCM BIG SCREEN CLASSICS: NORTH BY NORTHWEST (1959) Sun, 4/2/17 and Wed, 4/5/17 Classic Film

THE CASE FOR CHRIST LIVE EVENT Thurs, 4/6/17 Inspirational

BOLSHOI BALLET: A HERO OF OUR TIME Sun, 4/9/17 Ballet

FACING DARKNESS Mon, 4/10/17 Inspirational

RIFFTRAX LIVE: SAMURAI COP Thurs, 4/13/17 and Tues, 4/18/17 Comedy

DOCTOR WHO SEASON 10 PREMIERE Mon, 4/17/17 and Wed, 4/19/17 Premiere

BOSTON: AN AMERICAN RUNNING STORY Wed, 4/19/17 Documentary

THE GRATEFUL DEAD MOVIE 40TH ANNIVERSARY Thurs, 4/20/17 Documentary

MET LIVE IN HD: EUGENE ONEGIN Sat, 4/22/17 and Wed, 4/26/17 Opera

TCM BIG SCREEN CLASSICS: THE GRADUATE 50TH ANNIVERSARY (1967) Sun, 4/23/17 and Wed, 4/26/17 Classic Film

TED CINEMA EXPERIENCE: TED2017 OPENING EVENT Mon, 4/24/17 Conference

TED CINEMA EXPERIENCE: TED2017 PRIZE EVENT Tues, 4/25/17 Conference

CHONDA PIERCE: ENOUGH Tues, 4/25/17 Comedy

TED CINEMA EXPERIENCE: TED2017 HIGHLIGHTS EXCLUSIVE Sun, 4/30/17 Conference

JONAH: ON STAGE! Tues, 5/2/2017 Theatre

AMERICAN WRESTLER: THE WIZARD Wed, 5/3/17 Drama

NT LIVE: OBSESSION Thurs, 5/11/17 Theatre

MET LIVE IN HD: DER ROSENKAVALIER Sat, 5/13/2017 and Wed, 5/17/17 Opera

TCM BIG SCREEN CLASSICS: SMOKEY AND THE BANDIT 40TH ANNIVERSARY (1977) Sun, 5/21/17 and Wed, 5/24/17 Classic Film

TCM BIG SCREEN CLASSICS: THE GODFATHER 45TH ANNIVERSARY (1972) Sun, 6/4/17 and Wed, 6/7/17 Classic Film

2017 CLIBURN COMPETITION LIVE IN CINEMAS Sat, 6/10/17 Performing Arts

TCM BIG SCREEN CLASSICS: SOME LIKE IT HOT (1959) Sun, 6/11/17 and Wed, 6/14/17 Classic Film

RESIDENT EVIL: VENDETTA Mon, 6/19/17 Action

NT LIVE: ANGELS IN AMERICA, PART 1: MILLENNIUM APPROACHES Thurs, 7/20/17 Theatre

NT LIVE: ANGELS IN AMERICA, PART 2: PERESTROIKA Thurs, 7/27/17 Theatre

TCM BIG SCREEN CLASSICS: FAST TIMES AT RIDGEMONT HIGH 35TH ANNIVERSARY (1982) Sun, 7/30/17 and Wed, 8/2/17 Classic Film

TCM BIG SCREEN CLASSICS: BONNIE AND CLYDE 50TH ANNIVERSARY (1967) Sun, 8/13/17 and Wed, 8/16/17 Classic Film

TCM BIG SCREEN CLASSICS: E.T. THE EXTRA-TERRESTRIAL 35TH ANNIVERSARY (1982) Sun, 9/17/17 and Wed, 9/20/17 Classic Film

TCM BIG SCREEN CLASSICS: THE PRINCESS BRIDE 30TH ANNIVERSARY (1987) Sun, 10/15/17 and Wed, 10/19/17 Classic Film

TCM BIG SCREEN CLASSICS: CASABLANCA 75TH ANNIVERSARY (1942) Sun, 11/12/17 and Wed, 11/15/17 Classic Film

TCM BIG SCREEN CLASSICS: GUESS WHO’S COMING TO DINNER 50TH ANNIVERSARY (1967) Sun, 12/10/17 and Wed, 12/13/17 Classic Film

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

JEWELS Tue, 4/11/17 Ballet

THE DREAM / SYMPHONIC VARIATIONS / MARGUERITE AND ARMAND Wed, 6/7/17 Ballet

OTELLO Wed, 6/28/17 Opera

SPECTICAST specticast.com 866-996-2842

LOVE’S LABOUR’S LOST Sat, 4/29/17 Theatre

NYFC National Screening Series nyfilmcriticsseries.com/upcoming-screenings.aspx

SALT AND FIRE Mon 3/27/17 - Fri 4/7/17 Thriller

SHOT! THE PSYCHO-SPIRITUAL MANTRA OF ROCK Fri 4/7/17, Mon 4/10/17 - 4/13/17 Biography

70 BOXOFFICE ® APRIL 2017


COMING SOON

SLACK BAY

APRIL 21 (LIMITED)

Several tourists have vanished

while relaxing on the beaches

of the Channel Coast.

inspectors Machin and Malfoy

soon gather that the epicenter

of these disappearances must

be Slack Bay, a unique site

where the Slack River and

the sea join only at high tide.

There lives a community of

fishermen. Among them is a

curious family, the Bréfort,

lead by the father nicknamed

“The Eternal.” Towering high

above the bay stands the

Van Peteghems’ mansion.

Over the course of five days,

a peculiar love story between

Ma Loute and young Billie Van

Peteghem adds confusion and

mystification that will descend

on both families, shaking their

convictions, foundations, and

way of life.

DISTRIBUTOR KINO LORBER CAST

JULIETTE BINOCHE , FABRICE LUCHINI,

VALERIA BRUNI TEDESCHI DIRECTOR

BRUNO DUMONT WRITER BRUNO

DUMONT GENRE COMEDY RATING

TBD RUNNING TIME 122 MIN.

JULIETTE BINOCHE

PHOENIX FORGOTTEN

APRIL 21 (WIDE)

A young woman investigates the disappearance of her brother and his two

companions in the Arizona desert. Her quest leads her down a strange path that

suggests the Phoenix Lights, an extraterrestrial anomaly witnessed by many in the

late 1990s, are somehow directly related to her missing sibling.

DISTRIBUTOR ENTERTAINMENT STUDIOS MOTION PICTURES CAST CHELSEA LOPEZ, MATT BIEDEL,

JUSTIN MATTHEWS, LUKE ROBERTS, FLO HARTIGAN DIRECTOR JUSTIN BARBER WRITER T.S. NOWLIN

GENRE HORROR, MYSTERY, SCI-FI RATING PG-13 RUNNING TIME 87 MIN.

BORN IN CHINA

APRIL 21 (WIDE)

Venturing into the wilds of China, Born in China

captures intimate moments with a panda bear

and her growing cub, a young golden monkey

who feels displaced by his baby sister, and a

mother snow leopard struggling to raise her

two cubs.

DISTRIBUTOR DISNEYNATURE CAST JOHN KRASINSKI,

XUN ZHOU DIRECTOR LU CHUAN WRITERS DAVID

FOWLER, BRIAN LEITH, PHIL CHAPMAN, CHUAN LU GENRE

DOCUMENTARY RATING G RUNNING TIME 76 MIN.

72 BOXOFFICE ® APRIL 2017


FREE FIRE

APRIL 21 (WIDE)

Free Fire chronicles an arms deal that goes spectacularly and

explosively wrong. Justine has brokered a meeting in a deserted

warehouse between two Irishmen and a gang led by Vernon and

Ord, who are selling them a stash of guns. But when shots are

fired during the hand over, pandemonium ensues, and everyone

at the scene is thrust into a heart-stopping game of survival.

DISTRIBUTOR A24 CAST BRIE LARSON, CILLIAN MURPHY, ARMIE HAMMER,

MICHAEL SMILEY DIRECTOR BEN WHEATLEY WRITERS AMY JUMP, BEN

WHEATLEY GENRE ACTION, COMEDY, CRIME RATING R FOR STRONG

VIOLENCE, PERVASIVE LANGUAGE, SEXUAL REFERENCES, AND DRUG USE

RUNNING TIME 90 MIN.

BRIE LARSON

CHARLOTTE LE BON AND CHRISTIAN BALE

THE PROMISE

APRIL 21 (WIDE)

The mighty Ottoman Empire is crumbling. Constantinople is

about to be consumed by chaos. Michael Boghosian arrives as a

medical student determined to bring modern medicine back to

Siroun, his village in Turkey, where Turkish Muslims and Armenian

Christians have lived side by side for centuries. Photo-journalist

Chris Myers has come here partly to cover geo-politics and partly

by his love for Ana, an Armenian artist. When they meet, their

shared Armenian heritage sparks an attraction that explodes into

a romantic rivalry between the two men. As the Turks form an

alliance with Germany and the empire turns violently against its

own ethnic minorities, their conflicting passions must be deferred

while they join forces to survive, even as events threaten to

overwhelm them.

DISTRIBUTOR OPEN ROAD CAST OSCAR ISAAC, CHRISTIAN BALE,

CHARLOTTE LE BON, JEAN RENO, JAMES CROMWELL DIRECTOR TERRY

GEORGE WRITERS TERRY GEORGE, ROBIN SWICORD GENRE DRAMA,

HISTORY RATING PG-13 FOR THEMATIC MATERIAL INCLUDING WAR

ATROCITIES, VIOLENCE AND DISTURBING IMAGES, AND FOR SOME

SEXUALITY RUNNING TIME 134 MIN.

APRIL 2017 BOXOFFICE ® 73


COMING SOON

UNFORGETTABLE

APRIL 21 (WIDE)

Tessa Connover is barely coping with the end of her marriage when her ex-husband, David, becomes happily engaged to Julia

Banks—not only bringing Julia into the home they once shared but also into the life of their daughter, Lilly. Julia believes she

has finally met the man of her dreams, the man who can help her put her own troubled past behind her. But Tessa’s jealousy

soon takes a pathological turn, until she will stop at nothing to turn Julia’s dream into the ultimate nightmare.

DISTRIBUTOR WARNER BROS. CAST KATHERINE HEIGL, ROSARIO DAWSON, GEOFF STULTS, ISABELLA RICE, SIMON KASSIANIDES DIRECTOR DENISE

DI NOVI WRITER CHRISTINA HODSON GENRE THRILLER RATING R FOR SEXUAL CONTENT, VIOLENCE, SOME LANGUAGE, AND BRIEF PARTIAL NUDITY

RUNNING TIME 100 MIN.

HOW TO BE A

LATIN LOVER

APRIL 28 (WIDE)

Young, handsome Maximo has made a

career of seducing rich older women.

He marries a wealthy woman more than

twice his age so he doesn’t have to work

a day in his life. Twenty-five years later,

spoiled and bored from waking up next

to his now 80-year-old wife, he gets

the surprise of his life when she dumps

him for a younger car salesman. Forced

out of his mansion and desperate for a

place to stay, he must move in with his

estranged sister, Sara, and her nerdy but

adorable son, Hugo. Anxious to return

to the lap of luxury, Maximo uses his

nephew’s crush on a classmate to get

to his new target—her grandmother,

Celeste, a widowed billionaire. As

Maximo tries to rekindle his powers as

a Latin lover, he finds himself bonding

with his nephew Hugo, and he begins

to learn that being a Latin lover means

that loving money isn’t as important as

the love of your family.

DISTRIBUTOR PANTELION FILMS CAST

EUGENIO DERBEZ, SALMA HAYEK, KRISTEN

BELL, MICHAEL CERA, ROB LOWE, RAQUEL

WELCH, MICHAELA WATKINS, RENÉE TAYLOR

DIRECTOR KEN MARINO WRITERS CHRIS

SPAIN, JON ZACK GENRE COMEDY RATING PG-

13 FOR CRUDE HUMOR, SEXUAL REFERENCES

AND GESTURES, AND FOR BRIEF NUDITY

RUNNING TIME TBD

RAQUEL WELCH AND EUGENIO DERBEZ

74 BOXOFFICE ® APRIL 2017


BUSTER’S

MAL HEART

APRIL 28 (LIMITED)

The film follows a mountain man

on the run from authorities who

survives the winter by breaking

into empty vacation homes. He

is haunted by a recurring dream

of being lost at sea only to

discover that the dream is real:

he is one man in two bodies.

DISTRIBUTOR WELL GO USA

ENTERTAINMENT CAST RAMI

MALEK, D.J. QUALLS, KATE LYN SHEIL

DIRECTOR SARAH ADINA SMITH

WRITER SARAH ADINA SMITH GENRE

DRAMA, MYSTERY RATING TBD

RUNNING TIME 96 MIN.

TOM HANKS

THE CIRCLE

APRIL 28 (WIDE)

As she rises through the ranks of the world’s

largest tech and social media company, The

Circle, Mae is encouraged by company

founder Eamon Bailey to live her life with

complete transparency. But no one is

really safe when everyone is watching.

The Circle is based on the best-selling

novel by Dave Eggers.

DISTRIBUTOR STX ENTERTAINMENT CAST

TOM HANKS, EMMA WATSON DIRECTOR

JAMES PONSOLDT WRITER JAMES

PONSOLDT GENRE DRAMA, SCIFI, FANTASY

RATING PG-13 FOR A SEXUAL SITUATION,

BRIEF STRONG LANGUAGE, AND SOME

THEMATIC ELEMENTS INCLUDING DRUG

USE. RUNNING TIME 110 MIN.

SLEIGHT

APRIL 28 (WIDE)

A young street magician

(Jacob Latimore) is left to

care for his little sister after

their parents’ passing and

turns to illegal activities to

keep a roof over their heads.

When he gets in too deep, his

sister is kidnapped and he is

forced to use his magic and

brilliant mind to save her.

DISTRIBUTOR UNIVERSAL CAST

DULÉ HILL, SEYCHELLE GABRIEL,

LYNDSI LAROSE, JACOB LATIMORE,

SASHEER ZAMATA, BRANDON

JOHNSON, CAMERON ESPOSITO

DIRECTOR J.D. DILLARD WRITER

J.D. DILLARD GENRE ACTION/

ADVENTURE, SCI-FI, FANTASY

RATING R FOR LANGUAGE

THROUGHOUT, DRUG CONTENT,

AND SOME VIOLENCE RUNNING

TIME 90 MIN.

JACOB LATIMORE

APRIL 2017 BOXOFFICE ® 75


COMING SOON

GUARDIANS OF THE GALAXY VOL. 2

MAY 5 (WIDE)

Set to the backdrop of Awesome Mixtape Vol. 2, Marvel’s Guardians of the Galaxy Vol. 2 continues

the team’s adventures as they traverse the outer reaches of the cosmos. The Guardians must

fight to keep their newfound family together as they unravel the mysteries of Peter Quill’s true

parentage. Old foes become new allies, and fan-favorite characters from the classic comics will

come to our heroes’ aid as the Marvel cinematic universe continues to expand.

DISTRIBUTOR DISNEY CAST CHRIS PRATT, ZOE SALDANA, DAVE BAUTISTA, VIN DIESEL, BRADLEY COOPER,

MICHAEL ROOKER, KAREN GILLAN, SEAN GUNN, POM KLEMENTIEFF, ELIZABETH DEBICKI DIRECTOR JAMES GUNN

WRITER JAMES GUNN GENRE ACTION, ADVENTURE, SCI-FI RATING PG-13 FOR SEQUENCES OF SCI-FI ACTION AND

VIOLENCE, LANGUAGE, AND BRIEF SUGGESTIVE CONTENT RUNNING TIME 137 MIN.

76 BOXOFFICE ® APRIL 2017


THE DINNER

MAY 5 (LIMITED)

CHARLIE HUNNAM

When Stan Lohman, a popular congressman running for governor, invites his troubled

younger brother Paul and his wife, Claire, to join him and his wife, Katelyn, for dinner at

one of the town’s most fashionable restaurants, the stage is set for a tense night. While

Stan and Paul have been estranged since childhood, their 16-year-old sons are friends,

and the two of them have committed a horrible crime that has shocked the country.

While their sons’ identities have not yet been discovered and may never be, their parents

must now decide what action to take. As the night proceeds, beliefs about the true

natures of the four people at the table are upended, relationships shatter, and each

person reveals just how far they are willing to go to protect those they love.

DISTRIBUTOR THE ORCHARD CAST RICHARD GERE, STEVE COOGAN, LAURA LINNEY, REBECCA

HALL, CHLOË SEVIGNY, ADEPERO ODUYE DIRECTOR OREN MOVERMAN WRITER OREN

MOVERMAN GENRE DRAMA, SUSPENSE, THRILLER RATING R FOR DISTURBING VIOLENT

CONTENT AND LANGUAGE THROUGHOUT RUNNING TIME 120 MIN.

THE LOVERS

MAY 5 (LIMITED)

The Lovers is a refreshing, funny look at love, fidelity, and family,

starring Debra Winger and Tracy Letts as a long-married and

completely dispassionate husband and wife. Both are in the midst of

serious affairs and are increasingly committed to their new partners. But

on the brink of officially calling it quits, a spark between them is suddenly and

unexpectedly reignited, leading them into an impulsive romance that

forces them to navigate the hilarious complications of “cheating” on their

respective lovers. A mixture of humor and powerful emotion, the story is a

uniquely honest take on modern marriage.

DISTRIBUTOR A24 CAST DEBRA WINGER, AIDAN GILLEN, JESSICA SULA, MELORA

WALTERS DIRECTOR AZAZEL JACOBS WRITER AZAZEL JACOBS GENRE COMEDY,

ROMANCE RATING TBD RUNNING TIME TBD

KING ARTHUR: LEGEND OF THE SWORD

MAY 12 (WIDE)

When the child Arthur’s father is murdered, Arthur’s uncle Vortigern (Jude

Law) seizes the crown. Robbed of his birthright and with no idea who he

truly is, Arthur comes up the hard way in the back alleys of the city. But once

he pulls the sword from the stone, his life is turned upside down and he is

forced to acknowledge his true legacy—whether he likes it or not.

DISTRIBUTOR WARNER BROS. CAST CHARLIE HUNNAM, ASTRID BERGÈS-FRISBEY, DJIMON

HOUNSOU, AIDAN GILLEN, JUDE LAW DIRECTOR GUY RITCHIE WRITERS JOBY HAROLD,

GUY RITCHIE, LIONEL WIGRAM GENRE ACTION, ADVENTURE, DRAMA RATING PG-13 FOR

SEQUENCES OF VIOLENCE AND ACTION, SOME SUGGESTIVE CONTENT, AND BRIEF STRONG

LANGUAGE RUNNING TIME 126 MIN.

APRIL 2017 BOXOFFICE ® 77


COMING SOON

SNATCHED

MAY 12 (WIDE)

After her boyfriend dumps her on the eve

of their exotic vacation, impetuous dreamer

Emily Middleton persuades her ultra-cautious

mother, Linda, to travel with her to paradise.

Polar opposites, Emily and Linda realize that

working through their differences as mother and

daughter—in unpredictable, hilarious fashion—is

the only way to escape the wildly outrageous

jungle adventure they have fallen into.

DISTRIBUTOR FOX CAST AMY SCHUMER, GOLDIE

HAWN, JOAN CUSACK, IKE BARINHOLTZ, WANDA SYKES,

CHRISTOPHER MELONI DIRECTOR JONATHAN LEVINE

WRITER KATIE DIPPOLD GENRE ACTION, COMEDY RATING

TBD RUNNING TIME TBD

AMY SCHUMER

78 BOXOFFICE ® APRIL 2017


ALEC BALDWIN, DIANE LANE, AND ARNAUD VIARD

PARIS CAN WAIT

MAY 12 (LIMITED)

Anne, married to an inattentive movie producer, unexpectedly

finds herself taking a car trip from Cannes to Paris with her husband’s

business associate. What should be a seven-hour drive turns

into a carefree two-day adventure giving her a new lust for life.

DISTRIBUTOR SONY PICTURES CLASSIC CAST DIANE LANE, ALEC BALDWIN,

ARNAUD VIARD, CÉDRIC MONNET DIRECTOR ELEANOR COPPOLA WRITER

ELEANOR COPPOLA GENRE COMEDY, ROMANCE RATING PG FOR THEMATIC

ELEMENTS, SMOKING, AND SOME LANGUAGE RUNNING TIME 92 MIN.

LOWRIDERS

MAY 12 (LIMITED)

THE WALL

MAY 12 (LIMITED)

THE WEDDING PLAN

MAY 12 (LIMITED)

A contemporary tale about a teen whose

loyalties are tested when an annual

lowrider event forces him to choose

between his father and his criminal uncle.

DISTRIBUTOR UNIVERSAL CAST DEMIÁN BICHIR,

GABRIEL CHAVARRIA, THEO ROSSI, MELISSA

BENOIST, TONY REVOLORI, EVA LONGORIA

DIRECTOR RICARDO DE MONTREUIL WRITERS

ELGIN JAMES, CHEO HODARI COKER GENRE

DRAMA RATING PG-13 FOR LANGUAGE, SOME

VIOLENCE, SENSUALITY, THEMATIC ELEMENTS,

AND BRIEF DRUG USE RUNNING TIME 99 MIN.

The Wall is a deadly psychological thriller

that follows two soldiers (John Cena and

Aaron Taylor-Johnson) pinned down

by an Iraqi sniper, with nothing but a

crumbling wall between them. Their fight

becomes as much a battle of will and wits

as it is of lethally accurate marksmanship.

DISTRIBUTOR ROADSIDE ATTRACTIONS

CAST AARON TAYLOR-JOHNSON, JOHN CENA

DIRECTOR DOUG LIMAN WRITER DWAIN

WORRELL GENRE DRAMA, WAR RATING TBD

RUNNING TIME 85 MIN.

A month before Michal’s wedding, the

groom has a change of heart and the

wedding is called off. Michal feels she’s

unable to go back to ordinary life. Instead,

she decides to keep the reservation and

goes on a month-long journey.

DISTRIBUTOR ROADSIDE ATTRACTIONS

CAST NOA KOLER, AMOS TAMAM, OZ ZEHAVI

DIRECTOR RAMA BURSHTEIN WRITER RAMA

BURSHTEIN GENRE COMEDY, ROMANCE RATING

PG FOR THEMATIC ELEMENTS RUNNING TIME

110 MIN.

APRIL 2017 BOXOFFICE ® 79


COMING SOON

ALIEN: COVENANT

MAY 19 (WIDE)

Bound for a remote planet on the far side of the galaxy, the crew of the colony

ship Covenant discovers what they think is an uncharted paradise but is actually

a dark, dangerous world—whose sole inhabitant is the “synthetic” David, survivor

of the doomed Prometheus expedition.

DISTRIBUTOR FOX CAST MICHAEL FASSBENDER, KATHERINE WATERSTON, BILLY CRUDUP,

DANNY MCBRIDE, DEMIÁN BICHIR, CARMEN EJOGO, AMY SEIMETZ, JUSSIE SMOLLET, CALLIE

HERNANDEZ, NATHANIEL DEAN DIRECTOR RIDLEY SCOTT WRITERS JOHN LOGAN, DANTE

HARPER GENRE HORROR, SCI-FI, THRILLER RATING TBD RUNNING TIME TBD

AMY SEIMETZ, BENJAMIN RIGBY, AND CARMEN EJOGO

80 BOXOFFICE ® APRIL 2017


DIARY OF A WIMPY KID:

THE LONG HAUL

MAY 19 (WIDE)

A family road trip to attend Meemaw’s 90th birthday

party goes hilariously off course, thanks to Greg’s

newest scheme to (finally!) become famous. Based on

the record-breaking book series.

DISTRIBUTOR FOX CAST JASON IAN DRUCKER, CHARLIE

WRIGHT, TOM EVERETT SCOTT, ALICIA SILVERSTONE DIRECTOR

DAVID BOWERS WRITER ADAM SZTYKIEL GENRE COMEDY,

FAMILY RATING TBD RUNNING TIME TBD

EVERYTHING, EVERYTHING

MAY 19 (LIMITED)

What if you couldn’t touch anything in the outside

world? Everything, Everything tells the unlikely love

story of Maddy, an imaginative 18-year-old who,

due to an illness, cannot leave the protection of the

hermetically sealed environment within her house, and

the boy next door who won’t let that stop them. Maddy

is desperate to experience the outside world—and

the promise of her first romance. Talking only through

texts, she and Olly form a deep bond that leads them to

risk everything to be together.

DISTRIBUTOR WARNER BROS. CAST ANA DE LA REGUERA,

TAYLOR HICKSON, NICK ROBINSON, AMANDLA STENBERG,

ANIKA NONI ROSE DIRECTOR STELLA MEGHIE WRITER J.

MILLS GOODLOE GENRE DRAMA RATING PG-13 FOR THEMATIC

ELEMENTS AND BRIEF SENSUALITY RUNNING TIME TBD

THE COMMUNE

MAY 19 (LIMITED)

Erik and Anna are a professional couple with a

dream. Along with their daughter, Freja, they set up a

commune in Erik’s huge villa in an upscale district of

Copenhagen. It is friendship, love, and togetherness

under one roof until an earth-shattering love affair puts

the community and the commune to its greatest test.

DISTRIBUTOR MAGNOLIA CAST ULRICH THOMSEN, FARES

FARES, TRINE DYRHOLM, JULIE AGNETE VANG, OLE DUPONT

DIRECTOR THOMAS VINTERBERG WRITERS TOBIAS LINDHOLM,

THOMAS VINTERBERG GENRE DRAMA RATING TBD RUNNING

TIME 111 MIN.

APRIL 2017 BOXOFFICE ® 81


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

A24 646-568-6015

FREE FIRE Fri, 4/21/17 WIDE Sharlto Copley, Armie Hammer Ben Wheatley R Com/Act

THE LOVERS Fri, 5/5/17 NY/LA Debra Winger, Tracy Letts Azazel Jacobs NR Rom/Com

THE EXCEPTION Fri, 6/2/17 LTD. Lily James, Jai Courtney David Leveaux NR Dra

IT COMES AT NIGHT Fri, 6/9/17 WIDE Joel Edgerton, Riley Keough Trey Edward Shults NR Hor

A GHOST STORY Fri, 7/7/17 LTD. Rooney Mara, Casey Affleck David Lowery NR Dra/SF/Fan

DISNEY 818-560-1000 Ask for Distribution

BORN IN CHINA Fri, 4/21/17 WIDE John Krasinski Chuan Lu G Doc

GUARDIANS OF THE GALAXY VOL. 2 Fri, 5/5/17 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D/IMAX/Dolby Dig

PIRATES OF THE CARIBBEAN:

DEAD MEN TELL NO TALES

Fri, 5/26/17 WIDE

Johnny Depp, Orlando Bloom

Joachim Rønning, Espen

Sandberg

NR Act/Adv 3D/IMAX/Dolby Dig

CARS 3 Fri, 6/16/17 WIDE Owen Wilson, Cristela Alonzo Brian Fee NR Ani/Adv/Fam 3D

UNTITLED DISNEY LIVE ACTION FAIRY TALE 1 Fri, 7/28/17 WIDE NR Fan

THOR: RAGNAROK

Fri, 11/3/17 WIDE

Tom Hiddleston, Chris

Hemsworth, Idris Elba

Taika Waititi NR Act/Adv/Fan 3D/IMAX

COCO Fri, 11/22/17 WIDE Benjamin Bratt Lee Unkrich NR Ani 3D

STAR WARS: THE LAST JEDI

BLACK PANTHER

Fri, 12/15/17 WIDE

Fri, 2/16/18 WIDE

Daisy Ridley, John Boyega,

Oscar Isaac

Chadwick Boseman,

Lupita Nyong’o

Rian Johnson NR Act/Adv/SF 3D/IMAX/Dolby Dig

Ryan Coogler NR Act/Adv/SF 3D/IMAX

WRECK-IT RALPH SEQUEL Fri, 3/9/18 WIDE John C. Reilly, Sarah Silverman Phil Johnston, Rich Moore NR Ani/Adv/Fam 3D/IMAX

A WRINKLE IN TIME

Fri, 4/6/18 WIDE

Oprah Winfrey, Reese

Witherspoon

Ava DuVernay NR Fan 3D/IMAX

AVENGERS: INFINITY WAR Fri, 5/4/18 WIDE Robert Downey Jr., Chris Evans Anthony Russo & Joe Russo NR Act/Adv/SF 3D/IMAX

UNTITLED HAN SOLO STAR WARS

ANTHOLOGY FILM

Fri, 5/25/18 WIDE

Alden Ehrenreich, Donald Glover

Phil Lord & Christopher

Miller

NR Act/Adv/SF 3D/IMAX/Dolby Dig

THE INCREDIBLES 2 Fri, 6/15/18 WIDE Brad Bird NR Ani/Adv/Fam 3D/IMAX

ANT-MAN AND THE WASP Fri, 7/6/18 WIDE Paul Rudd, Evangeline Lilly Peyton Reed NR Act/Adv/SF 3D/IMAX

UNTITLED DISNEY LIVE ACTION 1 Fri, 8/3/18 WIDE NR

MULAN Fri, 11/2/18 WIDE NR Act/Adv 3D/IMAX

GIGANTIC Fri, 11/21/18 WIDE Nathan Greno, Meg LeFauve NR Ani

MARY POPPINS RETURNS Fri, 12/25/18 WIDE Emily Blunt, Lin-Manuel Miranda Rob Marshall NR Fam/Fan

FOCUS FEATURES 424-214-6360

THE BOOK OF HENRY Fri, 6/16/17 LTD. Naomi Watts, Lee Pace Colin Trevorrow PG-13 Dra

THE BEGUILED Fri, 6/23/17 LTD. Colin Farrell, Nicole Kidman Sofia Coppola NR Dra/His

ATOMIC BLONDE Fri, 7/28/17 LTD. Sofia Boutella, James McAvoy David Leitch NR Thr

VICTORIA AND ABDUL Fri, 9/22/17 LTD. Judi Dench, Ali Fazal Stephen Frears NR Dra

DARKEST HOUR Fri, 11/24/17 WIDE Gary Oldman, Lily James Joe Wright NR Bio

UNTITILED LAIKA FILM Fri, 5/18/18 WIDE NR

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

SNATCHED Fri, 5/12/17 WIDE Amy Schumer, Goldie Hawn Jonathan Levine NR Com

ALIEN: COVENANT

DIARY OF A WIMPY KID: THE LONG HAUL

Fri, 5/19/17 WIDE

Fri, 5/19/17 WIDE

Michael Fassbender,

Katherine Waterston

Alicia Silverstone,

Tom Everett Scott

Ridley Scott NR SF/Thr

David Bowers NR Com/Fam

CAPTAIN UNDERPANTS Fri, 6/2/17 WIDE Kevin Hart, Ed Helms David Soren PG Ani/Com/Fam 3D

WAR FOR THE PLANET OF THE APES Fri, 7/14/17 WIDE Andy Serkis, Woody Harrelson Matt Reeves NR Act/SF

KINGSMAN: THE GOLDEN CIRCLE Fri, 10/6/17 WIDE Taron Egerton, Julianne Moore Matthew Vaughn NR Act/Thr

THE MOUNTAIN BETWEEN US Fri, 10/20/17 WIDE Charlie Hunnam, Rosamund Pike Hany Abu-Assad NR Dra/Rom

RED SPARROW Fri, 11/10/17 WIDE Jennifer Lawrence Francis Lawrence NR Thr

82 BOXOFFICE ® APRIL 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

MURDER ON THE ORIENT EXPRESS Fri, 11/22/17 WIDE Johnny Depp, Daisy Ridley Kenneth Branagh NR Dra/Mys

FERDINAND Fri, 12/15/17 WIDE Gabriel Iglesias, Tom Kane Carlos Saldanha NR Ani/Fam 3D

THE GREATEST SHOWMAN ON EARTH Mon, 12/25/17 WIDE Hugh Jackman Michael Gracey NR Mus/Dra

MAZE RUNNER: THE DEATH CURE Fri, 1/12/18 WIDE Dylan O’Brien, Kaya Scodelario Wes Ball NR SF/Thr IMAX

THE PREDATOR Fri, 2/9/18 WIDE Boyd Holbrook, Jacob Tremblay Shane Black NR Act/SF/Hor

UNTITLED FOX / MARVEL FILM 1 Fri, 3/2/18 WIDE NR Act/Adv/SF

UNTITLED GREG BERLANTI FILM Fri, 3/16/18 WIDE NR

ANUBIS Fri, 3/23/18 WIDE Chris Wedge NR Ani 3D

UNTITLED FOX / MARVEL FILM 2 Fri, 6/29/18 WIDE NR Act/Adv/SF

ALITA: BATTLE ANGEL Fri, 7/20/18 WIDE Rosa Salazar, Christoph Waltz Robert Rodriguez NR Act/Adv/Rom

THE DARKEST MINDS Fri, 9/14/18 WIDE NR

UNTITLED FOX / MARVEL FILM 3 Fri, 11/2/18 WIDE NR Act/Adv/SF

FOX SEARCHLIGHT 212-556-2400

GIFTED Wed, 4/7/17 LTD. Chris Evans, Mckenna Grace Marc Webb PG-13 Dra

MY COUSIN RACHEL Fri, 6/9/17 MOD. Rachel Weisz, Sam Claflin Roger Michell PG-13 Dra/Rom

PATTI CAKE$

Fri, 7/7/17 LTD.

Danielle Macdonald,

Bridget Everett

Geremy Jasper NR Dra

STEP Fri, 8/4/17 LTD. Blessin Giraldo, Cori Grainger Amanda Lipitz PG Doc

BATTLE OF THE SEXES Fri, 9/22/17 LTD. Emma Stone, Steve Carell

LIONSGATE 310-309-8400

AFTERMATH

Fri, 4/7/17 LTD.

Arnold Schwarzenegger,

Maggie Grace

Jonathan Dayton and

Valerie Faris

PG-13

Bio/Com

Elliott Lester R Dra

HOW TO BE A LATIN LOVER Fri, 4/28/17 WIDE Kristen Bell, Rob Lowe Ken Marino PG-13 Com

3 IDIOTAS Fri, 6/2/17 MOD. Martha Higareda, Alfonso Dosal Carlos Bolado PG-13 Com

ALL EYEZ ON ME Fri, 6/16/17 WIDE Demetrius Shipp Jr., Danai Gurira Benny Boom NR Dra/Bio

THE BIG SICK Fri, 6/23/17 LTD. Kumail Nanjiani, Zoe Kazan Michael Showalter NR Com

THE HITMAN’S BODYGUARD

Fri, 8/18/17 WIDE

Ryan Reynolds,

Samuel L. Jackson

Patrick Hughes NR Act/Com

UNTITLED PANTELION FILM Fri, 9/1/17 MOD. NR

AMERICAN ASSASSIN Fri, 9/15/17 WIDE Michael Keaton, Dylan O’Brien Michael Cuesta NR Act/Adv

GRANITE MOUNTAIN Fri, 9/22/17 WIDE Jennifer Connelly, Miles Teller Joseph Kosinski NR Dra

MY LITTLE PONY Fri, 10/6/17 WIDE Tara Strong, Emily Blunt Jayson Thiessen NR Ani/Fan/Fam

SAW: LEGACY

Fri, 10/27/17 WIDE

Michael Spierig, Peter

Spierig

WONDER Fri, 11/17/17 WIDE Julia Roberts, Jacob Tremblay Stephen Chbosky PG Dra

THE COMMUTER Fri, 1/12/18 WIDE Liam Neeson, Vera Farmiga Jaume Collet-Serra NR Act

ROBIN HOOD Fri, 3/23/18 WIDE Taron Egerton, Jamie Foxx Otto Bathurst NR Adv

OPEN ROAD FILMS 310-696-7504

SPARK: A SPACE TAIL Fri, 4/14/17 MOD Jessica Biel, Susan Sarandon Aaron Woodley PG Ani

THE PROMISE Fri, 4/21/17 WIDE Christian Bale, Oscar Isaac Terry George PG-13 Dra/His

THE NUT JOB 2: NUTTY BY NATURE Fri, 5/19/17 WIDE Will Arnett, Katherine Heigl Cal Brunker NR Ani/Com/Fam 3D

ALL I SEE IS YOU Fri, 8/4/17 WIDE Blake Lively, Yvonne Strahovski Marc Forster NR Dra/Thr

SHOW DOGS Fri, 11/10/17 WIDE Will Arnett, Natasha Lyonne Raja Gosnell NR Com/Fam

PARAMOUNT 323-956-5000

BAYWATCH Fri, 5/26/17 WIDE Dwayne Johnson, Zac Efron Seth Gordon R Act/Com

TRANSFORMERS: THE LAST KNIGHT Fri, 6/23/17 WIDE Mark Wahlberg, Isabela Moner Michael Bay NR Act/Adv/SF

AN INCONVENIENT SEQUEL: TRUTH TO POWER Fri, 7/28/17 WIDE Al Gore Bonni Cohen, Jon Shenk NR Doc

R

Hor

APRIL 2017 BOXOFFICE ® 83


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

MOTHER!

Fri, 10/13/17 WIDE

Jennifer Lawrence,

Domhnall Gleeson

Darren Aronofsky NR Dra/Mys

2017 CLOVERFIELD MOVIE Fri, 10/27/17 WIDE NR SF/Thr IMAX

SUBURBICON Fri, 11/3/17 WIDE Matt Damon, Oscar Isaac George Clooney NR Com/Cri/Mys

ACTION POINT Fri, 3/23/18 WIDE NR

A QUIET PLACE Fri, 4/13/18 WIDE Emily Blunt, John Krasinski John Krasinski NR Hor/Thr

DADDY’S HOME 2 Fri, 11/10/17 WIDE Will Ferrell, Mark Wahlberg Sean Anders NR Com

DOWNSIZING Fri, 12/22/17 WIDE Matt Damon, Kristen Wiig Alexander Payne NR Com

GNOMEO & JULIET: SHERLOCK GNOMES Fri, 1/12/18 WIDE James McAvoy, Emily Blunt John Stevenson NR Ani/Com/Fam

TRANSFORMERS 6 Fri, 6/8/18 WIDE NR Ani/Com/Adv

AMUSEMENT PARK Fri, 7/13/18 WIDE Mila Kunis, Jennifer Garner Dylan Brown NR Ani/Com/Fam

MISSION: IMPOSSILBE 6 Fri, 7/27/18 WIDE Tom Cruise, Rebecca Ferguson Christopher McQuarrie NR Act/Adv

UNTITLED PARAMOUNT EVENT FILM Fri, 11/2/18 WIDE NR

SONY 212-833-8500

SMURFS: THE LOST VILLAGE Fri, 4/7/17 WIDE Demi Lovato, Mandy Patinkin Kelly Asbury PG Ani/Com/Fam 3D

ROUGH NIGHT

Fri, 6/16/17 WIDE

Scarlett Johanson,

Kate McKinnon

Lucia Aniello NR Com/Dra

SPIDER-MAN: HOMECOMING Fri, 7/7/17 WIDE Tom Holland, Marisa Tomei Jon Watts NR Act/Adv

THE DARK TOWER

Fri, 7/28/17 WIDE

Idris Elba, Matthew

McConaughey

Nikolaj Arcel NR Wes/Act/Fan

THE EMOJI MOVIE Fri, 8/4/17 WIDE James Corden, Ilana Glazer Tony Leondis NR Ani 3D

3D/IMAX/Dolby

Atmos

BABY DRIVER Fri, 8/11/17 WIDE Ansel Elgort, Lily James Edgar Wright NR Act/Com/Cri Dolby Atmos

CADAVER Fri, 8/25/17 WIDE Stana Katic, Shay Mitchell Diederik Van Rooijen NR Hor

THE EQUALIZER 2 Thu, 9/14/18 WIDE Denzel Washington Antoine Fuqua NR Act/Thr

THE SOLUTREAN Fri, 9/15/17 WIDE Kodi Smit-McPhee, Leonor Varela Albert Hughes NR Act/Dra/Thr

FLATLINERS Fri, 9/29/17 WIDE Nina Dobrev, Kiefer Sutherland Niels Arden Oplev NR Dra/Hor/SF

THE STAR Fri, 11/10/17 WIDE Steven Yeun, Kelly Clarkson Timothy Reckart NR Ani

HE’S OUT THERE

Fri, 12/1/17 WIDE

Yvonne Strahovski,

Justin Bruening

Dennis Iliadis NR Hor

JUMANJI Fri, 12/22/17 WIDE Dwayne Johnson, Jack Black Jake Kasdan NR Adv/Fan/Fam

WHITE BOY RICK

Fri, 1/12/18 WIDE

Matthew McConaughey,

Jennifer Jason Leigh

Yann Demange NR Cri/Dra

PROUD MARY Fri, 1/26/18 WIDE Taraji P. Henson Babak Najafi NR Thr

SLENDER MAN Fri, 2/2/18 WIDE Sylvain White NR Hor

PETER RABBIT Fri, 3/23/18 WIDE Will Gluck Rose Byrne, James Corden NR Fam/Ani

BARBIE Fri, 6/29/18 WIDE Amy Schumer NR Com

HOTEL TRANSYLVANIA 3 Fri, 7/13/18 WIDE Adam Sandler, Selena Gomez Genndy Tartakovsky NR Ani/Com/Fam

GOOSEBUMPS 2 Fri, 9/21/18 WIDE Rob Letterman NR Com/Fam/Hor

VENOM Fri, 10/5/18 WIDE NR SF/Act

THE GIRL IN THE SPIDER’S WEB Fri, 10/19/18 WIDE Fede Alvarez NR Dra/Thr

BAD BOYS FOR LIFE Fri, 11/9/18 WIDE Will Smith, Martin Lawrence Joe Carnahan NR Act/Thr

UNTITLED ANIMATED SPIDER-MAN FILM Fri, 12/21/18 WIDE Bob Persichetti NR Ani/Act/Fam

SONY PICTURES CLASSICS Tom Prassis 212-833-4981

NORMAN: THE MODERATE RISE AND TRAGIC

FALL OF A NEW YORK FIXER

Fri, 4/14/17 NY/LA

Richard Gere,

Charlotte Gainsbourg

Joseph Cedar R Dra/Com

PARIS CAN WAIT Fri, 5/12/17 NY/LA Diane Lane, Araud Viard Eleanor Coppola PG Rom/Com

MAUDIE Fri, 6/16/17 NY/LA Ethan Hawke, Sally Hawkins Aisling Walsh PG-13 Bio/Dra/Rom

STX ENTERTAINMENT 310-742-2300

THEIR FINEST Fri, 4/7/17 LTD. Sam Claflin, Jake Lacy Lone Scherfig R Com

84 BOXOFFICE ® APRIL 2017


TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

THE CIRCLE Fri, 4/28/17 WIDE Emma Watson, Tom Hanks James Ponsoldt NR Thr

VALERIAN AND THE

CITY OF A THOUSAND PLANETS

Fri, 7/21/17 WIDE Dane DeHaan, Cara Delevingne Luc Besson NR Act/Adv/SF

RENEGADES Fri, 9/1/17 WIDE J.K. Simmons, Sullivan Stapleton Steven Quale PG-13 Act/Thr

THE FOREIGNER Fri, 10/13/17 WIDE Jackie Chan, Pierce Brosnan Martin Campbell NR Act/Sus

A BAD MOMS CHRISTMAS Fri, 11/3/17 WIDE Mila Kunis, Kristin Bell Jon Lucas, Scott Moore NR Com

DEN OF THIEVES Fri, 1/19/18 WIDE Gerard Butler, Pablo Schreiber Christian Gudegast NR

UNIVERSAL 818-777-1000

THE FATE OF THE FURIOUS Fri, 4/14/17 WIDE Vin Diesel, Dwayne Johnson F. Gary Gray PG-13 Act/Cri IMAX / 3D

UNTITLED 2017 BLUMHOUSE

HORROR PROJECT 2

Fri, 4/28/17 WIDE NR Hor

THE MUMMY Fri, 6/9/17 WIDE Tom Cruise, Sofia Boutella Alex Kurtzman NR Act/Adv

DESPICABLE ME 3 Fri, 6/30/17 WIDE Steve Carell, Kristen Wiig Kyle Balda & Pierre Coffin NR Ani/Com/Fam 3D

GIRLS TRIP

Fri, 7/21/17 WIDE

Jada Pinkett Smith,

Queen Latifah

Malcolm D. Lee R Com

AMERICAN MADE Fri, 9/29/17 WIDE Tom Cruise, Domhnall Gleeson Doug Liman NR Cri/Thr

THE SNOWMAN

Fri, 10/13/17 WIDE

Michael Fassbender,

Rebecca Ferguson

Tomas Alfredson NR Cri/Thr

INSIDIOUS: CHAPTER 4 Fri, 10/20/17 WIDE Lin Shaye Adam Robitel NR Hor/Thr

THANK YOU FOR YOUR SERVICE Fri, 10/27/17 WIDE Miles Teller, Haley Bennett Jason Hall R Dra/War

LET IT SNOW Fri, 11/22/17 WIDE Luke Snellin NR Rom/Com

PITCH PERFECT 3 Fri, 12/22/17 WIDE Anna Kendrick, Rebel Wilson Elizabeth Banks NR Com/Mus

UNTITLED 2018 BLUMHOUSE

HORROR PROJECT 1

Fri, 1/5/18 WIDE NR Hor

EXTINCTION Fri, 1/26/18 WIDE Michael Peña, Lizzy Caplan Ben Young NR SF/Thr

FIFTY SHADES FREED Fri, 2/9/18 WIDE Dakota Johnson, Jamie Dornan James Foley NR Dra/Rom

LARRIKINS Fri, 2/16/18 WIDE Margot Robbie, Hugh Jackman NR Ani/Com

PACIFIC RIM: UPRISING Fri, 2/23/18 WIDE Scott Eastwood, John Boyega Steven S. DeKnight NR SF/Act

UNTITLED 2018 UNIVERSAL MONSTER

FRANCISE FILM

Fri, 4/13/18 WIDE NR Hor

THE PACT Fri, 4/13/18 WIDE Leslie Mann, John Cena Kay Cannon R Com

JURRASIC WORLD SEQUEL Fri, 6/22/18 WIDE Chris Pratt, Bryce Dallas Howard J.A. Bayona NR Act/Adv

UNTITLED NEXT PURGE CHAPTER Wed, 7/4/18 WIDE NR Hor

SKYSCRAPER Fri, 7/13/18 WIDE Dwayne Johnson Rawson Marshall Thurber NR Act

SCARFACE Fri, 8/10/18 WIDE NR Cri/Dra

FIRST MAN Fri, 10/12/18 WIDE Ryan Gosling Damien Chazelle NR Dra/Bio

UNTITLED 2018 BLUMHOUSE

|HORROR PROJECT 2

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

Fri, 10/19/18 WIDE NR Hor

Peter Candeland, Yarrow

Cheney

MORTAL ENGINES Fri, 12/14/18 WIDE Christian Rivers NR SF

NR

Ani/Com/Fam

THE SECRET LIFE OF PETS 2 Fri, 7/3/19 WIDE Chris Renaud NR Ani/Com/Fam

WARNER BROS. 818-977-1850

GOING IN STYLE Fri, 4/7/17 WIDE Morgan Freeman, Michael Caine Zach Braff PG-13 Com/Cri

UNFORGETTABLE Fri, 4/21/17 WIDE Rosasio Dawson, Katherine Heigl Denise Di Novi R Thr

KING ARTHUR: LEGEND OF THE SWORD

EVERYTHING, EVERYTHING

Fri, 5/12/17 WIDE

Fri, 5/19/17 WIDE

Charlie Hunnam,

Astrid Bergès-Frisbey

Amandla Stenberg,

Nick Robinson

Guy Ritchie PG-13 Act/Adv 3D/IMAX

Stella Meghie PG-13 Dra/Rom

WONDER WOMAN Fri, 6/2/17 WIDE Gal Gadot, Chris Pine Patty Jenkins PG-13 Act/Adv Dolby Atmos

THE HOUSE Fri, 6/30/17 WIDE Will Ferrell, Amy Poehler Andrew J. Cohen NR Com

APRIL 2017 BOXOFFICE ® 85


BOOKING GUIDE

TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS

DUNKIRK Fri, 7/21/17 WIDE Tom Hardy, Kenneth Branagh Christopher Nolan PG-13 Act/Thr/War IMAX

ANNABELLE 2

Fri, 8/11/17 WIDE

Stephanie Sigman,

Alicia Vela-Bailey

David F. Sandberg R Hor/Thr

IT Fri, 9/8/17 WIDE Finn Wolfhard, Bill Skarsgård Andrés Muschietti NR Hor/Thr

THE LEGO NINJAGO MOVIE Fri, 9/22/17 WIDE Dave Franco, Michael Peña Charlie Bean NR Ani/Adv/Fam 3D/IMAX

BLADE RUNNER 2049 Fri, 10/6/17 WIDE Ryan Gosling, Harrison Ford Denis Villeneuve NR SF/Thr

GEOSTORM Fri, 10/20/17 WIDE Gerard Butler, Abbie Cornish Dean Devlin NR Act/Thr/SF 3D/IMAX

JUSTICE LEAGUE Fri, 11/17/17 WIDE Ben Affleck, Gal Gadot Zack Snyder NR Act/Adv

BASTARDS Fri, 12/22/17 WIDE Owen Wilson, Ed Helms Lawrence Sher R Com

HORSE SOLDIERS Fri, 1/19/18 WIDE NR IMAX

UNTITLED WARNER ANIMATION GROUP Fri, 2/9/18 WIDE NR Ani

GAME NIGHT

Fri, 2/16/18 WIDE

Jason Bateman,

Rachel McAdams

John Francis Daley,

Jonathan Goldstein

NR

Com

TOMB RAIDER Fri, 3/16/18 WIDE Alicia Vikander Roar Uthaug NR Act/Adv 3D

READY PLAYER ONE Fri, 3/30/18 WIDE Simon Pegg, T.J. Miller Steven Spielburg NR Act/SF/Thr

RAMPAGE Fri, 4/20/18 WIDE Dwayne Johnson Brad Peyton NR Adv/Fan

LIFE OF THE PARTY Fri, 5/11/18 WIDE Melissa McCarthy, Julie Bowen Ben Falcone NR Com

OCEAN’S 8 Fri, 6/8/18 WIDE Sandra Bullock, Cate Blanchett Gary Ross NR Cri

THE NUN Fri, 7/13/18 WIDE Corin Hardy NR Hor

UNTITLED 2018 DC FILM 2 Fri, 7/27/18 WIDE NR Act/Adv/SF

MEG Fri, 8/10/18 WIDE Jason Statham, Bingbing Fan Jon Turteltaub NR Act/Hor/SF

S.C.O.O.B. Fri, 9/21/18 WIDE Tony Cervone, Dax Shepard NR Ani/Com/Fam

A STAR IS BORN Fri, 9/28/18 WIDE Bradley Cooper, Lady Gaga Bradley Cooper NR Dra/Mus/Rom

JUNGLE BOOK Fri, 10/19/18 WIDE Rohan Chand, Andy Serkis Andy Serkis NR Adv/Dra

FANTASTIC BEASTS AND

WHERE TO FIND THEM 2

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

AQUAMAN Fri, 12/25/18 WIDE Jason Momoa, Amber Heard James Wan NR Act/Adv/SF 3D

WEINSTEIN CO./DIMENSION 646-862-3400

LEAP! Fri, 4/21/17 WIDE Elle Fanning, Maggie Ziegler Eric Summer and Eric Warin PG Ani

3 GENERATIONS Fri, 5/5/17 LTD. Naomi Watts, Elle Fanning Gaby Dellal NR Dra

AMITYVILLE: THE AWAKENING

Fri, 6/30/17 WIDE

Jennifer Jason Leigh,

Bella Thorne

Franck Khalfoun PG-13 Hor/Thr

WIND RIVER Fri, 8/4/17 LTD. Jeremy Renner, Elizabeth Olsen Taylor Sheridan NR Dra

POLAROID Fri, 8/25/17 WIDE Lars Klevberg NR Hor/Sus

TULIP FEVER Fri, 8/25/17 MOD Alicia Vikander, Dane DeHaan Justin Chadwick NR Dra/Rom

WAR WITH GRANDPA Fri, 10/20/17 WIDE Robert De Niro Tim Hill NR Fam/Com

MARY MAGDALENE Fri, 11/24/17 LTD. Rooney Mara, Joaquin Phoenix Garth Davis NR Dra

THE SIX BILLION DOLLAR MAN Fri, 12/22/17 WIDE Mark Wahlberg Peter Berg, Damián Szifrón NR Act/SF

THE CURRENT WAR

Fri, 12/22/17 LTD.

Benedict Cumberbatch,

Michael Shannon

Alfonso Gomez-Rejon NR Dra

86 BOXOFFICE ® APRIL 2017


OUR SPONSORS

20th Century Fox 17

Advanced Specialty Lighting 23

Atom Tickets

Back Cover

Cardinal Sound 88

Christie

Inside Front Cover

Cy Young Industries 87

D-BOX 55

Dolphin Seating 71

Enpar Audio 31

Fandango 13

Harkness Screens 7, 9

LightSpeed/Depth Q 88

Marquee Cinemas 87

MediaMation 27

MOC Insurance 3

QSC 19

Ready Theater Systems 21

RealD 68–69

Retriever Systems 25

Sensible Cinema 87

Sonic Equipment 15

Spotlight Cinema Networks 57

Tivoli Lighting 29

United States Marine Corp. 87

VIP Cinema Seating 1

Will Rogers

Inside Back Cover

YMagis 11

DIRECTOR OF MOTION

PICTURE THEATER

OPERATIONS

sought for new giant

screen theater at the

National Museum of

the Marine Corps at Quantico, VA.

Experience with digital projection,

theater automation, point of sale

and state of the art sound systems

required. Contact Susan Hodges,

hodges@marineheritage.org (800)

397-7585. Marine Corps Heritage

Foundation.

THE

INSIDE YOUR THEATER

ISSUE

Auditoriums • Design • Lobby

Lighting • Flooring • Seating

SEE YOU AT

SHOWCANADA

APRIL 2017 BOXOFFICE ® 87


MARKETPLACE

Passive Polarization

for 3D Digital Cinema

Fast, Bright, Reliable...

Quality you can Trust.

Over 1,950

locations worldwide.

www.depthq3d.com

BUYING & SELLING

MARQUEE LETTERS. Buying and selling. New

and Used marquee letters all types. We buy old.

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

and get new letters. Turn those old letters into

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

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

8956

LOOKING TO PURCHASE 3-8 screen venue in

California or south western United States. Contact:

Atul Desai 949-291-5700

DRIVE-IN CONSTRUCTION

DRIVE-IN SCREEN TOWERS since 1945. Selby

Products Inc., P.O. Box 267, Richfield, OH 44286.

Phone: 330-659-6631.

EQUIPMENT WANTED

ASTER AUDITORIUM SEATING & AUDIO. We offer

the best pricing on good used projection and

sound equipment. Large quantities available.

Please visit our website, www.asterseating.com,

or call 888-409-1414.

AMERICAN ENTERTAINMENT PRODUCTS LLC is

buying projectors, processors, amplifiers, speakers,

seating, platters. If you are closing, remodeling

or have excess equipment in your warehouse

and want to turn equipment into cash, please

call 866-653-2834 or email aep30@comcast.net.

Need to move quickly to close a location and dismantle

equipment? We come to you with trucks,

crew and equipment, no job too small or too

large. Call today for a quotation: 866-653-2834.

Vintage equipment wanted also! Old speakers

like Western Electric and Altec, horns, cabinets,

woofers, etc., and any tube audio equipment.

Call or email: aep30@comcast.net.

COLLECTOR WANTS TO BUY: We pay top money

for any 1920-1980 theater equipment. We’ll buy

all theater-related equipment, working or dead.

We remove and pick up anywhere in the U.S.

or Canada. Amplifiers, speakers, horns, drivers,

woofers, tubes, transformers; Western Electric,

RCA, Altec, JBL, Jensen, Simplex and more. We’ll

remove installed equipment if it’s in a closing

location. We buy projection and equipment too.

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

email ILG821@aol.com.

FOR SALE

FOUR SCREEN, south central Wisconsin theater

for sale. Digital, newer seating, college town.

651-492-9832.

CLASSIC CINEMAS is looking to sell 616 slightly

used electric 1st edition Bliss Loungers to replace

with the new Bliss Zero Lounger. They are selling

22” wide electric reclining loveseats in excellent

condition with lit aisle and seat tags. If interested,

please call Jeremy Chupp at 770-823-1330.

USED DIGITAL PROJECTORS, (5) complete

booths including sound equipment. Three years

old. Contact seller at moviescope1000@gmail.

com.

2 BRAND NEW 3000 watts Christie Xenon lamps

for 35mm projectors. Contact: Atul Desai 949-

291-5700.

BARCO 3D/DIGITAL EQUIPMENT FOR SALE: Purchase

for $55K. Equipment list provided upon

request. Contact seller at mschwartz@pennprolaw.com.

PREFERRED SEATING COMPANY, your source for

new, used and refurbished theater and stadium

seating. Buying and selling used seating is our

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

website www.‐preferred-seating.com.

USED DIGITAL PROJECTORS Two NEC NC1200

with two-year warranty $23,000. Six new NEC

NC900 with lens $18,000. Warranty starts when

installed. Used servers and USL hearing-impaired

equipment. Call Stetson Snell 505-615-

2913. Email stetsonsnell@enparaudio.com.

18 SETS OF USED 35MM AUTOMATED PROJEC-

TION SYSTEM (comes with Projector, Console,

Automation Unit and Platter) comprising of

10 sets of Christie and 8 sets of Strong 35mm

system available on ‘as is where is’ basis in Singapore.

Contact seller at engthye_lim@cathay.

com.sg

APPROXIMATELY 2,000 SEATS FOR SALE. MO-

BILIARIO high-back rockers with cup holders.

Located in Connecticut. Contact (203)758-2148.

6 PLEX EQUIPMENT PACKAGE. 6 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 AVAILABLE

Pacific Northwest Theatre Company. Previous

management experience required. Work weekends,

evenings and holidays. Send resume and

salary history to movietheatrejobs@gmail.com

POSITIONS AVAILABLE

Paragon Theaters has THEATER MANAGEMENT

POSITIONS available at multiple locations. If you

have previous management experience, please

send your resume to robert.fronckoski@paragontheaters.com.

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 art-house, independent, documentary,

and classic cinema. The full job description

and application instructions are found

at mdfilmfest.com/about-the-festival/jobs.php.

SERVICES

DULL FLAT PICTURE? RESTORE YOUR XENON

REFLECTORS! Ultraflat repolishes and recoats

xenon reflectors. Many reflectors available for

immediate exchange. (ORC, Strong, Christie, Xetron,

others!) Ultraflat, 20306 Sherman Way, Winnetka,

CA 91306; 818-884-0184.

THEATER SPACE FOR LEASE

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

theaters is available for lease in Frankfort, KY, at

a very reasonable lease rate. It would be perfect

for the new concept of eating in the theater.

The theaters are located in the middle of a major

shopping center. The center owners would

prefer an operating movie theater rather than

convert the space into retail use. Contact Alexa

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

gmail.com for more information.

88 BOXOFFICE ® APRIL 2017


1927

Sound

A Brief History of

Cinema

Innovation

1930

1935

1953

1999

Popcorn

Color

3D

Digital

Projection

Today

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