The deal was announced by Co-Presidents Howard Cohen and Eric d’Arbeloff. The film, which premiered at Sundance, covers three years of both hope and crisis leading to the recent, historic passage of landmark climate legislation — The Inflation Reduction Act of 2022.
It focuses on four exceptional women, including Rep. Alexandria Ocasio-Cortez, on the front lines of climate policy and advocacy with up-to-the-minute material.
“We are thrilled to be releasing To The End, said Roadside VP of Acquisitions Angel An. “These are the people, four young women from diverse backgrounds, often left out of the political deal-making narrative. Yet this film makes clear how these committed activists have worked to shift the narrative on climate that led to the [Act’s] passage.”
“We always wanted this immersive story to be seen in theatres and shared collectively, and it feels even more fitting now that the film now includes a historic victory for the climate movement. In this age of anxiety, we’re proud to share an honest message of hope,” said filmmaker Lears.
Along with Ocasio-Cortez, To The End features Rhiana Gunn-Wright, Director of Climate Policy, Roosevelt Institute; Varshini Prakash, Executive Director, Sunrise Movement; and Alexandra Rojas, Executive Director, Justice Democrats.
Written by Lears. Produced by Lears and Robin Blotnick. Sabrina Schmidt Gordon also serves as producer.
Cinematography by Lears, editing by Blotnick, original score composed by Ryan Blotnick.
This is an Impact Partners and Lost Gang Films West presentation of a Jubilee Films Production in association with Vespertine Films, Story Syndicate and The Redford Center. Dan Cogan, Liz Garbus, Jenny Raskin, Geralyn White Dreyfous, Rebecca Gang, Gale M. Harold III, and Martin Marquet serve as Executive Producers. Co-executive producers are Lauren Haber, Kelsey Koenig, Nancy Stephens & Rick Rosenthal, Adam & Melony Lewis.
The deal was negotiated by Eric Sloss at Cinetic and An for Roadside Attractions.
Roadside’s recent releases include the indie sleeper hit Emily the Criminal starring Aubrey Plaza, and drama Gigi and Nate. Upcoming are Sigourney Weaver and Kevin Kline in The Good House and Phyllis Nagy’s Call Jane, starring Elizabeth Banks and Sigourney Weaver.
‘Smile’ Now At $19M Weekend Opening – Saturday AM Box Office
SATURDAY AM: Refresh for chart and more analysis Paramount and other studios are calling Smile at $19M opening. Similar to last weekend with New Line’s Don’t Worry Darling, another genre pic, this R-rated horror film has received a B- CinemaScore and a severe 69%/53% definite recommend on Comscore/Screen Engine’s PostTrak; a standard audience reaction for such fare. We see one studio calling Smile at $20M, and frankly with this audience score, and the front-loaded nature of horror films, only tonight will determine if this goes up. Last weekend, everyone got excited about the initial numbers they were seeing for Don’t Worry Darling, got excited and called the weekend at $20M on Saturday AM before it eased. Smile‘s Friday is $8.2M, which includes Thursday’s $2M previews.
Demos as is typical for R-rated horror here are 28% guys over 25, 27% women under 25, 25% guys under 25, and 20% women over 25. If you were at the AMC Porter Ranch last night in California, you wouldn’t know it was the doldrums of the fall box office as the place was hoppin’ like a 1920s speakeasy. The 18-34 bunch showed up at 73%. Diversity demos are 32% Caucasian, 32% Latino and Hispanic, 20% Black and 9% Asian, 8% other — Smile was always expected to play vibrantly across all demos. Best markets were in the West and Southwest. Eight of the top ten theaters were in the LA market. PLF screens drove 25% of ticket sales so far.
In second, Don’t Worry Darling at 4,121 theaters is eyeing a $7.4M second weekend, -62% for a 10-day of $32.9M. That’s in early AM estimates. Domestic outlook for this Florence Pugh-Harry Styles-Chris Pine starring, Olivia Widle directed New Line movie is $50M. Social media analytics corp RelishMix says “fans who state that they ‘have seen the film’, not only runs positive, but are also defending the film and suggesting that Don’t Worry Darling should be seen without watching the trailers so that audiences experience it with a clearest mindset.” Adds Relish in their latest report, “Some fans are throwing in spoilers as well as incidental political shrapnel into threads. Plus, there are explosive building new references to Canadian clinical psychologist Jordan Peterson who is now a subject of comparison to Chris Pine’s character in very recent interviews from director Olivia Wilde which are drawing even more attention.”
The pic’s social media universe stands at close to 184M now across Facebook, Twitter, YouTube, Instagram and TikTok. YouTube views are driver while Instagram pages are where many of the behind-the-scenes and materials are being discovered along with added conversation and flaming chatter. Cast posts since the opening, have spiked and drawn media attention to Pugh’s two photo essays on Instagram last Friday with 2.5M likes and glowing comments. Wilde has added 124K fans during the last week on Instagram and strong engagement on her BTS posts. Styles posted on his concert Instagram and Twitter and popped another 1.4M on his HSHQ feeds too.
Universal’s wide release of the Billy Eichner co-scripted/starring LGBTQ romantic comedy Bros is coming up quite short in No. 4 with $4.75M, outpegged by TriStar’s The Woman King in No. 3 with $6.4M. Still, bravo for Uni for having the guts to make this movie, and put it out on the big screen. Friday was $1.8M with those who turned out for the film giving it a solid A Cinemascore and 80% on PostTrak, and a 69% recommend. Guys showed up at 60%, with 63% between 25-44. Diversity demos were 61% Caucasian, 19% Latino and Hispanic, 6% Black, and 14% Asian/other. The movie was always expected to play the big cities and here we see that NY, LA and San Francisco have all the top ten theatrical runs. Middle America and the South underperformed norms, we’re told. PLF screens only repped 3% of the pic’s B.O. to date.
How much money is the weekend domestic box office grossing without a mega-tentpole? Similar to last weekend. Industry estimates are at $61.3M, which is 3% behind last weekend’s $62.9M total and 35% off from the same weekend in 2019 pre-pandemic which was $94.5M — and that was considered low at the time (and now looks rich); the No. 1 pic then being the DreamWorks Animation title Abominable which debuted to $20.6M.
Popping into the top 5 is the Sarigama Cinemas title Ponniyan Selvan: Part One in 500 locations in 136 markets with a $4.1M opening after a $2.1M Friday. The glamorous Indian epic follows Vandiyathevan, who sets out to cross the Chola land to deliver a message from the Crown Prince Aditha Karikalan. Kundavai attempts to establish political peace in the land seemingly civil war plotted by vassals and petty chieftains. There were strong sales in NYC, LA, Chicago, Dallas, San Francisco, Boston, DC, Atlanta, Houston and Detroit for the Mani Ratnam-directed movie.
FRIDAY AM: Paramount’s horror movie Smile struck up $2M in Thursday night previews that started at 7 p.m., a figure that’s just above M. Night Shyamalan’s Old from summer 2021, which did $1.5M in its previews, and just under Universal/Blumhouse’s Black Phone Thursday previews which were $3M in June.
Paramount is expecting a high-teens start this weekend, while it won’t be shocking if Smile exceeds $20M. Black Phone opened to $23.6M. Critic reviews on Rotten Tomatoes for the new pic stand at 78% fresh, still good for a horror film. The movie from writer-director Parker Finn sits at 82% with RT audiences, which is very good. When the movie originally was conceived, there was a possibility it would go to Paramount+, however, a rock concert test screening propelled Smile‘s fate for a theatrical release.
Universal’s Bros, the LGBTQ romantic comedy starring and co-written by Billy Eichner, made $500K from 2,700 theaters, which started showtimes at 5 p.m. The studio is only expecting a number in the high single digits this weekend.
Meanwhile, New Line’s Olivia Wilde genre pic Don’t Worry Darling ended its first week with $25.5M. The pic’s cume for the first seven days is just slightly ahead of TriStar’s first week for The Woman King, which did $25.1M at 4,113 theaters. Don’t Worry Darling posted solid weekdays: $1.66M on Monday, $2M Tuesday, $1.3M Wednesday and $1.2M Thursday. The pic is expected to decline by 55%-60% in its second weekend, around $7.7M.
Woman King made $720K on Thursday in second place, -4% from Wednesday, for a second week of $14.5M and running total of $39.7M. The Viola Davis movie was booked at 3,765 venues.
The rerelease of 20th Century Studios/Disney’s Avatar at 1,860 locations grossed $580K, -15% for a first week of $13.8M and running grand total of $774.3M — still the fourth-highest-grossing movie ever at the domestic box office after Star Wars: The Force Awakens ($936.6M, 2015), Avengers: Endgame ($858.3M, 2019) and Spider-Man: No Way Home ($814M, 2021).
20th Century Studios/Disney’s Barbarian made $6.6M in Week 3 for a running total of $30.2M. Thursday at 2,865 saw $370K, -17% from Wednesday.
A24’s Pearl in Week 2 made $2.8M at 2,982 sites with Thursday at $170K, -22% from Wednesday and a running total of $7.5M.
Regal Closes 12 U.S. Cinemas As Parent Cineworld Grapples With Bankruptcy
No surprise here, but we hear Regal has shuttered 12 of its 542 multiplexes as parent company Cineworld remains in Chapter 11 bankruptcy.
Those 12 include Anaheim Hills 14, Calabasas Stadium 6, Westpark 8 in the Los Angeles market; Crow Canyon Stadium 6 in the San Francisco area, the Broadway Faire in Fresno, CA; Richland Crossing Stadium in the Philly area, Parkway Plaza Stadium 12 in the Seattle-Tacoma market, Greenville Grande Stadium in North Carolina, Middleburg Town Square Stadium 16 in Cleveland-Akron, Sherwood Stadium 10 in Portland, OR, Colonnade Stadium 14 in Las Vegas, and the Amarillo Star Stadium 14 in Texas.
Sources tell us that many of these theaters are older venues and run down, and it’s not shocking to see them go to the wayside. Of the bunch, we hear an exhibitor might make a play for the lease of Calabasas Stadium given its upscale locale. AMC has been buzzed. How is that? The landlord on the Calabasas Stadium 6 is Caruso Management, and they’re already in business with the No. 1 exhibitor with properties at The Grove in Los Angeles and The Americana in Glendale, CA.
Also not jarring here is that all of the venues which have closed are among the 20 leases that Regal is rejecting in its Chapter 11 filing. Now, even though leases are rejected in a Chapter 11 filing, that doesn’t mean that Regal has completely abandoned the properties; they could still work out a deal with the landlord. But a closed theater, is a closed theater.
Cineworld as part of its bankruptcy asked the court to reject 20 unprofitable but still active Regal leases because its U.S. theater portfolio was a big contributor to its financial hole. It, like most chains, reached agreements with landlords to postpone rent payments during Covid, but said that now average monthly rent owed was up by almost 30% (year-to-date in July from full-year 2019) due to the impact of deferred payments. Unloading the leases would save the Cineworld estates about $12 million, “reduce high fixed operational costs and better position the Debtors to conduct competitive operations going forward,” the filing said. A hearing on this is set for Oct. 6.
While Regal, like all major chains, closed due to COVID starting in mid-March 2020, the chain reopened cinemas for Warner Bros.’ Tenet where they could in late August 2020 (NYC and LA proper weren’t permitting theaters to be open then), however, when the major studios began moving big tentpoles to 2021 and beyond, Cineworld decided to close down again until a supply of features returned, which was March 2021. Why didn’t Cineworld claim bankruptcy during Covid? Sources say that filing Chapter 11 is an easier prospect now for the chain since exhibition returned online versus during the thick of Covid when the entire sector was in a sling.
Critical vendors such as studios and concession suppliers, and other services required to running a movie theater can be expected to get paid first as they’re required means for Cineworld to run its business. In early September, Deadline reported that a U.S. Bankruptcy Court judge granted Cineworld immediate access to approximately $785 million in a financing facility so that they meet ongoing obligations to vendors, suppliers, employee salaries and benefits.
While Regal parent Cineworld reported encouraging results for the period ending June 30, 2022 today (a lot of that had to do with a robust summer and global hits Doctor Strange in the Multiverse of Madness, Top Gun: Maverick and Jurassic World: Dominion, the chain remained bleak on the immediate future, projecting that the box office wouldn’t return to pre-pandemic levels until 2025.
“This has been a challenging period for Cineworld due to the unprecedented impact of the COVID-19 pandemic on our business and its lagging and continuing disruption to film schedules,” said Cineworld CEO Mooky Greidinger.
Deadline has reached out to Regal for comment and will update the story when we hear back.
‘Everything Everywhere All At Once’ Crosses $70M U.S., $103M Worldwide, Adding To Totals Of A24’s Highest-Grossing Movie Ever – Update
Updated: This year’s arthouse breakout, Everything Everywhere All at Once has hit the $70M mark finally at the domestic box office with its global ticket sales now at $103M. The film from Dan Kwan and Daniel Scheinert crossed $100M a while ago.
The pic previously broke records as A24’s highest grossing ever, both on a worldwide (beating 2018’s Hereditary at $80M) and stateside (surpassing Uncut Gems‘ $50M) basis.
Everything Everywhere was in its 27th week of release at 28 locations and made $1,3K yesterday for a near $16K week.
A24, as we’ve mentioned, is definitely pushing this movie for awards season. In the martial arts fantasy movie, an aging Chinese immigrant (Michelle Yeoh) is swept up in an insane adventure, in which she alone can save the world by exploring other universes connecting with the lives she could have led. Stephanie Hsu plays her daughter, Ke Huy Quan from The Goonies plays her husband, and Jamie Lee Curtis the evil IRS agent.
In the wake of the success of Everything Everywhere All at Once, Universal hammered an exclusive five year pact with the directing duo the Daniels, and their producing partner Jonathan Wang.
Previous, June 9: Dan Kwan and Daniel Scheinert’s fantasy family martial arts movie, Everything Everywhere All at Once, officially has taken over Ari Aster’s Hereditary as A24’s highest-grossing movie worldwide, $80.9M to $80.2M.
And the movie’s theatrical run is far from over, even as it hits electronic sell-through stateside.
While 76% of the Michelle Yeoh-Stephanie Hsu-Ke Huy Quan-Jamie Lee Curtis pic’s global gross has been generated in the U.S./Canada (or $61.5M), the pic has seen its best numbers abroad in the United Kingdom ($5M, solely distributed there by A24), Australia ($3.8M), Taiwan ($2.3M), Russia and CIS territories ($2.2M), Hong Kong ($1.4M), Germany ($1.1M) and Singapore ($775K). A24 oversaw the foreign sales and co-financed the Daniels’ movie with Ley Line Entertainment. The $25M production still has several offshore territories to debut in, i.e. all of Latin America, France, Italy, Japan to name a few, with Everything holding at above 1,000 theaters stateside with an eye at a final $70M.
The pic’s staying power at the North American box office brings to mind Ang Lee’s Oscar-winning 2000 movie Crouching Tiger, Hidden Dragon, even though Everything is pacing 18% behind that pic at the same point in time. Everything has soared past other martial arts movies including 2002’s Hero ($53.7M domestic) and 2004’s House of Flying Daggers ($11M). In its unadjusted offshore totals, Everything rivals some House of Flying Daggers‘ territories (i.e. the Daniels’ pic is besting that Zhang Yimou movie in Australia, Taiwan, Russia).
Everything, which blasted off as the opening night film at this year’s SXSW, has been the middle meat of the weekend domestic box office throughout its current 12 weekend run: In an eased pandemic marketplace where tentpoles suck up the all oxygen, and there’s not as many wide releases, Everything‘s holdover power continues to spur foot traffic and buoy arthouses.
Deadline also heard that the Daniels and AGBO produced movie posted the most first-day EST revenue on Tuesday for an A24 title. The studio is expected to give Everything Everywhere All at Once an awards-season push this year.
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