TV and Movies

Strong VOD Numbers for ‘Capone’ Can’t Cover Costs For a Busted Theatrical

Josh Trank’s independently made “Capone” starring Tom Hardy has grossed over $2.5 million in rentals from various home viewing platforms after 10 days in VOD release. Distributor Vertical Entertainment, a major player in the straight-to-home release world, released these numbers along with the declaration that this is a record for the company.

Vertical has been a leader in handling films that were once known as a busted theatrical — familiar stars in films that were intended for theatrical release, but didn’t find a buyer. Instead, they find limited theaters and day-and-date home availability.

Hardy created elevated interest in “Capone.” Unlike luminaries such as Bruce Willis and Nicolas Cage, who can elevate a low-budget title action/genre into viewer appeal, Hardy remains a major star. And with the absence of most theaters, its appearance as a home exclusive (Vertical took no theaters, it appears), the release didn’t bear the feel of a discarded title.

Its performance has been quite good. It started strong (as high as #2 at iTunes, in its second week still #5), and revenue will likely increase after its initial availability at $9.99 decreases to $5.99, which is where Vertical prices most of its releases.

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However, these results don’t suggest VOD is a viable alternative to theatrical. At this point, all the metrics suggest it’s far from being a money-making proposition.

Josh Trank


The reported budget on “Capone“ (a mostly Canadian production, which likely reduced the cost) came in at over $20 million, and was made with the expectation of a theatrical release. It was filmed in spring 2018, with initial publicity (including early stills of Hardy’s extreme transformation) over two years ago. According to sources, the completed film went to multiple distributors, with no deal forthcoming. (One source tells IndieWire this was likely more than a year ago). Concerns included the (correct) guess that this would not have the review or festival support often vital for independent projects. (Metacritic has it at a mixed-negative 46 score).

Analyzing financials for any given VOD is challenging with no real box-office analog, but here’s what we can gauge: The $2.5 million taken in so far will see Vertical collect perhaps 75 percent, or $1.8 million. We don’t know the details of their deal with the producers (who include early Quentin Tarantino partner Lawrence Bender), but figure they will get the bulk of that since it’s likely Vertical didn’t pay a high price for the rights (if they did, they’d have that money returned first).

That leaves the production company collecting perhaps $1.5 million from rentals so far. It’s still seeing interest after 10 days, but initial response is usually the strongest. “Capone” could double its take, possibly more with the likely price reduction. At the high end, this might means a $4 million-$5 million return.

For a VOD-play release, that would be excellent. But it still would leave the film more than $15 million in the hole.

Of course, VOD is not the final word in revenue streams so it’s still possible that the financiers still could be made whole. At some point, DVDs, premium cable, and library worth will add to the domestic haul. And the publicity for the U.S. release could enhance future foreign sales. Per IMDb, which is not always complete in its international territory sales, only South Korea and Switzerland have been sold (unclear in what release format). With nearly all the world available, Tom Hardy’s name, and the valid positive PR about the U.S. showings, this should strengthen the sellers’ hand in making additional deals.

The numbers for “Capone” don’t necessarily scale against, say, a $50 million film. However, the interest also suggests the title might have had more potential as a Netflix, Amazon Prime, or Apple streaming release; this might have been worth its cost or a little more to a top streamer.

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TV and Movies

Christopher Nolan Will Have ‘Tenet’ Ready to Open July 17 — Unless Theaters Are Closed

When it comes to the release plans for Warner Bros.’ “Tenet,” I think of a former film buyer colleague who liked to say, “See you Sunday, if the good Lord’s willing and the creek don’t rise.” Unlike other would-be summer 2020 titles “In the Heights” and “Jungle Cruise,” Christopher Nolan is holding tight to his July 17 date until and unless circumstances force it from his grasp.

Nolan is renowned for his passionate support of the theatrical experience, and the symbolism of being the last blockbuster standing — if not the only new film in theaters — if and when theaters reopen this summer is symbolically powerful. Financially, that’s anyone’s guess; while the film is hotly anticipated, it also cost over $200 million and would need the support of theaters around the world — especially if social distancing rules reduce per-screening attendance.

While the studio has revamped much of its release schedule due to pandemic theater closings, “Tenet” is still locked on its original release date. Nolan accelerated the film’s editing schedule, sending his editors home on March 20 to tie up loose ends. There was never any question of the movie not being finished.

All that said, we’ll bet that “Tenet” won’t leave that date unless the theaters leave first. Here’s why:

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It’s a summer event film — especially this summer

Nolan’s films are perceived as more adult and upscale, and might not score as well among the most frequent domestic audiences, but they open huge with strong reviews (“Dunkirk” actually had the top Metacritic score for 2017). It’s the perfect kind of film for a studio to declare: “Theaters are back, and this is what we offer that is different from home viewing!”

No director supports theaters more

Many filmmakers would be happy to have someone else’s film go first post-pandemic; Nolan wants that assignment. Making a stand could elevate him to the role held by Steven Spielberg for decades as the face of his profession as a brand and creative force.

Warner Bros. backs his stance

This is Nolan’s ninth straight film with Warner Bros. (“Interstellar” was a Paramount coproduction). In a changing world, the studio still treasures close ties to top creatives, and no one is more important to them than Nolan. Any studio anxiety would likely by mollified by Nolan’s single-minded passion. Second-guessing is a primal sport in Hollywood, but here they’d likely be secure.

“Tenet” is go big or go home

It is expected to have 70mm, 35mm, IMAX, as well as standard digital presentation. Its thriller/action plot has been kept under wraps, but its time-travel/spy element/war themes as well as its massive location shoots around the world suggest the scope of a film maximized by theatrical experience. Throw in what appears to be a typically epic Nolan story and it ticks all the “wow” boxes that could herald the theaters’ return.

First-mover advantage

Even if theaters start opening in June (Georgia’s aggressive early plan could permit openings in early May, but NATO has stated it prefers a nationwide, concerted rollout), few will attend without new films. Going before other big films would allow “Tenet” to play on virtually every screen in the country. There would be as many seats as needed for social distancing (though the excitement of seeing a film in a full theater would be lost). And with so many titles jammed into upcoming weeks, whoever is first will stand to benefit greatly from the lack of competition.

It could mean an Oscar

Nolan already has the “overdue” factor, and decent reviews plus box-office success are a boost, but saving the industry as well? The script just writes itself.

Warner Bros. already made a slew of changes

Warner Bros. this week shifted several titles (including the next “Batman” film) and shifted “Scoob!” to premium VOD, among other changes. Not touching this reinforces the idea that this is the plan, and they hope to stick to it.

It’s still three months away, and we have no idea what the world will look like. But unlike other key properties like “No Time to Die” (United Artists) and “F9” (Universal), which pushed back their dates early on, Warners has stayed firm. It doesn’t guarantee the opening. It does tell us that they will do everything they can to achieve it.

Additional reporting by Anne Thompson.

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TV and Movies

The Easter When ‘The Passion of the Christ’ Beat ‘Hellboy’ For #1 at the Box Office

In 2004, Easter fell on the second weekend of April. It featured Mel Gibson’s “The Passion of the Christ” as the #1 film, ousting Guillermo del Toro’s “Hellboy.” That was no accident as part of a brilliantly executed release that achieved results far beyond anything Gibson anticipated.

Sixteen years isn’t that long ago, but the box-office weekend was full of titles and results that are impossible to imagine today. But first, here’s the context and some major achievements for Gibson’s film (all figures adjusted to 2020 ticket prices):

• The first is a record that will likely never be broken. This was the biggest grossing non-studio independent film ever, by far. At $559 million domestic, it ranks $180 million ahead of #2 “My Big Fat Greek Wedding.” (Though released by different distributors, both films were overseen by veteran Bob Berney.)

• It ranks #79 among all domestic grosses, and #5 among R-rated releases, #4 among Biblical stories (“The Ten Commandments,” “Ben Hur,” and “The Robe” higher, although the silent films “Ben Hur” and “King of Kings” might also have sold more tickets). The R rating for this incredibly violent film seemed to have been an exception based on the story for what otherwise could have been an automatic NC-17.

• By a massive margin, it is the biggest grossing non-English language film ever, by at least double over “La Dolce Vita” and “Crouching Tiger, Hidden Dragon.”

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• Studios passed, repeatedly. First, because Gibson insisted on using ancient languages (and initially Gibson planned to release it without subtitles, assuming the well-known story didn’t need them); second, because while he previously starred in the films he directed, including “Braveheart,” but here he cast the lesser-known Jim Cavaziel. And finally, once the film was finished, accusations of anti-semitic elements in the retelling caused top distributors to demur.

• The arc of the release came with precision, debuting in 3,006 theaters on Ash Wednesday. Its run was nearly finished by Easter, its 47th day. It was #1 its first three weekends. The first, at $120 million, came after two days that brought in $60 million. At the time, it was the biggest February opener ever, with for the first five days only “Black Panther” bigger.

• The following weekend, it fell to #10, with the Easter boost fading. Its subsequent gross only amounted to 4.5 percent of its total, and shows how closely it followed the religious calendar.

• Badly reviewed (a 47 Metacritic score) and economically marketed (reported little more than $20 million adjusted), this received massive support from the American evangelical community. This inspired all studios to explore this market, and its grassroots marketing.


• “Hellboy” wasn’t del Toro’s first #1 (“Blade II” was in 2002), and “Mimic” preceded that as an English-language release. But it was his first success with a film clearly defined by his vision and the Spanish-language “Pan’s Labyrinth” followed.

• On this 2004 weekend, five new wide releases opened. Today, as many as three is a rarity. But the results for these suggest why the production world has changed so much.

• “The Alamo” is mostly forgotten, but it remains one of Disney’s biggest flops ever. The retelling of the siege on the Texas fort cost a staggering $150 million. Originally planned as the reunion of Ron Howard and Russell Crowe after “A Beautiful Mind,” it ended up with a different team. The worldwide gross came to only a quarter of its pre-production marketing cost.

• “The Whole Ten Yards,” the sole sequel in the top 10, also was a flop, as were “Ella Enchanted” and “The Girl Next Door,” both original comedies. If you are looking for the roots of why so few comedies get released these days, this era helps explain.

• “Johnson Family Vacation” was the best opener, while playing at the fewest theaters. It starred Cedric the Entertainer, and despite getting terrible reviews and a not-good audience response (C- Cinemascore); even so, it did well initially. Although Martin Luther King Day now seems to be the go-to spot on the calendar for African-American aimed wide releases, Easter was the traditional target with the Sunday often being the single biggest moviegoing day for black audiences.

• In 2004, the box-office totals for the weekend were ordinary; it was the year’s 15th weekend and it represented the tenth biggest to date. Adjusted, it was bigger than any in our truncated 2020 calendar.

• Eight films in the top 10 each grossed over $10 million adjusted. That never happens anymore. Since the start of 2019, the highest total is five films; three is more common. Franchise/sequel films were already established as box-office mainstays by 2004 (“Shrek II” and “Spider-Man II” were the top two films of the year), but 16 of the 20 best grossers were original efforts).

April 10-12, 2004

1. The Passion of the Christ (Newmarket) – Week 7; Last weekend #5

$15.2 million/$22.5 million (+44%) in 3,240 theaters (-168); PTA: $4,696/$6,903 ; Cumulative: $353.0 million /$525.0  million

2. Hellboy (Sony) – Week 2; Last weekend #1

$10.8 million/$15.0 million (-53%) in 3,043 theaters (+15); PTA: $3,557/5,229; Cumulative: $40.8 million/$60.0 million

3. Johnson Family Vacation (Fox Searchlight) NEW – Cinemascore: C-; Metacritic: 29; Est. budget: $12 million/$18 million

$9.4 million/$13.9 million in 1,317 theaters; PTA: $7,118/$10,463; Cumulative: $11.8 million/$17.3 million

4. The Alamo (Disney) NEW – Cinemascore: B; Metacritic: 47; Est. budget: $107 million/$152 million

$9.1 million/$14.4 million in 2,609 theaters; PTA: $3,497/$5,141; Cumulative: $9.1 million/$14.4 million

5. Walking Tall (MGM) – Week 2; Last weekend #2

$8.4 million/$12.3 million (-45%) in 2,836 theaters (no change); PTA: $2,976/$4,375; Cumulative: $29.0 million/$43.1 million

6. Home on the Range (Disney) – Week 2; Last weekend #4

$8.1 million/$11.8 million (-42%) in 3,058 theaters (+11); PTA: $2,650/$3,896; Cumulative: $27.4 million/$43.1 million

7. Scooby-Doo 2: Monsters Unleashed (Warner Bros.) – Week 3; Last weekend #3

$8.0 million/$11.8 million (-46%) in 3,130 theaters (-182); PTA: $2,560/$3,763; Cumulative: $62.9 million/$92.9 million

8. The Whole Ten Yards (Warner Bros.) NEW – Cinemascore: C; Metacritic: 24; Est. budget: $40 million/$58 million

$6.7 million/$9.8 million in 2,654 theaters; PTA: $2,518/$3,701; Cumulative: $6.7 million/$9.8 million

9. Ella Enchanted (Miramax) NEW – Cinemascore: A- ; Metacritic: 53; Est. budget: $31 million/$45 million

$6.1 million/$9.0 million in 1,931 theaters; PTA: $3,158/ $4,642; Cumulative: $6.1 million/$9.0 million

10. The Girl Next Door (20th Century Fox) NEW – Cinemascore: B+; Metacritic: 47; Est. budget: $20 million/$36 million

$6.0 million/$8.8 million in 2,148 theaters; PTA: $2,795/$4,111; Cumulative: $6.0 million/$8.8 million

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Korean Box Office Hits 16-Year Low as Virus Count Rises

Theatrical box office in South Korean capital, Seoul dipped to a 16-year low, as ticket sales have moved in inverse proportion to the number of confirmed cases of coronavirus rises. Exhibitors have turned to re-releases to try to entice audiences.

Data from the Korean Film Council’s KOBIS service showed that just 244,000 tickets were sold over the weekend, down from 299,600 the previous weekend. On Thursday, fewer than 50,000 tickets were sold, the lowest daily total since KOBIS began.

In what was left of the box office, “The Invisible Man” remained on top for the third consecutive weekend, earning $423,800 between Friday and Sunday for a total of $3 million after three weekends on release.

Opening on Wednesday, Todd Haynes’ “Dark Waters” landed in second. The American drama earned $447,600 over five days, including $329,000 between Friday and Sunday.

“1917” slipped to third place, earning $291,000. The Sam Mendes film has accumulated a total of $4.58 million from 610,700 admissions since its Feb. 19 release.

Korean crime thriller “Beasts Clawing at Straws” and American drama “Little Women” took fourth and fifth places, respectively. Megabox’s “Beasts” earned $104,000 between Friday and Sunday for a total of $4.23 million after four weekends. Sony’s “Women” added $75,900 to extend its five-weekend total to $5.74 million. Next Entertainment World’s comedy “Honest Candidate” earned $68,900 for a total of $10.3 million after five weekends.

As most major films have postponed their releases, re-releases have been favored. “A Star is Born” and “Memento” were re-released and took seventh and eighth places, respectively. Earlier, hit foreign titles “About Time,” “Harry Potter and the Prisoner of Azkaban” and “Begin Again” were given new outings.

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International Box Office Craters as Movie Theaters in Major Markets Remain Closed

The international box office has taken a major hit because movie theaters in China, Italy, South Korea and other areas heavily impacted by coronavirus have been entirely or partially closed for weeks.

Multiplexes that remained open in various parts of the world were likely still negatively affected by the rapidly spreading virus since audiences opted to stay home amid the public heath crisis. The mass closures of theaters have already resulted in tremendous financial damages, especially in China, which has lost billions of dollars in revenue.

Without stiff competition, Sony’s dark superhero film “Bloodshot,” starring Vin Diesel, claimed the top spot overseas, amassing $13 million from 50 foreign markets. It made an additional $9.3 million in North America, bringing its global haul to $24.4 million. Though coronavirus is undoubtedly impacting all movies, “Bloodshot” is off to a disappointing start since it carries a $45 million production budget. The film had the strongest performance in Russia with $2.4 million, followed by Indonesia with $1.8 million, Mexico with $1.2 million and Malaysia with $610,000.

In second place, Disney’s animated fantasy adventure “Onward” generated $6.8 million from 47 markets, a dismal result for a Pixar film. The film also suffered a brutal 73% decline in North America — amounting to $10.5 million in its sophomore outing —  as coronavirus fears start slowing moviegoing in the U.S. and Canada. So far, “Onward” has made $41 million overseas and $101 million globally.

Another Disney film, “The Call of the Wild” starring Harrison Ford, brought in just $1.1 million across 43 foreign territories. That takes its cumulative total to $107 million worldwide, including $45 million from overseas markets.

Universal and Blumhouse’s “The Invisible Man” took third place on international charts, collecting $6.2 million from 65 territories. To date, the Elizabeth Moss-led horror film has made $58.3 million abroad and $122.7 million globally.

Fellow Universal and Blumhouse offering “The Hunt,” new to theaters this weekend, failed to hit the $1 million mark overseas. The R-rated thriller debuted in four markets, where it scraped together $700,000. “The Hunt” also came in well behind expectations in North America with $5.3 million, bringing its global start to $8 million. Among new locations, “The Hunt” launched in the U.K. and Ireland with $673,000 and Sweden with $38,000.

Elsewhere, Paramount’s “Sonic the Hedgehog” made $2.9 million from 58 markets — a 76% drop — for an international tally of $160 million.

Given the rapid spread of coronavirus, the global box office remains in uncharted waters. Last week, most major studio movies that were supposed to debut over the next two months — including Disney’s “Mulan,” Paramount’s “A Quiet Place Part II,” Universal’s “Fast 9” and MGM’s “No Time to Die” — were pulled from release. So far, only “Fast 9,” now slated for 2021, has a new release date.

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Can 'Onward' Become Pixar's Latest Original Box Office Hit?

After a decade filled with sequels, Pixar is back to making new characters and stories. But will audiences show up?

TheWrap’s film critic Alonso Duralde rates all of Pixar’s features.

  • 22. “Cars 2” (2011) 

    “They should let people see the movie for free,” one pundit opined, “since Disney will make all their money back on the bedsheets.” Some of Pixar’s best movies are sequels, but this follow-up to an already inferior studio entry seemed like nothing but a craven bid for more merchandising money. The results were good for shareholders but middling for moviegoers.


  • 21. “Cars” (2006) 

    Never underestimate little boys and their love for automobiles. This brightly colored but dramatically flat tale is most enjoyed by a) male moviegoers who b) saw it before they turned 10 and c) have no idea that it tells virtually the same story as the Michael J. Fox comedy “Doc Hollywood.”


  • 20. “Cars 3” (2017) 

    It’s a movie about middle age and the fear of obsolescence — you know, for kids! While Lightning (Owen Wilson) tries to soup himself up to take on young, faster rival Jackson Storm (Armie Hammer), the veteran racer mentors Cruz (Cristela Alonzo), a trainer who gave up her racing dreams. It’s visually sumptuous and has a few good ideas, but the “Cars” series remains Pixar’s blandest.


  • 19. “A Bug’s Life” (1998) 

    Back in 1998, the second Pixar feature was racing to the big screen against the thematically similar “Antz.” Neither has achieved iconic status, notwithstanding the “Bug’s”-themed kiddie area of Disneyland. The film does provide memorable voice roles for “The Ref” co-stars Denis Leary (as a manly-man ladybug) and Kevin Spacey (scaring the little ones as an ant-exploiting grasshopper).


  • 18. “Monsters, Inc.” (2001) 

    The things that go bump in the night are just doing their jobs, collecting the screams of boys and girls to power their monstrous alternate dimension. Leave it to Pixar to turn childhood terror into something fuzzy and huggable while also sneaking in a metaphor about over-reliance on fossil fuels.


  • 17. “Onward” (2020)

    Pixar sticks the landing with another memorable you-WILL-cry ending, but most of the movie that leads up to that denouement doesn’t really merit that level of investment. Two elvish brothers have 24 hours to find a stone to bring their dead dad momentarily back to life, and while the gags and the action are fun, the character-building and world-building are both a little sketchy.


  • 16. “Monsters University” (2013) 

    This colorful prequel, featuring Mike (voiced by Billy Crystal) and Sully (John Goodman) as college freshmen, plays like a G-rated “Revenge of the Nerds,” and that’s mostly a good thing. Is this the first kids’ movie to suggest that higher education isn’t necessarily for everyone?


  • 15. “Up” (2009) 

    Like “WALL-E,” this movie opens with a chunk of filmmaking perfection as we get to know the life, and losses, of our elderly hero. But while there’s nowhere for his balloon-festooned house to go but up, there’s nowhere for the movie to go but down after such an auspicious beginning.


  • 14. “Ratatouille” (2007) 

    Follow your bliss, says this entry, even if you’re a sewer rat who wants to be a gourmet chef. It’s lovely, and its ending will be forever cited by critics of every medium, but some screenwriting contrivances make it good-but-not-great Pixar.


  • 13. “The Good Dinosaur” (2015) 

    Frightened, awkward dino Arlo (Raymond Ochoa) travels home through a savage landscape with the helpful accompaniment of a feral boy named Spot (Jack Bright), who generally behaves like a dog, in a movie where the stakes are slighter but the character bonds are nonetheless rich.


  • 12. “WALL-E” (2008) 

    The first half or so of this ecological fable — a silent comedy about the titular robot tidying up an abandoned earth and longing for love — is Pixar’s greatest achievement. Unfortunately, it gets dragged down by a lot of loud chasing in the second half.


  • 11. “Brave” (2012) 

    Despite a rough production, this saga offers us Merida, one of U.S. animation’s most self-assured characters, who refuses to be married off by her father as though she were your run-of-the-mill princess. Merida’s skill with a bow and arrow made archery look even more appealing than Jennifer Lawrence does in the “Hunger Games” movies.


  • 10. “Finding Dory” (2016) 

    What this follow-up lacks in The Feels, it more than makes up for with The Laughs and The Thrills. Ellen DeGeneres returns as the famously forgetful fish who sets off to find the family she forgot she had. Witty, bright, and exciting, even if that tissue in your pocket winds up going unused.


  • 9. “Inside Out” (2015) 

    An 11-year-old girl’s brain becomes the backdrop for another hair-raising adventure, as her emotions fight to find balance during a rough patch in her life. No shortage of jokes and excitement, and early screenings have seen crusty film critics openly weeping in their seats.


  • 8. “Coco” (2017) 

    The Mexican Day of the Dead celebration brings a young boy face-to-face with his ancestors, teaching him the importance of family and allowing him to settle a generations-old misunderstanding. Colorful, poignant, and loaded with great songs and cultural specificity.


  • 7. “Incredibles 2” (2018) 

    Picking up right where the excellent original leaves off, this boisterous sequel sees the super-powered Parrs still dealing with the outlaw status of costumed heroes while Mr. Incredible (Craig T. Nelson) becomes a stay-at-home dad as Elastigirl (Holly Hunter) shoulders most of the derring-do. And villain Screenslaver is a perfect commentary both for the film’s 1960s aesthetic and for the internet age.

  • 6. “Toy Story 4” (2019)  

    The world didn’t necessarily need a follow-up to the sublime “Toy Story 3,” but this sequel is as funny, moving and eye-popping as its predecessors. And with the introduction of the hand-crafted Forky, a “Toy Story” star is born.

  • 5. “Toy Story” (1995)

    The one that started it all and kick-started a whole new way of making cartoons. Its characters became instant icons while its gleaming surfaces changed animation more than any other single movie since “Snow White and the Seven Dwarfs.”


  • 4. “Finding Nemo” (2003) 

    Albert Brooks and Ellen DeGeneres have the precision timing of a vaudeville comedy duo as two tiny fish who brave the big, wide ocean to rescue a missing youngster. This parable about the push and pull of parent-child dependency offers some of Pixar’s finest blending of adventure and comedy.


  • 3. “Toy Story 2” (1999) 

    Wherein we learn that toys need to be taken out of their mint packaging and loved if they’re to be truly happy. And that a Sarah McLachlan song about a doll who misses being cared for by her owner can reduce grown men to sobbing.


  • 2. “The Incredibles” (2004) 

    Probably the greatest superhero movie ever made that’s not based on pre-existing characters from another medium, and better than almost every other superhero movie, period. Brad Bird’s attention to character detail and freedom with gravity would serve him well later as the director of the live-action film “Mission: Impossible – Ghost Protocol.”


  • 1. “Toy Story 3” (2010) 

    Andy goes off to college and must leave childhood, and its playthings, behind. An exciting and funny meditation on death and growing up and I’m going to need a handkerchief now.


  • TheWrap film critic Alonso Duralde rates all the animation studio’s features — where does “Onward” land?

    TheWrap’s film critic Alonso Duralde rates all of Pixar’s features.

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    TV and Movies

    'The Invisible Man' Stalks Its Way to $26 Million Opening

    Anime import “My Hero Academia: Heroes Rising” also hits theaters

    TheWrap ranks Blumhouse films by domestic gross, not adjusted for inflation. 

    Credit: The Numbers

  • 10. “The Purge: Anarchy” (2014)

    Domestic gross: $71,562,550

    Worldwide gross: $111,534,881

    Budget: $9,000,000


  • 9. “The Purge: Election Year” (2016)

    Domestic gross: $79,042,440

    Worldwide gross: $118,514,727

    Budget: $10,000,000


  • 8. “Insidious Chapter 2” (2013)

    Domestic gross: $83,586,447

    Worldwide gross: $161,921,515

    Budget: $5,000,000


  • 7. “Paranormal Activity 2” (2010)

    Domestic gross: $84,752,907

    Worldwide gross: $177,512,032

    Budget: $3,000,000


  • 6. “Paranormal Activity 3” (2011)

    Domestic gross: $104,028,807

    Worldwide gross: $207,039,844

    Budget: $5,000,000


  • 5. “Paranormal Activity” (2009)

    Domestic gross: $107,918,810

    Worldwide gross: $194,183,034

    Budget: $450,000


  • 4. Glass (2019)

    Domestic gross: $111,048,468

    Worldwide gross: $245,316,968

    Budget: $20,000,000


  • 3. “Split” (2017)

    Domestic gross: $138,141,585

    Worldwide gross: $278,964,806

    Budget: $5,000,000


  • 2.”Halloween” (2018)

    Domestic gross: $159,347,015

    Worldwide gross: $255,490,189

    Budget: $10,000,000


  • 1. “Get Out” (2017)

    Domestic gross: $176,040,665

    Worldwide gross: $225,408,115

    Budget: $5,000


  • See where your favorite horror films fall on the box office scale

    TheWrap ranks Blumhouse films by domestic gross, not adjusted for inflation. 

    Credit: The Numbers

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