Lionsgate got out early with the Millennium Ryan Reynolds-Samuel L. Jackson action comedy sequel The Hitman’s Wife’s Bodyguard with an official Wednesday debut plus last weekend paid sneaks; all totaled they’ve accumulated $3.9M at 2,940 locations. The whole reason why Lionsgate went early is to collect as much cash as possible before Universal’s F9 comes in next weekend,
Third-party streaming viewership stat org Samba TV reports this morning that 693k U.S. households watched In the Heights on HBO Max in their live+3-day window. The news comes in the wake of the Warner Bros. feature musical losing the No. 1 spot at the weekend B.O. to the third session of Paramount’s A Quiet Place Part II, $11.5M to
SATURDAY UPDATE: Refresh for updates While it appeared that the summer box office was dusting itself off from the pandemic over the last two weeks, both newcomers Warner Bros. highly anticipated Jon M. Chu directed Lin-Manuel Miranda musical In the Heights and Sony’s Peter Rabbit 2: The Runaway are currently filing less than spectacular results respectively with a No.
Sony is reporting the Thursday night previews to Peter Rabbit 2: The Runaway which began at 4pm yesterday at 2,572 theaters, and the long-awaited Will Gluck directed sequel grossed $900K. The first Peter Rabbit in February 2018 didn’t hold any previews. Sony earlier in the week was expecting $8M-$10M, but the sequel could very well do in the teens
Jon M. Chu’s long awaited feature adaptation of the Lin-Manuel Miranda and Quiara Alegría Hudes 4x Tony winning musical In the Heights finally hits theaters and HBO Max this Friday and in a recent Fandango poll of 1,3K-plus moviegoers, 96% of ’em say it’s the first movie they plan to see since pandemic started. The pic, which
Warner Bros’ Musical Feature ‘In The Heights’ Moves Up A Week This Summer – Deadline You will be redirected back to your article in seconds Skip to main content March 18, 2021 6:03pm Services to share this page. In more goods news for exhibition in the upcoming summer schedule, Warner Bros.’ Jon M. Chu directed