However, it comes at a time when the domestic box office really stinks and thats an understatement.
The question is, will they ever?
Motion picture studio executives and theexhibitionindustry are stuck in some seriously antiquated ways.
(L-R) Jack Quaid in ‘Novocaine’, Sophie Thatcher in ‘Companion’, Jenna Ortega in ‘Death of a Unicorn’ and Robert Pattinson in ‘Mickey 17’Getty/Everett
So, lets begin CinemaCon 2025 with some ice-cold water in the face.
Why would you fail to program a branded title during the prime time of spring break?
Why isntBallerinagoing in the spring instead of getting potentially slaughtered in the summer?
‘The Wild Robot’ had an 18-day theatrical window. However, it had a 4x multiple off a $35.7 million opening for a domestic total of $144M. Could it have made more with a longer window?DreamWorks Animation/Universal Pictures/Courtesy Everett Collection
Why does Jack Quaid, an untested star at the box office, have two movies inCompanionandNovocaineopening in Q1?
Why did two female-skewing horror films inDeath of a UnicornandWoman in the Yardopen this weekendagainst each other?
As Cher said to Nicolas Cage inMoonstruckwhen she smacked him in the face twice: Snap out of it!
But then theres too many tentpoles, and a bloodbath for Imax and PLF screens.
In a four-week stretch,Mission, Lilo, Karate Kid,BallerinaandDragonare opening.
But when its not, its the marketplace were weathering now with single-digit starts.
However, Film Business 101 dictates that if youre making a non-IP original movie, make it cheap.
All are worthy on paper and prime for the screen.
However, financially, as non-branded IP, their budgets put them in a position of potential dire straits.
Thats not good for the fate of originality.
Sometimes the move is based on middling pre-tracking data, but sometimes it is not.
The business notion was to never spend more P&A on a low-budget film.
How then to blossom a potential blockbuster?
Rival studio executives would kill for those exit scores.
Why not invest in a picture that could be aGet Out?
Another factor with originals: Do the studios even know how to break through and market one?
A better grappling and stunting of a fractured linear audience is required.
However, audiences havent gone to see them.
They need assurance that originals are going to be worth their time and money.
Franchises and brands promise value and de-risk the theatrical experience.
If we dont have brands in the title, where else can we get brands?
You dont have to spend a lot to have a hit.
You just need a story that people want to get lost in.
Do they watch TikTok?
Do they even visit cinemas on a weekend basis to connect with the audience?
That seems to be the biggest disconnect in the business right now.
Yet horror movies dramatically outnumber comedies, particularly this year.
In the 13-weekend Q1, there already have been six wide horror entries.
Clearly some studio executives arent being like Al Capone during Prohibition and responding to the will of the people.
It hits theaters August 1.
Whether thats via more ScreenX, more motion seats or 3D sans glasses.
But we clearly need more.
AMC has seen a spike in business in those theaters that have upgraded their seating to plush chairs.
In addition, the No.
This all goes back to value.
People dont mind paying for a sporting or concert event.
Why do they mind spending for a movie?
Also, have you been to a movie theater lately?
another studio insider sniped.
The ticket-price situation is indeed a tightrope for theater owners.
The major studios assisted exhibition financially during the big 3D-screen overhaul of the early millennium.
Can they possibly toss exhibitors a safety ring in the next evolution of theatrical?
Some studios champion dynamic pricing, in which tentpoles cost more ticket-wise than lower-budget movies.
Says AMC bossAdam Aron, Raise ticket prices during boom times, lower prices during low-traffic times.
