AMC
Monday morning: AMC reports that Taylor Swift: The Eras Tour has released a worldwide first weekend of $123.5 million; broke out, that’s $92.8 million domestic and another $30.7 million from 94 international territories at 4,527 venues. No disrespect to AMC, who did a great job with the film, and the Swifts should be happy with almost 60% of the gross, but it does beg the question of how much more this concert film could have grossed overseas with a major studio abroad international marketing force. Maybe at the end of the day it doesn’t make a difference, as the Swifts take the lion’s share of the BO in a way they perhaps wouldn’t have on a major studio release. The spoils, in this case of a $200 million global opening, would go to the studio, not necessarily the Swifts.
UPDATED: Taylor Swift: The Eras Tour It may have missed the century mark in terms of a domestic premiere, but the 12-time Grammy winner has always been guaranteed that number worldwide, and AMC reported this morning that the Sam Wrench-directed concert film had surfaced $126 million to $130 million. The international theatrical release is estimated at $31 million to $33 million. AMC reports a reach à la North America; This is the first time the circuit has overseen a global theatrical release of this magnitude. Note that we never saw this WW reach $200 million; Development abroad has always been low and is currently still at the lower end of expectations.
RELATED: ‘Taylor Swift: The Eras Tour’ Trailer
AMC calls the domestic opening between $95 million to $97 million Today, however, rival studios see the price lower at $94.3 million. On the latter level, it is the second best opening for October Stateside. Anything beyond Joker’s $96.2 million U.S. debut is an October domestic opening record.
The global record for October is significantly higher, as the 2019 Joker posted an opening price of $248.4 million (excluding inflation and currency fluctuations). Last year, Dwayne Johnson’s Black Adam opened to $143 million worldwide; The actor’s appeal abroad is enormous. The worldwide premiere of Era’s tour also surpassed that of Michael Jackson’s “This Is It,” which grossed $74.25 million, the previous worldwide opening record for a concert film set in 2009 (unadjusted).
However, the big game of Miss Americana here was always domestic in nature; and we had heard that $80 million of the $100 million in global presales came from U.S. tickets. When it was first announced that the Eras tour would open abroad, it was said that it would play in 8,500 cinemas in around 100 countries. That didn’t mean it was like that the first weekend. We promise you will never find a distribution pattern like this again.
According to AMC, the Eras Tour played in 94 offshore territories at 4,527 venues.
Countries traveling this weekend included Great Britain/Ireland, France, Germany, Italy, Philippines, Spain, Japan, Australia/New Zealand, Thailand, Poland, Netherlands, Sweden, Finland, Norway, Austria, Denmark, Argentina, Chile , Ecuador, Colombia, Peru, Switzerland, Belgium, Portugal, Kenya, South Africa, Greece, Slovakia, Czech Republic, Croatia, Serbia, Estonia, Israel, Kazakhstan, Kyrgyzstan, Ukraine, Azerbaijan, Georgia, Latvia, Aruba, Angola, Bahamas and Pakistan .
The film opened at number 1 in the UK/Ireland following unprecedented pre-sales, with Vue Cinemas reporting the same success in Germany, Italy and the Netherlands. Unlike the United States, tickets for the Eras Tour went on sale abroad only a few days before the opening, which is common for theatrical releases abroad.
Other No. 1 openings included Mexico, Australia, Germany and the Philippines.
Vue Cinemas boss Tim Richards said today that the Eras Tour is “on track to achieve the highest-ever box office for an event cinema release in the UK and Ireland”. He added: “We saw an incredible response from Swifties across the UK and Ireland dressing up, singing along and dancing with other fans, with sessions selling out despite an unprecedented number of shows being planned so no one missed out. “
While the New York-based distributor Variance took over the booking for the cinemas in the USA, Trafalgar in Great Britain took care of the foreign distribution of the film, which was brokered by AMC.
Swift’s next overseas trip is November 3rd, visiting Brazil, South Korea, India, Malaysia, Indonesia, Turkey, Hungary, Vietnam, Hong Kong, Romania, Singapore, Bulgaria, Taiwan and Macau. In the case of Brazil, the image was not cleared by censors in time for release this weekend.
Worldwide IMAX revenue was $13.1 million, setting a record as the largest opening weekend for a musical act film (concert or documentary) in that format. In international markets, it grossed $2.03 million from 236 screens. An additional 106 offshore screens will open on October 26th and November 3rd. IMAX CEO Rich Gelfond said, “The impressive numbers we’re seeing are typically reserved for Hollywood blockbusters and demonstrate how demand for the IMAX experience has grown beyond our core audience… With this film, Taylor has Swift has created an experience that is cinematic in the truest sense of the word – stunning, immersive and undeniably joyous – and in the sound and scope of IMAX, it is the closest thing to the concert itself.”
We will provide you with further updates as they become available.
Also new to the mix is the staggered rollout of Universal/DreamWorks Animation’s Trolls Band Together, which has begun rolling out in five markets. This first wave of opening includes Sweden, Norway, Denmark, Estonia and Lithuania. Its opening price was $1.35 million, just ahead of Trolls and The Boss Baby and above Trolls World Tour.
Sweden was a No. 1 opening with $500,000, the best for a Trolls title. Norway was also No. 1, ahead of Taylor Swift, with $400,000. A high-profile marketing installation in Oslo’s central harbor created a huge buzz for the film. The opening sits above Trolls World Tour and is in line with The Boss Baby. Denmark opened with $300,000, also above the Eras Tour, but finished No. 2 that weekend behind local hit The Promised Land. Next week the market will have school holidays Monday to Friday, setting the film up for a strong first week. The weekend result sits right alongside the Trolls World Tour, which had a successful run there during the pandemic.
Meanwhile, Paramount/Nickelodeon/Spin Master’s “Paw Patrol: The Mighty Movie” is wagging its tail with a younger demo, crossing the $100 million global threshold in just 15 days. There was a strong one this weekend $24.5 million in 67 markets, including 11 new store openings. The cume can now be found in 95% of paw prints abroad $76.5 million at the international box office and $126.4 million global. Leftovers only decreased by 24%.
These dogs are having their day and are already outdoing the 2021 Paw Patrol movie, which, as you remember, played and played. “The Mighty Movie” still has a long way to go and is expected to gross $200 million worldwide. It’s already led to a significant increase in engagement across Nickelodeon Linear, Paramount+ and Consumer Products, where junior products are on track to generate over $1.5 billion in retail sales this year. The original Paw Patrol: The Movie is the most rewatched original/exclusive film on Paramount+ year to date, averaging 6.8 rewatches.
In new openings this session, France Ranked No. 1 with $4.5 million from 638 locations. The school holidays are from October 23rd to November 3rd United Kingdom debuted at No. 2 with $4.2 million from 618 locations; Staggered school holidays apply from Monday to November 3rd. Poland opened with $2.4 million in 328 theaters and Spain was also a No. 1 game with $1.9 million from 369.
China is the leading market overall with $14.9 million (down just 3% from last weekend), followed by Germany at $6.9 million (with a share of -11%), Mexico grossed $5.7 million and Australia $4.6 million
The markets that are not yet open are Sweden on October 27th and Japan on December 15th.
Universal/Blumhouse/Morgan Creek’s The Exorcist: Believer added 26 offshore markets this weekend, including Brazil and France $15.9 million to reach $40 million in the international market, outperforming Scream VI and Evil Dead Rise in the same markets. France was in second place with $1.7 million on 332 screens, just before Halloween, ahead of Halloween Ends, M3GAN, Scream and Evil Dead Rise. Brazil It grossed $1.5 million, including previews at over 1,000 locations, the second-largest opening ever for a Blumhouse title in the market, just behind M3GAN. It launches via Insidious: The Red Door and Halloween. The United Arab Emirates opened at a clear No. 1 with $500,000 – ahead of Annabelle, Halloween, Smile, Evil Dead Rise and M3GAN. The global total is now $85 millionof which IMAX 4 million US dollars.
Top games so far are Mexico ($6.8 million), United Kingdom ($4.2 million), Spain ($2.5 million), Italy ($2.4 million) and Germany ($1.9 million).
VARIOUS UPDATED CUMES/NOTABLE
The creator (DIS): $5.9 million weekend (50 markets); $46.7 million internally and $79.1 million worldwide
The equalizer 3 (SNY): $5.7 million weekend (57 markets); $86.1 million internally and $176.7 million worldwide
The Nun II (WB): $4 million intl. weekend (74 markets); $173.5 million internally and $257.2 million worldwide
Saw X (LG): $3.5 million weekend (56 markets); $29.9 million internally and $71.3 million worldwide
Oppenheimer (UNI): $1.7 million weekend (83 markets); $618.3 million internally and $942 million worldwide
Teenage Mutant Ninja Turtles: Mutant Mayhem (PAR): $430,000 weekend (32 markets); $61.9 million internally and $124.6 million worldwide