THE HOLLYWOOD REPORTER 13 SEPTEMBER 4, 2019
Source: PostTrak/Comscore-Screen Engine*Still in theaters. Source: Comscore, May 3-Sept. 2, 2019Est.
BudgetRotten
Tomatoes %Domestic
grossForeign
gross% of
total% of
totalGlobal
gross$160M 90% $386M 34% $736.2B 66% $1.12B
$200M 97% $430.5M 41% $615.1B 59% $1.05B
N/A N/A $149K 0% $685.4M 100% $685.5M
$81M 60% $157.8M 38% $264.2M 62% $422M
$75M 90% $170.9M 53% $150.6M 47% $321.6M
$27M 65% $72.7M 33% $150.1M 67% $222.8M
$26M 63% $73M 55% $61.2M 45% $134.3M
$250M 53% $523.5M 34% $1.046B 66% $1.57B
$180M 57% $354.5M 34% $691M 66% $1.05B
$200M 67% $159M 23% $528.7M 77% $687.7M
$150M 68% $144.1M 33% $287.5M 67% $431.6M
$170M 41% $110.5M 29% $275.4M 71% $385.9M
$95M 85% $131M 46% $152.7M 54% $283.7M
$41M 89% $96.2M 51% $94.1M 49% $190.5M
$21M 14% $35.4M 37% $59.6M 63% $95M
$25M 79% $58.9M 69% $43.5M 31% $102.4M
$350M 94% $858.5M 31% $1.94B 69% $2.8B
Cracking the $5 million mark — much less $10 million — is harder than everSPECIALTY REPORT Tough Times at the Art House
T
wo summers ago, the top 10 spe-
cialty titles took in a combined
$130 million at the U.S. box office,
led by hits The Big Sick ($42.9 million)
and Wind River ($33.8 million).
This summer, that number tumbled
51 percent to $64 million, another stark
reminder of the tough times facing
the indie film business in the age of
streaming and studio consolidation.
Disney, for example, is now in charge
of Fox Searchlight, while CBS Films
is shutting down in the wake of the
CBS-Viacom merger.
“It’s a sign, and it’s not to be ignored,
but I’m not sure it equals a sweeping
shift in consumer behavior,” says Neon
chief Tom Quinn. “I think this fall will be
incredible, and I’m incredibly pleased
with the results for our films. And credit
to The Farewell. Good movies and
authenticity save the day.”
Documentaries (Pavarotti, Biggest
Little Farm and Echo in the Canyon) were
the stars of summer 2019, and while they
didn’t reach the same heights as last year,
they impressed. On the narrative feature
side, The Farewell and The Peanut Butter
Falcon, which is still early in its platform
run, are modest box office hits in their
own right. Late Night, however, was a
major miss when it expanded nationwide.D
isney rests at $8.4 billion in global 2019 ticket sales — obliterating the record it
set in 2016 with $7.6 billion — after five of its films amassed more than $1 billion
(another record). For the summer, Disney’s domestic market share was 40 per-
cent ($1.7 billion) in the U.S., not including Fox titles. Still, Sony has made big gains,
placing No. 2 in summer domestic market share ($680 million) for the first time since- Warner Bros. stumbled, placing No. 4 for the summer domestically ($393 million),
while Lionsgate ($291 million) topped Paramount ($183 million) and Fox ($145 million).
1 ↑The Farewell
A24 (JULY 12)$16M3 The Peanut Butter Falcon*
ROADSIDE (AUG. 9)$8.9M4 Pavarotti
CBS FILMS (JUNE 7)
$4.6M5 Last Black Man in San
Francisco A24 (JUNE 7)
$4.5M2 Late Night
AMAZON STUDIOS (JUNE 7)
$15.5M*Still in theaters. Source: Comscore$1.4BThe House That Walt Built accounts for more than 45 percent of all
tickets sold globally so far this year, forcing some rivals to get scrappy2019 REVENUE SNAPSHOT Disney Dominates, Sony Scores
Source: Comscore, studios Jan. 1-Sept. 2, 2019Disney Universal Warner Bros. Sony Lionsgate ParamountDomestic International Total # Films released1B2B3B$5B4B7111113613$5.6B$2.8B$886M$1.7B$930M$2.63B
$1.13B$1.55B$2.68B
$2.29B$393M$589M$982M
6 Biggest Little Farm
NEON (MAY 10)
$4.4M7 Echo in the Canyon
GREENWICH (MAY 24)$3.3M8 Maiden
SONY CLASSICS (JUNE 28)
$2.8M9 The Art of Self Defense
BLEECKER STREET (JUNE 28)
$2.4M10 Wild Rose
NEON (JUNE 21)
$1.6M$200M 23% $65.8M 26% $186.6M 73% $252.4M
$110M 22% $79.6M 32% $173.5M 68% $253.1M
$65M 74% $35.4M 36% $58.5M 64% $93.9M
Fox6$331M$1BJohn Wick: Chapter 3 Once Upon a Time in Hollywood18-
35%< 17
6%25-
29%35-
15%45-
8%> 55
6%18-
30%< 17
5%25-
29%35-
14%45-
9%> 55
13%$8.4B Like Warner Bros., Universal saw its
summer revenue tumble with a major
caveat: It won where Warners failed
with Ye sterday, which lured older
adults, and Good Boys, which revived
the R-rated comedy genre.$1.33B
$476M$985M
$509MBestWorst