Weekend Box Office Dec. 2-4 (The Same Ol’ Same Ol’ + Tyler’s Big Decision)



This weekend’s box office figures look pretty much like last week’s numbers. Nothing to see here folks. Just move along. Everything dropped significantly, but that always happens after the Thanksgiving holiday passes. Things always pick up again during the Christmas/New Year’s Day holidays, so look for b.o. numbers to be relatively low and steady for the next three weeks.

The No.1 film again was Disney’s animated feature “Moana” with $28 million, for a total of just under $120 million so far, and another $57 million overseas, while “Fantastic Beasts” was again number 2 with $18.5 million for the weekend, and $183.5 million domestically and $607 million worldwide to date. Warner was hoping that they would finally have another huge franchise after “Harry Potter”, and they definitely have it now.

One surprise was the sci-fi film “Arrival” which moved up to third place with $7.3 million, but that was due mainly to the fact that it opened on 473 more screens. But the film is turning out to be a real sleeper hit for Paramount with over $105 million worldwide to date.

“Almost Christmas”, which actually rose up 5% last weekend, took a huge drop of 58% this weekend, making its chances of hitting $50 million unlikely, but it definitely will top off in the lower $40 millions or so. Still not bad for the film, which cost a very modest $17 million to make.

The only new film to get a major release this weekend was the horror film “Incarnate”, which totally tanked. But the film was not screened in advance for the media which is always a sign of bad news.

And in the ongoing saga that is “Moonlight”, the film winded up in 14th place with $915,700 and just under $9.9 million total so far. At this stage, a $20 million total looks pretty unlikely, but it still could hit $15 million domestically, which would still make it a profitable film.

And finally, to sort of followup of Andre Seawood’s recent excellent piece on Barry Jenkins vs Tyler Perry, and the future of the black art film, though it has just about finished its theatrical run in the U.S., Perry’s “Boo! A Madea Halloween” has grossed some $1.5 million in four overseas territories. Now that may not sound like a lot, but that happens to be the most number of foreign countries and the biggest overseas box office total for any Perry movie to date. The film opened in South Africa, where some of his films have previously played, but also in Egypt, Lebanon and United Arab Eremites. Some earlier films of his have even opened in the UK, Croatia and even Austria, but never four at one time. However there’s no indication that “Boo!” will open in other countries as well.

Which brings me to the recently-inked odd deal that Perry signed with Lionsgate after the success of “Boo!” which will see the studio distribute just two more films by Perry. Lionsgate basically dumped Perry after the studio started making anywhere from $700 -900 million worldwide with their “Hunger Games” franchise, and they had other projects in the pipeline at the time such as the “Divergent” series and “Ender’s Game”, which they thought would be just as huge.

Well those projects turned out to be major expensive flops, and nothing else Lionsgate has released since has worked very well, such as “Deepwater Horizon” which was another huge pricey flop for them. So that $73 million that “Boo!” made looks pretty good in comparison to everything else (relative to its budget), and supports the new deal with Perry. But just a two picture deal says that, even though Lionsgate needs Perry, they still see him as a brand with limited commercial potential, and that $73 million looks like chump change when they were making $800 million off another property.

All of this is to say, I wonder why Perry would even get back into business with Lionsgate. It’s not like he needs them. He could have made an even better deal with another distributor like Open Road, which would love to claim films in its library that made $50-60 million on average, which Perry’s films have done. Especially as rumors travel that say Open Road is facing financial challenges and could be facing bankruptcy or be bought up by another distribution company next year.

But again, I don’t understand why Perry doesn’t just go ahead and make the next step and distribute his films himself. Essentially he finances his films and owns them, so why not go ahead and make the final step? The business has changed a lot, and continues to do so. It’s a lot easier and cheaper to get your film in theaters, with digital projection now being the norm. No longer do you have to make thousands of individual prints for movie theaters, which means saving millions.

On top of that, when it comes to marketing, Perry’s films mainly sell themselves. OK, so he’s a lazy filmmaker who doesn’t care about filmmaking, and has real contempt for his fans. (At least that’s how I see him). But his devoted followers know exactly what to expect every time they see his films, and they evidently love them. So marketing his films isn’t that difficult at all. He has a strict formula and he sticks to it every single time. So why not take the plunge, cut out the middle man and release his films himself? To quote a certain soon-to-be President, what does he have to lose?

The top 12 box office grosses follow below:

1) Moana BV $28,373,000 Total: $119,888,330
2) Fantastic Beasts and Where To Find Them WB $18,545,000 Total: $183,507,403
3) Arrival Par. $7,300,000 Total: $73,078,514
4) Allied Par. $7,050,000 Total: $28,927,432
5) Doctor Strange BV $6,486,000 Total: $215,309,177
6) Trolls Fox $4,600,000 Total: $141,371,445
7) Hacksaw Ridge LGF $3,400,000 Total: $57,264,956
8) Bad Santa 2 BG $3,288,699 Total: $14,289,743
9) Incarnate HTR $2,659,000
10) Almost Christmas Uni. $2,500,350 Total: $38,147,500
11) Manchester by the Sea RAtt. $2,363,500 Total: $4,423,443
12) The Edge of Seventeen STX $1,660,000 Total: $12,768,490


  1. Perry is hands on in his operation. Running a distribution company seems impluasible when you write and direct soap operas and sitcoms full time. You have your hand in the decision making at every step. Pretty soon he’ll do the streaming service stuff. But actually making his own mini Paramount Pictures nope it would require him to reliquish control and say so to others and he don’t like that.

    Moonlight is fine. Once major nominations (Oscars, Globes, SAG) are gained they can market the movie to audiences either unaware (they’re out there) and those reclucant to go because of their assumptions about the explicitness of the violence, sexuality, and drug content.

  2. BLASPHEMY! Mr. Sims, don’t pass Go and don’t collect 200 dollars, just go straight to jail (or that other place :-). And on your way there please turn in your black card.

    How dare you quote that knuckle head… that prick… that dickhead of a person, the orange one, Donald Trump? You know it’s a sin to quote that man for any reason other than when he’s sticking his funky foot in his funky mouth, don’t you?

    And look, not only was it foul to use that poor excuse for a white man, his quote that you used put you further in the do-do of nonsense. What does he [Tyler Perry] have to lose by releasing his films himself? Well, Marcus B. Like touch on it.

    You must think Tyler can pull a Master P? You know, pull up in the hood and sell his films from the truck of Madea’s Eldorado. Please, first and arguably foremost, Tyler can lose a peace of mind (sleep & worry), and the goodwill Lionsgate has established with the theater chains.

    Shiiiiit, as Marcus implied, running a distribution company is a full time job… and Tyler’s plate is running over… so stop hatin’.

    But I liked how you transitioned to Andre Seewood’s post. Yep, that article was a goodie. So I’m going to follow your lead by… well, on several occasions he used Tyler as a point of reference. In fact, he opened with…

    “It would appear that no matter how well crafted, nuanced, and urgent the Black Art film can be, all someone like a Tyler Perry (and his Johnny-come-lately knock off David E. Talbert) have to do is throw on a dress and allegedly shoot a film in six days from a script cobbled together from worn out clichés and it raked in 70 million”

    Well, up jumped “Almost Christmas” and “Moonlight”, 2 films in your post. First, I loved that line about Johnny-come-lately knock off David E. Talbert. It’s not only funny, it’s unfortunately so true. Everything one says about Tyler and his films (quality, writing, time spent on set, acting, music, box office, budget) can be said about Talbert and his films. And it simply amazes me that these guys can make that kind of loot on that mess that they bring to the screen. Check that, I’ve laughed at a few of Tyler’s works, but nope, Talbert work is a very poor knockoff. Watching a Talbert flick and expecting something on Tyler’s level, is like going to the Dollar Store looking for a Louis Vuitton handbag. So what does that say about David E. Talbert?

    Well, I know what Andre Seewood said about the black moviegoer. Now don’t shoot the messenger but…

    “the real obstacle to Black freedom in the cinematic representation of all the many facets of Blackness on the Global screen is the fickle, herd-like mentality of a large majority of the Black audience.”

    But look, Andre said y’all should be “blamed” b/c you’ve been brainwashed. Check it out…

    “Perry’s films characters express their feelings [like those] white characters in the daytime soap operas. Perry’s work looks familiar, feels cliché, and cashes in at the Box office because it is based on 3 decades of daytime television soap opera dramatics with the White characters types replaced with familiar Black character types (some would say stereotypes), that many have come to accept as a Black middle class Christian-approved representation of Black life”

    Wow! OMG… I’m done. 🙂

    • correction: The older black audience “shouldn’t” be blamed b/c essentially, they’ve been brainwashed and thus, they don’t know any better.


    • CareyCarey, if I read you correctly, you’ve implied that a large majority of the Black audience, those who were unemployed or who worked the night shift, sat around for decades, all day watching daytime television soap operas. Since we all know the black apple does not fall far from the tree (the doors to Big Mommas house were always open) their off-springs did the same.

      Then Tyler gets wind of this phenomenon, replaces the white characters with black ones and WAH-LAH, he comes up with Madea Goes to “Dallas”… To find “The Young and The Restless”… and “The Guiding Light” (for the Black middle class Christian-approval)… “As The World Turns”.

      Is that what I am reading Carey? Black folks must accept their far share of complicity in the destruction of the “representation of Black life.”

      • Slow your roll Thelma & Louise, or I should say Lavern & Shirley. The Butler nor I didn’t do it, Andre did. But Sergio WAS the one who stirred the mess when he brought up Tyler’s name, one mo’ time.

        When I came to this post (one of my favorite stops), I was prepared to talk about the # 1 film, Moana. I saw it last night… and truth be told, it wasn’t all that. Nope, in fact, I fell asleep on it.

        But when I saw the gossip hound, Sergio, quoting that blockhead and slamming Tyler Perry and his audience, I couldn’t sit idly by.

        But you know what, I understand Andre’s position. I mean, I was raised on movies like those on TCM, so I can’t relate to that Perry/Talbert affair. That said, from an entertainment standpoint, I do find Tyler’s stuff — at times — quite funny. Well, that’s probably because I can relate to many of his characters (some would call them stereotypes).

        So I guess I am saying I don’t really understand what people are implying when they use the words “Tyler Perry’s audience”? I watch “popular” movies and so-called “Art House” films… and Spike Lee too. It depends on the mood I am in when I decide to watch a flick. So what patch should I wear? But wait, if I had to pick one over the other I’d choose

  3. The outtakes in ‘Xmas’ were funny because of Monique and should have been left in the film. Her all too brief appearances made the film. Personally, I thought ‘Xmas’ was way too sad for a holiday flic, and maybe that hurt its box office. Kimberly Elise’s ‘angry black woman’ stereotype near the end was nothing but a reprise of ‘thou art loosed’.
    When you see the films of Richard Pryor, you can appreciate a film designed around authentic comic genius which I think could’ve been done in ‘Xmas’. Just my opinion folks.

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