Blu-Ray Releases for December 13, 2016
In February 2013 MGM landed a $650 million credit line from JP Morgan, which would help get the lion to be a functional studio once again, since they had to borrow from both Warner Bros and Sony to pay for their backend in hits like The Hobbit and Skyfall. Flush with cash, MGM began active development in 2013 on the third big screen feature of Ben-Hur after the successful 1925 and 1959 films. In April 2014, Paramount boarded the project and would co-finance 20% of the movie and handle domestic distribution and the bulk of the $100 million budget would be covered by MGM. After Paramount ran into problems with the religious community over the movie Noah, MGM added their president of Television Mark Burnett and his wife Roma Downey as producers — who were fresh off producing the miniseries The Bible and the film that recycled footage from The Bible, “Son Of God.” Ben-Hur entered production in early 2015 and it was scheduled for release on February 26, 2016 which was the same weekend frame that The Passion Of The Christ opened on in 2004. As the release date approached, there was not a peep from either studio about the expensive remake and no trailers were cut and not even a still image of the movie was issued. At the end of October 2015, Paramount broke their silence on Ben-Hur by delaying it until August 12. Paramount then dated Florence Foster Jenkins for August 12 and moved Ben-Hur back a week to August 19, where it would open against War Dogs and Kubo and the Two Strings.
The marketing material was split between appealing to action aficionados and faith based audiences. The parallel marketing approach was reflected in TV spots and trailers, which some made no mention of anything religious and others were full of Jesus imagery and Christian rock music. Paramount gave Ben-Hur a very strong marketing push, with pricey ads playing throughout the Rio Olympics, including TV spots that spliced in olympic athletes. Paramount and MGM also partnered with numerous marketing organizations that helped with a grassroots campaign to attract religious auds. A Ben-Hur Church Kit was sent out to churches, as a four-week sermon series and numerous screenings were held at churches across the country. Despite the aggressive marketing and high audience awareness, tracking was coming in very soft for the movie and Paramount had hopes that the pic would reach $20 million opening weekend, but more conservative estimates placed an opening closer to $15 million. Reviews were awful and it came in far below estimates with $11,203,815 in 3,084 theaters. It placed #6 for the weekend led by holdovers Suicide Squad and Sausage Party. Along with the the hubris of remaking a classic best picture winner, producers Burnett and Downey who call themselves “Hollywood’s noisiest Christians” had declared that Ben-Hur “will be the most anticipated movie release of 2016.” After Ben-Hur’s dismal opening weekend, Downey wailed on Facebook, “Fill me up Lord, I am on empty!” Despite being awarded an A- cinemascore from audiences, Ben-Hur collapsed 59.3% in its second weekend to $4,560,825. The remake closed its domestic run with a terrible $26,410,477. About $14.5 million would be returned after theaters take their percentage of the gross, leading MGM to take a huge $47.8 million write-down on Ben-Hur.
Ben-Hur opened in 23 overseas markets and pulled in mixed results with $10.7 million. In its second offshore weekend, it expanded to 35 territories and grossed $6.3 million. The overseas cume currently stands at $67.6 million. Despite many markets waiting to rollout, drops in currency add another obstacle for MGM and Paramount to get out of the red. Most offshore territories open throughout September and Japan is scheduled for a January 2017 date.
Sony financed Adam Sandler’s animated Eight Crazy Nights for an estimated $34 million. The toon was dated for the Thanksgiving holiday frame and it opened in a very saturated market. Eight Crazy Nights was one of five wide releases that bowed — the animated box office fiasco Treasure Planet, the duds Solaris and Extreme Ops and Wes Craven Presents: They. Eight Crazy Nights, like most of Sandler’s output, received atrocious reviews and pulled in a weak $9,434,175 — placing #5 for the weekend led by Harry Potter and the Chamber of Secrets in its third frame. It fell 48.5% in its second weekend to $4,854,255 and collapsed 63.2% in its third set to $1,785,832 and then promptly lost most of its theater count. The domestic run closed with $23,586,598. Sony would see back about $12.9 million after theaters take their percentage of the gross, leaving part of the P&A costs in the red and the budget at a loss.
Sony dumped Eight Crazy Nights straight to video in almost every overseas market and it pulled in just $246,533 from the UK, Australia and Spain.
Morgan was financed by FOX for an inexpensive $8 million and the studio invested north of $20 million into P&A expenses. As part of their marketing, FOX hired IBM to have their supercomputer Watson design its own trailer for the movie, which is a fascinating marketing stunt, but did little to bolster audience interest. FOX dated Morgan for release over the slow Labor Day frame, where it would open against The Light Between Oceans and the wide expansion of Hands Of Stone. The pic would also have direct competition with the breakout hit Don’t Breathe in its second weekend. Morgan was tracking soft going into release, with opening estimates near $6 million and unenthusiastic notices from critics did not help. FOX booked the pic into 2,020 theaters, where it was dead on arrival, posting the 7th worst opening in over 2,000 theaters with $2,012,709 and a $996 per screen average. Morgan placed far outside the top 10 at #18 — just above Hands Of Stone’s disastrous $1.2 million weekend cume. The few auds that showed up did not like what they saw and gave the movie a toxic C+ cinemascore and Morgan sank 74.9% the following weekend to $504,908 and promptly lost most of its theater count. Morgan closed its domestic run after five weeks with just $3,915,251. FOX would see returned about $2.1 million after theaters take their percentage of the gross, which barely puts a dent in their modest P&A expenses.
FOX gave the movie a low key offshore theatrical rollout and the overseas cume was $4.8 million.