It’s a light week with just 4 films.
Jupiter Ascending was co-financed by Warner Bros and Village Roadshow with some additional capital by Rat-Pac Dune Entertainment for a huge $179m. Warner Bros spent about $50m+ on US advertising with just over $30m in TV advertisements leading up to the film’s release, where Jupiter Ascending opened with a weak $18,372,372 in 3,181 theaters. The film’s marketing never seemed to click with audiences and Warner Bros upped their ad spend when the film pulled in its poor opening numbers and they spent an additional $9.8m in television ads, throwing away good cash at a marketing campaign that was clogging up the airwaves and not connecting with people. Jupiter Ascending declined 49.6% to $9,254,019 in its second weekend, ending its chances at breaking out or having strong legs and it fell 58.9% in its third frame to $3,805,317. The film ended its run with a less than blockbuster $47,387,723.
Overseas, the film pulled in troubling numbers as well, opening in 65 markets to $32.5m and fell 54% in its second weekend to $58.9m. Warner Bros distributed in most territories and opened the film wide in the UK in 428 theaters to a soft $2,058,648 and had a modest 38.1% second weekend decline to $1,275,042 but ended its UK run with a poor $6,551,281. Australian based Village Roadshow distributed in their home country to a poor $4,049,140. Jupiter Ascending pulled in mediocre to poor numbers in every market, with the exception of a solid $44,620,000 from China (though China pays out just 25% of the gross to foreign films and 45% to domestic films) and its overseas total has so far pulled in $134.5m and its worldwide total is $181.8m – leaving its financiers with $87m after theaters take their percentage of the gross, which would cover most, but not all of the worldwide ad spend and leave the budget in the red.
Desperate Hours/The Pope of Greenwich Village Double Feature
This 1990 Mickey Rourke staring dud by Michael Cimino (Deer Hunter, Heaven’s Gate) cost Dino De Laurentiis $18m and was released through MGM. Desperate Hours opened to a critical drubbing and placed #9 for the weekend with a poor $1,367,657 and lasted just two weeks in theaters with a $2,742,912 total.
THE POPE OF GREENWICH VILLAGE
United Artists financed The Pope Of Greenwich Village for $8m and MGM/UA opened the film to positive critical write-ups, but the film didn’t get much attention from movie goers. Returning back to a time when Eric Roberts and Mickey Rourke could top line a theatrical release, the film opened June 22nd, 1984 in 677 theaters and came in #9 for the weekend with $1,544,624. Pope opened behind Ghostbusters in its third weekend, Gremlins in its third weekend, Indiana Jones and the Temple of Doom in its 5th weekend, The Karate Kid in its first weekend and Star Trek III in its fourth weekend – so there was stiff competition at the box office and Pope got lost in the shuffle. The film closed its run with a weak $6,836,201.
Wolfen was financed by Orion Pictures, which began production in late 1979 with an $11.3m budget and the film fell behind schedule and saw the budget swell to $17.3m. Unsatisfied with director Michael Wadleigh’s (Woodstock) cut, Orion removed him and had the film recut. Wadleigh took Orion to arbitration over his creative rights as a director and the arbitration was at the time, the longest case in the history of the director’s guild at 21 days. Wadleigh tried to have his name removed from the film but was refused by the arbitrator, but the case of Wolfen brought to light the legal grey area a director has in being allowed to screen their cut at least once before an audience. In the end, Orion was forced to pay $20,000 to both Wadleigh and the guild for not going through the proper steps of replacing the director. Despite being released without the director’s approved cut, Wolfen did receive decent reviews. Orion released the film through Warner Bros and Wolfen grossed a soft $10,626,725.