AND SO IT GOES
Foresight Unlimited financed the film for $30m and pre-sold the rights to distributors who hoped And So It Goes would tap into the success that The Best Exotic Marigold Hotel pulled in by attracting older audiences. New US distributor Clarius Entertainment’s second of three releases in 2014 which all did poor business, And So It Goes opened in 1,762 theaters to a soft $4,642,329. The film fell a very modest 29.7% in its second weekend to $3,261,935 but proved not to have strong legs when it fell 63.1% in its third weekend to $1,204,696 and closed its run with a poor $15,160,801. Major theater chains pay out less to independent distributors than the 55% the major studios command (Regal Cinemas pays out just 34%) and after the theaters take their percentage of the gross, Clarius saw back about $6m. This would not come close to covering the soft ad spend. The overseas total was a small $10,151,586 across numerous distributors and the film was certainly a loss for all parties. Poor reviews and the hope it would attract an elder audience as counter programming in the summer, as The Best Exotic Marigold Hotel did a few summers prior, didn’t work.
ATLAS SHRUGGED PART III: WHO IS JOHN GALT?
Financed by by John Aglialoro, who didn’t learn his lesson about loosing piles of cash on the first two installments, cuts the third and last of the trilogy’s budget down to $5m. Turning to kickstarter, he raised $446,907 for a marketing spend to help pad what will be more lost money on his dream project. Opening on 242 screens to a dead on arrival $461,179, the film closed two weeks later with $846,704. With major chains like Regal Cinema only paying out 34% of the ticket price to small distributors, or in this case, self distributed – Aglialoro saw about $300k in returns. Fox distributed on home video and sales have brought in about $800k (less after resellers take their cut and manufacturing costs).
BEFORE I GO TO SLEEP
New distributor Clarius Entertainment picked up US rights and their sister company Clarius Capital Group financed the modest, but still expensive marketing spend. Opting for a wide release on 1,902 screens, Before I Go to Sleep bombed with $1,843,347 opening weekend, hemorrhaging cash for the new distributor. Audiences gave the film a poor C+ cinemascore and it sank 82% in its second weekend to $331,708 and was pulled out of release at the end of its third week with just $3,242,457. As an independent distributor, major theater chains do not return 55% of the ticket price (Regal Cinemas pays out only 34% to independent distributors) and the US gross put about $1.3m back in Clarius’ pocket – loosing almost the entire marketing spend for its sister company and throwing away the acquisition amount, which has not been reported. Scott Free and Millennium Films produced the film and Millennium pre-sold the rights before filming began, so while the budget hasn’t been reported, the two companies exposure to the budget would be limited. Overseas grosses amounted to a poor $11,818,000 across numerous distributors and with the exception of a soft $5.3m tally in the UK for distributor StudioCanal, it did unexceptional business in almost every territory.
DOLPHIN TALE 2
Alcon Entertainment financed this $36m sequel and Alcon who had a poor 2014 posted over $30m in losses earlier in the year on the Johnny Depp flop Transcendence, their small budgeted film The Good Lie was barely released and their commercial followup to the moderate hit Dolphin Tale pulled in about half the worldwide gross of its predecessor. The film opened in the US with a soft $15,873,397 and closed its run with $42,024,533 leaving Warner Bros with $23.1m after theaters take their percentage of the gross, which would not cover the ad spend. After home video sales, Warner Bros probably cleared red into the black, very little, if any cash overages would flow back to Alcon. Warner Bros distributed the film overseas with a terrible total of $10.4m posting weak numbers in every territory. WB opened the film wide in the UK in 419 theaters and it placed #7 for the weekend with a poor $857,376 and flopped out of UK theaters with just $2,618,363.
Co-financed by OddLot and Summit/Lionsgate for an estimated $25m, Lionsgate distributed in the US with a soft $9,783,603 opening weekend. The film saw a modest 41.6% second weekend decline to $5,713,076 but fell 51.3% to $2,783,208 in its third frame and ended its chances at breaking out. Draft Day closed its US run with $28,842,237 which is troubling for the two financiers since American Football’s popularity outside the US is not very strong. The film was theatrically released in just a handful of territories and pulled in less than a million outside the US. The US marketing spend was estimated around $25m and after theaters take their percentage of the gross, both the marketing and the budget would be in the red.
Universal spent an estimated $20m on this critically trashed remake of the critically trashed 1981 film, based on the book whose author trashed both versions. A strong marketing spend that targeted young females opened to a respectable $13,307,125 before having terrible legs that saw a 70.2% second weekend decline to $3,967,520 and tumbled another 61.5% in its third frame to $1,526,780. Endless Love quickly closed its US run with a total of $23,438,250 and after the theater’s cut of the ticket price, Universal saw back about $13m which would not even cover half of the marketing, let alone the budget. A further worldwide marketing spend by Universal, saw the film post terrible numbers in every market to a total of just $10,639,670.
This $65m Lakeshore Entertainment film benefited from a 40% production incentive in Australia, (not including the vfx and post budget) and received a small amount of financing from US distributor Lionsgate. Lionsgate also covered the hefty US marketing spend and opened the film in 2,753 theaters to an awful $8,610,441 and it sank 56.4% in its second weekend to $3,754,423. Its third frame saw a 60.7% decline to $1,476,556 and promptly lost most of its theater count and closed with just $19,075,290 — putting this at a theatrical loss over $20m for Lionsgate. About $13m in home video sales, (less after resellers take their cut and manufacturing costs) pad a sizable loss. Lakeshore pre-sold the film and German distribution arm A COMPANY took the film for central and Eastern European territories. A Company saw I, Frankenstein flop in Germany with $2.4m and played poorly across Europe, with the exception of a decent enough $11m from Russia. Lakeshore who was downsizing and reducing output, only had one other release in 2014 which was the dud Walk of Shame. Set up at Lakeshore trying to duplicate their success with the Underworld series, this was just another franchise non-starter.
Co-financed by Warner Bros and Brett Ratner’s RatPac, in which RatPac has a 25% stake in Jersey Boys, the $40m budgeted film opened in the US in 2,905 theaters to a soft $13,319,371. The film had modest weekly declines, but ended its run with a disappointing $47,047,013 and after theaters take their percentage of the gross WB would see back $25.8m. 2014 was a record year for ad spending for Warner Bros and the heavily marketed Clint Eastwood film cost over $30m to market and the domestic gross would not cover even the ad spend. The film did poorly outside of the US market, earning only $20,300,00 and bombing even in Italy, where Eastwood is loved, where it pulled in just over $1m. Warners created a VOD service in Korea for three WB films (Blended, Tammy and Jersey Boys) that wouldn’t get a theatrical release. A loss for RatPac and the worldwide marketing spend by Warners would barely be covered by the grosses, leaving most of the budget in the red. Eastwood and WB would strike gold a few months later with American Sniper.
The first of two Jason Reitman misfires in 2014, the second being the box office fiasco Men, Women & Children — both films co-financed by Indian Paintbrush and Paramount. The $18m budget and a decently sized marketing spend saw only $13,371,528 in domestic returns and $5.9m from overseas. After theaters take their percentage of the gross, Paramount would see back about $10.5m, leaving the film deep in the red and since Paramount’s ad spend would be a loss, there would be no cash overage to flow back to Indian Paintbrush. Months later Jason Reitman criticized the sappy marketing campaign and not focusing on the perspective of the child in the trailers. You can toss all the money in the world into marketing, but a misguided ad strategy such as Paramount promoting National Pie Day on all marketing material (yes, you read that right) is a real head scratcher to why that would drive audiences to the theater.
Stoney Lake Entertainment financed the $16m budget and an $18m advertising commitment, which they distributed through rent-a-distributor Freestyle Releasing. Hoping to ride the wave of successful faith based films, Arclight Entertainment handled international sales, which managed to sell strong enough in foreign markets. With the low budget and enough foreign territory sales, Stoney Lake had limited exposure to the budget, but the distributors who invested any cash into this box office dud did not see the payoff that recent low/no budget faith based films have earned. With a domestic gross of $14,019,924, Stoney Lake would see about $5.5m after theaters take their percentage of the gross, as major chains pay out less to independent distributors (Regal Cinemas pays out only 34% to small distributors). Overseas, Left Behind managed only $5,663,00 across numerous territories and major territories like France, Germany and the UK sent the film straight to video. After being banished from the multiplex after years of questionable paycheck films, Nic Cage did his career no favors by appearing in this critically destroyed film that couldn’t even get a rise out of the faith based market.
LEGENDS OF OZ: DOROTHY’S RETURN
Summertime Entertainment secured the $70m budget and through various means of unethical, but grey area legal fundraising, Ryan and Roland Carroll who run Summertime actually made a profit on one of the biggest flops of 2014. The two brothers reportedly fundraised the budget, promising massive returns from individual donors and kept over $15m of the raised cash as their fee. New distributor Clarius Entertainment, who had a terrible 2014, picked up domestic distribution from the questionable Summertime and the film bombed with a $3,747,780 opening weekend on 2,658 screens. Legends of Oz ended with $8,462,027 and with new startup distributor Clarius receiving a small percentage of the ticket price (Regal pays out only 34% to independent distributors) they didn’t see more than $3.5m in returns – which wouldn’t even cover 1/3 of the marketing spend. Overseas the film pulled in a poor $10.2m across various distributors.
When Oscar bait goes bad. Paramount slated this for an awards qualifying release for an early October limited run, followed by a wide release. The decision to premier Men, Women & Children at the Toronto Film Festival killed off its early buzz with terrible reviews. The $16m budget was financed by Indian Paintbrush and Paramount and the marketing spend was small, but television ads certainly just added to the red ink. Opening Oct 3 in 17 theaters with a wide release planned two weeks later, the film pulled in a poor $2,825 per screen average for a $48,024 weekend. Expanding to 601 empty theaters on Oct 17, the film grossed an embarrassing $306,367 with a $504 per screen average for the weekend. That breaks down to an average of $168 per day or about $33 per showing. The film ended its run with a domestic gross of $705,908 and Paramount would see back less than $400k, far below its modest prints and ad spend. The worldwide numbers were mostly not reported, but approximately pulled in an additional $1m from the few territories it was released in.
MILLION DOLLAR ARM
With the new Disney model of releasing fewer films, but with colossal budgets looking for colossal returns, Disney decided to fund this $25m production they call ‘brand deposits.’ Films smaller in scale that retain a certain Disney quality that makes audiences appreciate the Disney label. Million Dollar Arm opened in the US with a soft $10,515,659 and fell a modest 33.7% to $6,968,980 and continued with respectable weekly declines and it closed its run with $36,457,627. The domestic gross could not carry the lack of appeal of a baseball theme in the international market into profit. It pulled in only $1.8m in overseas grosses for Disney and even with part of the film filmed in India and geared toward the Indian market, it managed only $492,240 in the territory. With a strong Disney marketing campaign, the film’s gross would not cover the budget after theater’s share of the ticket price and the marketing spend is all red ink for Disney.
MR. PEABODY & SHERMAN
$272,912,430 seems like very healthy worldwide boxoffice gross, just not when the film cost a staggering $145m to produce and tons more to market worldwide. Dreamworks Animation took a $57m loss on this animated blunder and the troubled animation studio was just coming off a loss on Turbo and Rise of the Guardians. Dreamworks Animation’s distribution deal with FOX gives an 8% fee of the theatrical and home video markets to use their distribution channel and at the time of the $57m write down FOX did not recoup their investment from the marketing.
MUPPETS MOST WANTED
Disney plunked down $54m for this sequel to the moderate success of its predecessor which made $165,184,237 worldwide and Muppets Most Wanted pulled in a poor $78,183,113 worldwide. US marketing costs were offset by Disney pairing the muppets with Toyota who took a large portion of the costs for TV ads, especially during prime expensive Superbowl ads – but the film made a disappointing $51,183,113, leaving Disney with about $28m after theater’s share of the ticket price. The Muppet sequel only coughed up $27m from a worldwide rollout, with $12.6m coming from the UK. These numbers were poor enough to derail what could have been more lucrative Muppet franchise runs.
PENGUINS OF MADAGASCAR
Dreamworks Animation financed Penguins of Madagascar for $132m and the film was distributed through Dreamworks Animation’s output deal with Fox, where Fox fronts the P&A spend and receives an 8% fee for distributing. The animated spinoff opened in the US in 3,764 theaters to a soft $25,447,444 and the film had weak legs and declined 57.1% in its second frame to $10,907,030. A modest 33.9% third weekend decline to $7,206,293, was not enough to offset the weak numbers and the film closed with $83,298,585. Overseas, the film pulled in a very solid $290.2m, bringing the worldwide total to $373.4m, but the old adage of doubling your budget to break even does not apply here, since the film had a huge P&A spend. Dreamworks Animation took a $57.1m write down on The Penguins of Madagascar, ending their difficult 2014 after they saw Mr. Peabody & Sherman flop earlier in the year.
Constantin Films financed the $100m film and Summit, which was absolved into Lionsgate, pre-sold the rights at Cannes back in 2011 and the film quickly sold out in every territory. After a $94,611,883 overseas gross and a terrible $23,219,748 domestic gross, this expensive disaster pic posted a $6m loss for Constantin (which also came from their animated Tarzan, which wasn’t released theatrically in the US). Bona distributed the China release and made a healthy $15,630,00 and a Russian gross of $11,318,555 were the only solid showings for Pompeii. Distributors paid through the roof for this would be blockbuster, which did mediocre business. Summit/Lionsgate was handling the foreign sales and was scheduled to release the film in the US, until FilmDistrict picked up US rights. Once FilmDistrict was shuttered and absolved into Focus, FilmDistrict released Pompeii through Sony’s TriStar label. While no one entity was on the line for the $100m budget, since the risk was mitigated throughout numerous distributors across the world, it still posted losses for most distributors.
Sabotage was financed by QED Intl who laid off 5 employees after sabotage tanked at the worldwide box office. The $35m film was acquired by Open Road Films for US distribution and opened with a dead on arrival $5,272,444 and sank 62.1% in its second frame to $1,999,758. The film declined 81.9% in its third weekend to $361,438 and lost most of its theater count and closed its run with a terrible $10,508,518. Open Road, which is owned by theater chains Regal and AMC, would keep the full gross for the film playing in their theaters, which would help pad their loss on the acquisition costs and expensive marketing spend. The film was sold in the international market by QED and did terrible in every territory grossing a weak $7m across the world. The few territories that rolled the film out after the spring 2014 release, sent Sabotage straight to video. David Ayer who directed, saw some redemption with the QED financed FURY a few months later. Schwarzenegger’s stock was certainly diminished after a string of duds that was to be his comeback, but it’s Sabotage’s anemic gross that hammered home aging audiences that would see his films, won’t travel to theaters to do so.
SIN CITY: A DAME TO KILL FOR
This belated sequel crashed and burned at the boxoffice, costing a hefty $65m and grossing $39,407,616 worldwide. A marketing spend a bit on the soft side, but still plenty expensive to achieve high awareness in pre-release tracking and a last minute effort to attract the core fan base by US distributor Weinstein Co (under Dimension label) to include a teaser trailer for upcoming Tarantino film Hateful 8 was not enough to get audiences to care. Weinstein Co. had only the US marketing spend on the line and they saw about $7.5m after their share of the ticket price with theaters from a $13,757,804 gross. Poor home video sales amounting to just over $4m and TV rights that would bring in 10% – 12% of the gross, would come to a small loss for the Weinstein Co. Co-financed by Aldamisa, who also handled international sales, would be sued by director Robert Rodriguez for nonpayment of $7.7m on both Sin City 2 and his 2013 flop Machete Kills. Aldamisa certainly took a licking on Sin City 2, but visual effects company Prime Focus hurt the most from the boxoffice failure. When Rodriguez finalized his funding, it was to secure enough cash only through production, which doesn’t work very well when the entire film is filmed in front of a green screen and the footage shot sat on the shelf for a year, until VFX company Prime Focus got involved with this mess. They agreed to do the vfx for free, as equity in the film’s backend. The kind of deal that helped further push vfx companies Digital Domain and Rhythm & Hues into bankruptcy. Taking on the effects work of Sin City 2 took most of Prime Focus’s internal resources and severely limited their ability to do other paid work. In a deal that ultimately cost them tens of millions of dollars, Prime Focus felt the fallout of this boxoffice dud in the most damaging way.
THE BEST OF ME
Relativity Media backed this $26m film and from foreign pre-sales, tax credits and other deals, Relativity had all but $5m of the budget covered. They cut a deal with Indian Studio Balaji Telefilms that will make a Hindi remake of Best of Me. B4U distributed Best of Me in India to only $59k. Relativity CEO Ryan Kavanaugh used The Best of Me as their first model to present product placement and include the brand client into script meetings and involvement in development. Evian water was the product. Ryan Kavanaugh was quoted by Variety saying “Evian is in the room with us, they’re in there when we’re developing our scripts for film and television, and they’re in there with us creating strategy for our other businesses. And that is completely unprecedented.” Because when watching this romantic film, you might get the overwhelming urge to purchase overpriced plastic bottles of water. Relativity managed to limit their risk with the $26m budget, but perhaps more focus on making a better film than trying to sell water, would have saved this from being the lowest grossing Nicholas Sparks adaptation. The film grossed a poor $26,766,213 in the US and a strong marketing spend that was well over $20m put this in the red for Relativity. The president of theatrical marketing at Relativity Russell Schwartz was forced to resign shortly after this bombed. The Best of Me pulled in $9,160,00 from every other territory. It’s unknown how many audience members were inspired to purchase some refreshing Evian. If you think that is a gag poster, just head over to the Relativity website.
Financed for $16m by City of Peace Films, they also paid over $16m in marketing costs through rent-a-distributor Freestyle Releasing. Hoping to tap into the faith based market that saw recent success in the likes of God’s Not Dead, The Identical opened in the US in 1,956 theaters to atrocious reviews and posted one of the worst wide release numbers on record with $1,587,137. The film declined 74.7% in its second weekend to $401,983 and was pulled out of release after its third week with just $2,827,666. City of Peace would see back only a small portion of the gross since major theater chains, like Regal Cinemas only return 34% to independent distributors, leaving them with about $952,000 plus a distribution fee to Freestyle Releasing. The Identical saw a release only in Brazil to all of $13,325. The Identical was City Of Peace’s first film and they lost almost the entire $32m+ investment. Home video sales were a dismal $123,439 before no longer being reported.
This $50m courtroom drama was co-financed by Warner Bros and Village Roadshow and a huge domestic marketing spend around $40m only managed $47,119,388 in ticket sales. WB would see about $26m of that after theater’s percentage of the box office receipts. A further ad spend across foreign markets added more red ink, as The Judge only pulled in $36.6m, doing mediocre to poor business in every territory. The marketing spend was overkill on a project that was a step backward for Downey’s ability to bankroll an adult oriented picture outside of the Marvel films. The picture was slated as an awards contender with an October release and plenty of heat evaporated from the project when WB played the film a month early at the Toronto Film Festival to mediocre reviews. Better reviewed, adult targeted Gone Girl took the number 1 spot in its second weekend, siphoning much of The Judge’s opening weekend target demo.
THE LEGEND OF HERCULES
Financed by Millennium films for $75m Lionsgate picked up US rights under its Summit label and after a heathy marketing spend, the film opened in 2,104 theaters to a poor $8,868,318. The film dropped 61.7% in its second frame to $3,397,143 and quickly closed its run with just $18,848,538 in sales. After theaters take their percentage of the ticket price, Lionsgate would see about $10.5m, putting this poorly received Renny Harlin pic in the red for over $15m. The Legend of Hercules did poorly across the world, grossing $42,430,914 in overseas totals and weak numbers in every territory amounted to small losses by each distributor. This first of two Hercules films in 2014 pulled in modest enough home video numbers for such a bomb, bringing in about $13m in sales. After the resellers cut of the DVD/BLU and the cost of manufacturing, the film is still in the red, but a small loss for Lionsgate. Millennium certainly had a tax write down with this one.
THE NOVEMBER MAN
The Solution Entertainment Group, Palmstar Media Capital and Merced Media Partners financed and Solution pre-sold this mid-budgeted film that is reported a bit over $30m. Relativity picked up US rights for an inexpensive $3m and opened the film in 2,776 theaters to a soft $7,911,597 and the film had a modest second weekend decline of 45.6% to $4,307,680. The November Man had a small third weekend decline of 35% to $2,800,262 and closed its US run with $25,018,119 which would leave Relativity with about $14m after theaters take their percentage of the gross. TV rights are usually 10% – 12% of the theatrical gross and US home video sales were terrible and pulled in less than a million, but Relativity probably broke even on the film, though little if any cash overages would flow back toward the financiers. The November Man did poor business throughout the rest of the world bringing in only $7,538,000 and Disney dumped the Pierce Brosnan vehicle in the UK in just 12 theaters to an anemic $7,903 with a $659 per screen average. It lasted only two weeks in release and was pulled off screens with only $14,862.
THE SINGLE MOM’S CLUB
Tyler Perry’s 15th film tanked at the domestic box office with a poor $8,075,111 opening weekend and The Single Mom’s Club had terrible legs and fell 61.6% to $3,103,057 and quickly closed its run with $15,973,881. Since Perry is a non-entity outside of the US, there’s no international numbers to fall back on. Perry and Lionsgate parted ways a few weeks before this film was released and though the budget is unreported, his films usually cost within the $20m range. Lionsgate’s marketing is usually a small and very successful spend in the right markets for Perry’s films, but his target demo-graph avoided this one. Home video sales were just over $4m and The Single Mom’s Club marks the biggest flop for Perry.
Buy Tyler Perry’s Single Moms Club
Entirely financed by Belgian company Corsan, who’s business model involves 50% of the funding through Belgian tax credits this $28m film was pre-sold to 23 markets before editing was completed. With the heavy tax credit and pre-sales based on the strong cast, Corsan’s risk was minimal or they were even in the black before the film was completed. Sony Pictures Classics acquired the US, German and Scandinavian rights and judging from the widest domestic release at only 227 screens, Sony dumped the film with little to no marketing spend. Third Person opened in the US in 5 theaters to $38,856 and a not very promising $7,771 per screen average. It expanded to 18 theaters in its second frame to a poor $74,535 and 34 theaters in week three to $106,370. Sony expanded to 227 screens in its fourth weekend to $238,026 with a terrible $1,049 per screen average and it quickly lost its theater count and closed with only $1,021,398 in the US and about an additional $700k worldwide, with most territories not even reporting the grosses. The numerous distributors this was pre-sold to, certainly overpaid, but the small release suggests almost every distributor cut their small losses.
Financed by Alcon Entertainment, this expensive $100m production was given some funding by DMG who boarded the film midway through production. DMG also picked up China distribution rights where the film pulled in a decent $20,280,00 and that’s where the good news for Transcendence ends. On paper this was a blue print for success, a script that was on the black list, a star who’s power had yet to fade, produced by heavyweight Christopher Nolan and directed by acclaimed cinematographer Wally Pfister. Warner Bros picked up US rights and after a strong marketing spend, Transcendence opened with a terrible $10,886,386. Audiences gave the film a toxic C+ cinemascore and it dropped 60.8% to $4,265,176 in its second weekend and declined 72.5% in its third weekend to $1,173,020 and ended its disappointing run with $23,022,309. WB would see back $12.6m after theaters take their percentage of the gross, which is less than half of their ad spend. A major focus of WB’s marketing was on video game site IGN, but it seems that audience stayed home and played video games. Home video sales amounted to about $8m (less after resellers take their cut and manufacturing costs). Alcon reported losses upwards of $30m and while Warners fronted the money for the US marketing, Alcon backstopped it – so they covered WB’s loss. Transcendence pulled in $80m overseas, $20m of which was from China and did middling numbers everywhere. Australian distributor Village Roadshow posted a $2m+ write off for Transcendence and blamed the film publicly for hurting their 2014 profit projections. The film opened in Australia with a terrible $1,278,665 coming in #5 for the weekend and closed with just $2,742,123. This was certainly damaging to Depp’s stock.
Following the success of the Twilight series, worldwide distributors were hoping another beloved YA franchise would strike gold with the $30m budgeted Vampire Academy – the first of what was to be a lucrative franchise. Financiers Reliance Entertainment and IM Global quickly sold off worldwide rights before the cameras were even rolling, limited their exposure to the $30m, most of which was financed by the pre-sales. The Weinstein Co. took the US rights, committing upwards of $30 million for marketing, hoping to cash in on the YA vampire craze. The film died a terrible boxoffice death with $7,791,979 which after the Weinstein Co. percentage of the gross, would be just over $4m. The film did terrible in every territory and managed to pull in only $7.6m from the rest of the world. After the poor numbers were rolling in from the worldwide release, the theatrical release was canceled in the UK and it was dumped straight to video.
WALK OF SHAME
Lakeshore Entertainment co-financed the $15m film with Sidney Kimmel Entertainment and a California tax credit that covered 20% of production costs. The film was sold to US distributor FilmDistrict, which closed down and was absolved into Focus Features and Walk of Shame was buried by Focus who inherited the title. Focus’s financial exposure was minimal as they dumped the film in 51 theaters with the bare minimum of advertising. It grossed a miserable $39,751 opening weekend and was pulled out of release at the end of its first week with just $59,000. Sierra/Affinity handled worldwide sales for Lakeshore and Kimmel and the film grossed $7.9 worldwide across various distributors. After their production tax credit and selling off the international rights for unreported amounts, Lakeshore and Kimmel had minimal financial exposure to this turkey.
Originally listed as a 75m budget during press releases before filming, NY tax breaks took this down to the listed $60m budget financed by Warner Bros and Village Roadshow. Warner Bros spent a colossal $40m+ on a domestic marketing blitz and the film tanked with an opening weekend of $7,297,694 and fell a huge 70.2% in its second weekend to $2,173,455 and quickly closed its run with $12,600,231. Warner Bros would see back about $7m after theaters take their percentage of the gross. Warners went further into the red after an expensive worldwide marketing spend that saw awful numbers in every market, grossing an overseas total of just $18.2m. Warners and Village Roadshow might have released one of the biggest flops of 2014, but the week before Winter’s Tale crashed, they struck gold with The Lego Movie which retained the #1 box office spot on Tale’s opening weekend.