In the near future, scientist Xia Tian is on the verge of a major discovery: time travel. After she successfully sends living tissue back in time by 110 minutes, her years of work seem to have paid off, but everything unravels when her young son is kidnapped and held for a hefty ransom—all of her research. When the drop goes sour and her son is killed, Xia Tian desperately sends herself back in time using her prototype, where she discovers multiple versions of her future self. Now, all of the Xia Tians must band together to save their son.
July 6th, 2017
Despicable Me 3 dominated the international box office almost as much as it dominated the domestic box office earning $98.8 million on 8,525 screens in 52 markets for totals of $121.1 million international and $171.2 worldwide. Its biggest opening came from the U.K., where it earned $14.50 million in 608 theaters, while Mexico wasn’t far behind with $12.34 million. However, arguably its most impressive opening came in Brazil where it earned $7.5 million, which is the best opening for an animated film in that market. The film has already made enough to pay for its $75 million production budget, so it is a monster hit. However, its decline from Minions means Universal is more likely to make a second and third Minions movie rather than a fourth Despicable Me. As someone who prefers the Despicable Me movies, this is disappointing. On the other hand, I recognize I’m not in the target demographic for these films, so I really shouldn’t have a say in these things.
July 6th, 2017
The Little Hours led the way on the theater average chart with an average of $30,780 in two theaters. This is Gunpowder and Sky’s first release, which makes its first place finish even more impressive. Last week’s winner, The Big Sick, held on well in second place with an average of $23,267 in 71 theaters. The only other film in the $10,000 club was the overall first place film, Despicable Me 3, which earned an average of $15,993.
June 30th, 2017
It is not a great week for limited releases, as there are none that are expected to earn any measure of mainstream success. Okja is earning the loudest buzz, but it is playing on Netflix, so its box office chances are close to zero. The Little Hours has the best cast and its reviews are over 80% positive, but black comedies rarely do well in theaters. Finally, The B-Side is earning some of the best reviews, but documentaries rarely escape the art house circuit.
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