Monthly Archives: February 2018

Jumanji 2 Full Movie


Jumanji is now the fifth biggest domestic movie of 2017 and the third biggest movie ever in the history of Sony Pictures. The Dwayne Johnson and Kevin Hart-led sequel dropped just 32 percent last weekend, earning another $11 million in U.S. theaters. This film has now grossed more than $352 million in the U.S. alone and an additional $503 million worldwide. (Internationally, it’s the eighth biggest film of last year, ahead of Thor: Ragnarok and just behind Guardians of the Galaxy Vol. 2.) In a year with many disappointing sequels, Jumanji is on that exceeded every possible expectation.

Speaking of sequels that didn’t live up to expectations: Maze Runner: The Death Cure fell to second place on the box office chart in its second weekend in theaters. The film grossed an estimated $10.2 million, dropping nearly 60 percent from the previous weekend. The third film in the young-adult adaptation series will almost certainly be the lowest grossing movie in the franchise.

Third place last weekend went to the one new release in theaters: Winchester, a haunted house movie starring Helen Mirren. In its debut, the horror film grossed just $9.25 million, while CinemaScore voters gave the film a lowly “B-,” suggesting its life in theaters could be pretty brief. (I’m sure its afterlife will be better.) The fourth and fifth spots on the chart went to The Greatest Showman, the surprisingly popular circus musical with Hugh Jackman, and Hostiles, the Western starring Christian Bale. Showman is now up to $135 million in the United States alone.

On a per-screen basis, the biggest movie of the weekend was A Fantastic Woman, the Chilean film about a trans woman dealing with the loss of her partner. Debuting just after its Oscar nomination for Best Foreign Language Film, A Fantastic Woman made about $70,000 at five nationwide locations, for a per-screen average of $14,196. In second place was 24 Frames, the final film from the late Iranian filmmaker Abbas Kiarostami. At one theater it grossed $8,610.

Sony attributed its success for the quarter, which spanned from October through December 2017, to “the strong worldwide theatrical performance of Jumanji: Welcome to the Jungle.” The reboot/sequel, starring Dwayne “The Rock” Johnson, has been a pleasant surprise for the studio, grossing more than $824 million at the worldwide box office. However, most of that will be recorded in the following quarter since it was released globally in January; for Q3, Sony logged $329 million of Jumanji’s box office haul. Blade Runner 2049, which Sony distributed outside of North America, also accounted for $163 million.

Another contributing factor to Sony Pictures’ impressive quarter was the response to Season 2 of The Crown, which helped drive “an increase in sales for Television Productions mainly due to higher subscription video-on-demand revenues.” Other notable mentions include higher advertising and subscription revenues in India due to the acquisition of TEN Sports Network and improved ratings, as well as higher revenues due to the acquisition of Funimation.

It’s quite the turnaround for Sony which had taken a $962 million (¥112.1 billion) impairment charge for its film division for the same fiscal third quarter in 2016, leading to a massive $920 million (¥106.8 billion) loss and sparking speculation that the company was preparing to exit the movie business. Revenue at the film division rose to $2.37 billion (¥260 billion) for the latest quarter, compared to $1.94 billion (¥225 billion) in the year-ago quarter.

The forecast for full-year profits for Sony Pictures remained unchanged at ¥39 billion, or $355 million currently, as the positive impact of Jumanji’s impressive performance is expected to offset the negative impact of lower home entertainment revenue, including DVD and Blu-ray sales

Coco Full Movie


Disney/Pixar’s Dia de los Muertes-themed Oscar frontrunner Coco topped the 45th Annie Awards on Saturday, winning 11 trophies including for best animated feature, direction and writing. The ceremony was held at UCLA’s Royce Hall.Accepting the awards, helmer Lee Unkrich emphasized “building bridges not walls,” while producer Darla Anderson urged inclusion and diversity.

GKIDS’ The Breadwinner won the trophy for best independent animated feature. The pic’s team, including director Nora Twomey, executive producer Angelina Jolie, producer Anthony Leo and lead voice actress Saara Chaurdy, came onstage to accept the award. The audience applauded as Leo noted that it was the first time a winner in the category had a solo woman director.

The Breadwinner, the story of an Afghan girl growing up until the Taliban rule, and Coco are both nominated for the best animated feature Oscar, alongside DreamWorks Animation’s The Boss Baby, Fox/Blue Sky’s Ferdinand and indie Loving Vincent. In four of the past six years, the winner in the best animated feature Annie category went on to win the animated feature Oscar (in 2015, the Annie category was split in two with the addition of the best animated independent feature category).

Oscar-nominated animated short Dear Basketball won the Annie for animated short; Oscar-nominated animated short Revolting Rhymes nabbed an Annie for animated special production; and Weta’s work on VFX Oscar nominee War for the Planet of the Apes collected the Annie for best character animation in a live-action production.

The TV category winners represented multiple productions, led by Disney Mickey Mouse and Samurai Jack, which took home three trophies apiece.

Winsor McCay Awards for career contributions were presented to James Baxter, Stephen Hillenburg and Canadian animation duo Wendy Tilby & Amanda Forbis.

SpongeBob Squarepants creator HIllenburg, who was diagnosed with ALS this past year, was seated and received a standing ovation. Tom Kenny, who is the voice actor for SpongeBob, made the stage presentation and accepted the award.

The Ub Iwerks Award for technical advancement went to TVPaint; a special achievement award was presented to Studio MDHR Entertainment for its 1930s-inspired video game Cuphead; and the June Foray Award for charitable impact was given to animation historian Didier Ghez.

This year, the International Animated Film Society, ASIFA-Hollywood, dedicated its Annies ceremony to veteran voice actress June Foray, who died in July at the age of 99.Coco added $11.6M this weekend in 35 material offshore markets as it strums its way to $500M overseas. The story of Miguel (Anthony Gonzalez) and his musical dreams traveled for the first time to Sweden and Norway this session, opening No. 1 in both. With domestic, the global frame was $13.2M.

In notable new ascensions, Coco is now the No. 4 Disney/Pixar release and the No. 2 Pixar release ever in Korea where the cume is $22.5M.

The story centers on the young Miguel, who wishes to be a crooner just like the late great Ernesto de la Cruz (Benjamin Bratt). But, music is of the devil in Miguel’s family, and de la Cruz is largely to blame for the curse. Following a mysterious and otherworldly chain of events, Miguel meets charming trickster Héctor (Gael García Bernal — voicing himself in the Spanish and English versions). Together, they set off on an adventure of music and mystery, resulting in the most unusual family reunion.

Coco began its otherworldly trajectory back in November, bowing in Mexico to tie into the Dia de los Muertos holiday and going on to become the highest-grossing movie ever in the market (local currency). From there, the adventure continued in the U.S. and other offshore hubs with majors rolled out bit-by-bit (the UK only recently opened).

China was a huge win for the film and for Pixar whose titles have traditionally not found similar favor in the Middle Kingdom as they do elsewhere. But Coco‘s themes of family and the afterlife struck a chord locally. That propelled the box office to $183.5M with a rare extended run granted. Coco should also have the knock-on effect of helping set up The Incredibles 2 in China, mixing recent positive brand recognition with superhero and family themes.

Elsewhere, Miguel and his trusty dog Dante have seen great holds. In Latin America, Coco is still No. 1 this weekend in Argentina, Ecuador, Bolivia and Uruguay. In Chile, the film grew 4% this session with just a 27% drop in France and 29% in Spain.

The Top 5 markets are China ($183.5M), Mexico ($57.8M), France ($32M), Korea ($22.5M) and Spain ($20M).

Among the Annies Coco scooped last night were prizes for Best Animated Feature, Directing, Writing, Production Design, Music and Editing. It previously won the Golden Globe as well as Best Animated Film honors from the National Board of Review and New York Film Critics Circle. It is nominated as Best Animated Feature at the BAFTAs and Oscars.“Coco,” Pixar’s Oscar-frontrunning love letter to Mexico and Día de los Muertos, took animated feature honors Saturday at ASIFA-Hollywood’s 45th Annie Awards (at UCLA’s Royce Hall). GKids additionally earned the independent award for “The Breadwinner,” the powerful Afghan drama, directed by Nora Twomey of Cartoon Saloon, and executive produced by Angelina Jolie.

“Coco,” in fact, swept the Annies with a record 11 wins (including directing for Lee Unkrich and Adrian Molina, writing for Molina and Matthew Aldrich, character animation, character design, production design, effects, storyboarding, voice acting for Anthony Ganzalez as Miguel, music, and editorial).

Pixar’s animated Coco is wholly inspired, from story to design, by the Mexican holiday Dia de los Muertos. And at one point during its development, the film also paid tribute with a showstopping opening.

The uplifting tale (debuting on digital HD platforms Feb. 13, and Blu-ray/DVD Feb. 27) of young Miguel (voiced by Anthony Gonzalez) and his journey to the Land of the Dead to visit his ancestors is full of catchy tunes. Remember Me is up for best original song at the Oscars, where Coco will also compete for best animated movie.

But there used to be a bunch more songs when Coco was envisioned as a wall-to-wall musical, and has the exclusive debut of a scrapped beginning that offered a colorful introduction to Dia de los Muertos and the colorful cinematic world.