Uni got slack upfront about going day-and-date with DreamWorks Animation’s Trolls World Tour, which spurred Aron to scream publicly at the studio.

To Universal’s credit, and the safety net to those exhibitors braving it during the pandemic by staying open, they’re the only major Hollywood studio putting out new, wide-release fare. We believe a more dynamic theatrical window, whereby movie theaters continue to provide an event-sized launching platform for films that maximize box office and bolsters the success of subsequent distribution channels, is in the shared best interests of studios, exhibitors and, most importantly, moviegoers.” “Mark Zoradi and the team at Cinemark have been outstanding partners, and Peter Levinsohn has done a remarkable job on the studio’s behalf in making deals that give us the confidence to release our movies in the marketplace, keep the content pipeline moving, and provide consumers with the optionality that they are looking for.”Īdded Zoradi: “We are extremely pleased to further enhance our strong partnership with Universal as we evolve the exclusive theatrical window. “Universal’s century-long partnership with exhibition is rooted in the theatrical experience, and we are more committed than ever for audiences to experience our movies on the big screen,” said Donna Langley, chairman, UFEG in a statement. The movie wasn’t a pure PVOD play like Universal’s Pete Davidson dramedy The King of Staten Island, which sources figured grossed $30M-$45M. Kajillionaire only grossed $531,000 at the domestic box office, and heads scratch in regards to how much more this quirky Miranda July-directed Sundance Film Festival movie could have made in ancillaries. “We at AMC made more money with the theatrical PVOD combo than we would have it had been exclusively in theaters with a 74-day window,” he said. AMC boss Adam Aron recently heralded in an earnings call the truncated Focus release of Kajillionaire.

Of that share, AMC and Cinemark respectively get 15%-17% of that (which translates to between 1%-2% of the entire PVOD pot, of which a major studio typically realizes 80% in monies). About 10% of PVOD revenues on a title have been set aside for exhibition. The full terms of the deal are confidential and are not being disclosed, but here’s what I know from sources.

Blumhouse Body Swap Horror Comedy 'Freaky' Takes In $3.7M, On Par With Other No.

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