"Minions" finishes 2nd with $50.2M; "Trainwreck" debuts at $30.2M
By Jake Coyle, Film Writer
NEW YORK (AP) --Marvel's "Ant-Man" punched above its weight at the weekend box office, debuting with an estimated $58 million, while Amy Schumer's "Trainwreck" also opened strongly with $30.2 million.
The result for "Ant-Man" didn't match some of Marvel's better known and brawnier properties. But "Ant-Man" — a relatively inexpensive superhero movie with a $130 million budget — still dominated North American multiplexes, edging out the little yellow guys of Universal's "Minions," which took in $50.2 million in its second week.
"Ant-Man," starring Paul Rudd as a slightly more irreverent and distinctly smaller superhero, came in a little below earlier stand-alone Marvel films like "Thor" ($65.7 million in 2011) and "Captain America: The First Avenger" ($65.1 million in 2011).
Dave Hollis, head of distribution at Disney, credited Marvel for successfully expanding its universe both in tone and audience makeup. The movie, a more humorous heist film, appealed more to women (42 percent of the audience) and families (28 percent) than most Marvel releases.
"Most encouragingly in this one, the exit scores we're seeing from women — their likelihood to recommend and how much they enjoyed the film — was higher here than almost any film we've had," Hollis said. "It's a great sign for what word of mouth should be for the run, but, two, what it means for how women think about these movies being for them as much as men might."
The next question will be whether the result was strong enough to kick start an "Ant-Man 2." Though "Ant-Man" had a rocky path to the screen, with director Peyton Reed replacing Edgar Wright shortly before shooting commenced, its CinemaScore from audiences is an A. It took in $56.4 million abroad.
The opening was closest to 2008's "The Incredible Hulk" ($55 million), the poorly received Edward Norton edition that didn't spawn further installments. Rudd is already to appear as Ant-Man in "Captain America: Civil War."
"I say this was a success," said Paul Dergarabedian, Rentrak's senior media analyst. "This was never predestined to open with $80 (million) or $100 million. Marvel continues to evolve and surprised the audience. This was about a perfectly solid result for a brand new property."
The $30.2 million opening for Schumer's big-screen debut, "Trainwreck," which the comedian also wrote, earned an estimated $30.2 million, making the R-rated Universal release one of the biggest comedy successes this summer. It's also the second best opening for Judd Apatow as a director following "Knocked Up."
Already a critically acclaimed star on Comedy Central for her sketch show "Inside Amy Schumer," Schumer's transition to movies has drawn good reviews and opened above expectations, further showing the power of female moviegoers. The audience was two-thirds women, Universal said.
"Amy Schumer is an absolute talent and should have a great career in the movies," said Nick Carpou, distribution head for Universal. "The character that she portrays very effectively enables modern women."
Opening in just five locations was Woody Allen's "Irrational Man," starring Joaquin Phoenix and Emma Stone. The Sony Pictures Classic release packed those theaters for an average of $37,623 per screen.
The Roadside Attractions and Miramax release "Mr. Holmes," starring Ian McKellen as an aged Sherlock Holmes, debuted with $2.5 million in 363 theaters.
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Rentrak. Where available, the latest international numbers for Friday through Sunday are also included. Final domestic figures will be released Monday:
1. "Ant-Man," $58 million ($56.4 million international).
2. "Minions," $50.2 million ($66.2 million international).
3. "Trainwreck," $30.2 million.
4. "Inside Out," $11.7 million ($21. 3 million international).
5. "Jurassic World," $11.4 million ($12.3 million international).
6. "Terminator Genisys," $5.4 million ($22.2 million international).
7. "Magic Mike XXL," $4.5 million ($5.8 million international).
8. "Gallows," $4 million ($2.1 million international).
9. "Ted 2," $2.7 million ($7.5 million international).
10. "Mr. Holmes," $2.5 million.
Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to Rentrak:
1. "Monster Hunt," $72 million.
2. "Minions," $66.2 million.
3. "Jian Bing Man," $61 million.
4. "Ant-Man," $56.4 million.
5. "Monkey King: Hero Is Back," $22.5 million.
6. "Terminator Genisys," $22.2 million.
7. "Inside Out," $21.3 million.
8. "Jurassic World," $12.3 million.
9. "Ted 2," $7.5 million.
10. "Magic Mike XXL," $5.8 million.
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowers’ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, “His artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.”
Johanna Cranitch, creative director, Barking Owl, added, “Kris first caught my attention when he released his record ‘Heroes + Misfits’ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More