Cinepolis Rolls Out Haptic Version of Sony’s ‘Insidious: The Last Key’

Cinepolis, the largest movie circuit in Mexico, has launched a version of “Insidious: The Last Key” with full-motion, sensory effects. The so-called haptic technology was demonstrated last month at the CineAsia convention in Hong Kong. It delivers tactile sensations concurrent with the narrative of the film through vests that users wear. The world’s fourth largest […]

Cinepolis, the largest movie circuit in Mexico, has launched a version of “Insidious: The Last Key” with full-motion, sensory effects. The so-called haptic technology was demonstrated last month at the CineAsia convention in Hong Kong. It delivers tactile sensations concurrent with the narrative of the film through vests that users wear. The world’s fourth largest […]

Weekend Box Office: You’re in the jungle, Last Jedi. You’re gonna die!

Three weeks have elapsed since The A.V. Club checked in on the U.S. box office. “It’s just going to be Star Wars anyway,” we smugly told ourselves, curled up before an open fire, sipping eggnog/champagne, secure in our faith that, when it comes to selling out theaters for weeks on end, Jedi mind tricks still do the…

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Three weeks have elapsed since The A.V. Club checked in on the U.S. box office. “It’s just going to be Star Wars anyway,” we smugly told ourselves, curled up before an open fire, sipping eggnog/champagne, secure in our faith that, when it comes to selling out theaters for weeks on end, Jedi mind tricks still do the…

Read more...

‘Jumanji’ Sequel Topples ‘Star Wars’ and ‘Insidious’ Box Office Rivals

Sequels and old formulas are making a return to the early 2018 box office– and yes, “The Last Jedi” is a global blockbuster.

In its third week, “Jumanji: Welcome to the Jungle” (Sony) surged to the top spot at the New Year’s weekend box office, after pulling ahead of “Star Wars: The Last Jedi” (Disney) for the full week that included New Year’s Day — so its dominant position this weekend was no surprise.

Insidious: The Last Key horror

Insidious: The Last Key

“Insidious: The Last Key” (Universal) performed well in the usual post-holiday horror film slot, though not at the high end for past performers.

In third place, “The Last Jedi” remains a major success, looking at a certain worldwide total of over $1.3 billion.

All these and more contributed to a first post-New Year weekend of 2018 that is some $25 million — or 16 per cent — better than the last year. It’s a robust start for the box office, which wound up the year above expectations, taking pressure off a mediocre 2017 performance.

The “Jumanji” success makes sense: the sequel captured the family market at the best possible time, gaining strong positive reaction from core moviegoing audiences, especially particularly the always reliable minority segment. Dwayne Johnson was a perfect draw, the mid-week pre-Christmas opening fueled word of mouth, and by Christmas Day it was ready to start closing in on the already well-sampled “The Last Jedi.”

“Jumanji” replicated the tried-and-true “Night of the Museum” formula. The first (biggest) of the three films in that franchise grossed an adjusted $331 million in 2006. “Jumanji” now looks like it might come close to equaling that, which would be about double even high-end expectations. Its strong post-holiday numbers show that it could have multiple weeks of life still to come.

"Star Wars: The Last Jedi"

“Star Wars: The Last Jedi”

Though third, “The Last Jedi” still managed a gross higher for its fourth weekend than “Rogue One” had last year. For the third annual entry in the franchise, that’s a solid achievement. It seems a disappointment only if one over-estimated the ability for each new film in the series to sustain equal excitement. Is there a risk that Disney is overplaying their hand, with some creative choices not universally embraced? Sure.

But “The Last Jedi” is going to end up substantially better than “Rogue One” both in domestic and foreign returns. It is already by some distance the biggest-grossing 2017 domestic release, and will soon be the biggest combined worldwide. Denying its success is carping with an agenda, not facing the reality of massive popularity for the film.

“Insidious: The Last Key” had a strong initial response, while not at the highest level of the early-year horror releases. The date has been favorable to some — the barely remembered “The Devil Inside” six years ago managed an adjusted $38 million on the same date. And last year Blumhouse, also producers of “Insidious,” opened “Split” slightly later to $40 million.

The just-under $30 million “Insidious” total is great for its $10 million cost; it ranks second in the four-film franchise. It was about a third better than the previous entry, which is an impressive comeback. It helps that there has been little horror action since “Jigsaw” at Halloween, but it also arrived when there was plenty of holiday holdover competition.

Yes, sequels and old formulas are again dominating the box office after a year that demonstrated the domestic rebound of commercially viable non-franchise films and more diversity in front and behind the camera. Hopefully there will continue to be room for both.

DF-07720 – P.T. Barnum (Hugh Jackman) comes alive with the oddities in Twentieth Century Fox’s THE GREATEST SHOWMAN.

“The Greatest Showman”

Niko Tavernise

One standalone success that continues to surprise is “The Greatest Showman” (20th Century Fox). This unexpected musical sleeper dropped only 11 per cent, held on to fourth spot, and is on its way to $100 million at home, with an equal or better international performance possibly bringing it into unexpected profitable territory. This is a real coup for Hugh Jackman.

The rest of the top holdover films experienced normal drops, with “Pitch Perfect 3” (Universal) and two animated titles — “Ferdinand” (20th Century Fox) and “Coco” (Disney) — all extending decent holiday runs. “Coco” has been a disappointment for Pixar, falling further short of “Moana” last year with every passing week. “All the Money in the World” (Sony) held on in tenth with no sign of recovering from its weak start.

The rest of the top titles are specialty fare: “Molly’s Game” (STX) expanded credibly and “Darkest Hour” (Focus) continued strong. More on these and other related titles in our independent film report. 

The Top Ten

1. Jumanji: Welcome to the Jungle (Sony) Week 3; Last weekend #2

$36,000,000 (-28%) in 3,801 theaters (+36); PTA (per theater allowance): $9,471; Cumulative: $244,373,000

2. Insidious: The Last Key (Universal) – Cinemascore: B-; Metacritic: 49; est. budget: $10 million

$29,265,000 in 3,116 theaters; PTA: $9,392; Cumulative: $29,265,000

3. Star Wars: The Last Jedi (Disney) Week 4; Last weekend #1

$23,551,000 (-55%) in 4,232 theaters (no change); PTA: $5,565; Cumulative: $572,514,000

4. The Greatest Showman (20th Century Fox) Week 3; Last weekend #4

$13,800,000 (-11%) in 3,342 theaters (+26); PTA: $4,129; Cumulative: $75,904,000

5. Pitch Perfect 3 (Universal)  Week 3; Last weekend #3

$10,225,000 (-39%) in 3,458 theaters (-10); PTA: $4,129; Cumulative: $85,984,000

6. Ferdinand (20th Century Fox) Week 4; Last weekend #5

$7,730,000 (-32%) in 3,156 theaters (-181); PTA: $2,449; Cumulative: $70,499,000

7. Molly’s Game (STX)  Week 2; Last weekend #13

$7,000,000 (+198%) in 1,608 theaters (+1,337); PTA: $4,353; Cumulative: $14,217,000

8. The Darkest Hour (Focus) Week 7; Last weekend #8

$6,355,000 (+17%) in 1,733 theaters (+790); PTA: $3,667; Cumulative: $28,393,000

9. Coco (Disney)  Week 7; Last weekend #6

$5,539,000 (-26%) in 1,894 theaters (-210); PTA: $2,924; Cumulative: $192,082,000

10. All the Money in the World (Sony)  Week 2; Last weekend #7

$3,550,000 (-36%) in 2,123 theaters (+49); PTA: $1,672; Cumulative: $20,132,000

 

‘Last Jedi’ Jumps To #13 On WW Chart; Unlucky In China Bow; ‘Jumanji’ Rocks Past $500M Global – International Box Office

Refresh for latest: Star Wars: The Last Jedi has now crossed the $1.2B global mark, overtaking both Captain America: Civil War and Minions to become the No. 13 movie of all time worldwide. The Rian Johnson-helmed epic now stands at $1,205.2M.
At the international box office, it added $64.7M to take the offshore cume to $632.7M. Of that, only $28.7M came from China where Star Wars has had a rough time cracking the market. Although Jedi is currently running 33% ahead of Rog…

Refresh for latest: Star Wars: The Last Jedi has now crossed the $1.2B global mark, overtaking both Captain America: Civil War and Minions to become the No. 13 movie of all time worldwide. The Rian Johnson-helmed epic now stands at $1,205.2M. At the international box office, it added $64.7M to take the offshore cume to $632.7M. Of that, only $28.7M came from China where Star Wars has had a rough time cracking the market. Although Jedi is currently running 33% ahead of Rog…

Box Office: ‘Jumanji: Welcome to the Jungle’ Roars Past ‘Star Wars: The Last Jedi,’ ‘Insidious 4’

Sony’s “Jumanji: Welcome to the Jungle” handily won the first box office weekend of 2018 over the launch of  “Insidious: The Last Key” and “Star Wars: The Last Jedi” with $36 million at 3,801 North American locations. The fourth installment of the “Insidious” horror franchise scared up a surprisingly strong $29.3 million at 3,116 sites […]

Sony’s “Jumanji: Welcome to the Jungle” handily won the first box office weekend of 2018 over the launch of  “Insidious: The Last Key” and “Star Wars: The Last Jedi” with $36 million at 3,801 North American locations. The fourth installment of the “Insidious” horror franchise scared up a surprisingly strong $29.3 million at 3,116 sites […]

‘Insidious’ Co-Creator Leigh Whannell Explains That Big Callback to the First Movie in ‘The Last Key’

(Major spoilers ahead for “Insidious: The Last Key”)

After four “Insidious” movies, we’ve gone in kind of a circle. The third and fourth films take place before the original — and now the final scene of “The Last Key” brings us right up against that first movie, as Elise (Lin Shaye) receives the fateful phone call that will bring her to help the Lambert family deal with the demonic forces attempting to possess young Dalton’s body.

But that’s not the only reference to the first “Insidious” movie in “The Last Key” — an earlier callback would seem to indicate that the events of this fourth movie actually spurred the plot of “Insidious” into motion.

The big moment comes late in the film, when Elise and her niece Imogen (Caitlin Gerard) are rescuing Imogen’s sister Melissa (Spencer Locke) from the spiritual realm known as the Further. As the trio are attempting to flee the portion of that plane ruled by the “The Last Key” villain Keyface, they enter a red door and find Dalton on the other side, in his bedroom. Not knowing who Dalton was or the significance of the red door, they continue on and successfully save Melissa.

Also Read: Everything You Need to Know About ‘Insidious’ Before Watching ‘Insidious: The Last Key’

The story in “The Last Key” involves Keyface attempting to harness Elise’s ability to interact with the spirit world in order to gain access to “all the red doors.” Keyface doesn’t succeed, of course, as it’s destroyed by Elise and Imogen at the climax of the movie. But all is perhaps not well, because of that red door they walk through at the end.

I interpreted that moment, when Elise and her nieces encounter Dalton in the Further, to mean that she inadvertently opened the door, literally and metaphorically, for the demons to go after Dalton and generally cause chaos for the Lambert family. Leigh Whannell, the co-creator of the “Insidious” series and writer of all four films, said when I asked him that I was right to read it that way.

“I thought it would be interesting to play upon the idea that Elise herself had some hand in that first film by opening doors and running through,” Whannell said, before elaborating further on what exactly the red doors actually are.

Also Read: ‘Jumanji’ Takes Top Box Office Spot From ‘Star Wars’

“The doors to me are like literal representations of a metaphysical idea, which is doors between different planes of existence. So we have this plane in this room [referring to the room in which our interview was being held] sitting here on this couch, but then all the other things that have ever happened in this room are kind of overlayed — we just can’t see them. So I see the red doors as sort of opening a door between those two, where things from those other planes can come in.”

The crucial bit of lore added by “The Last Key” being, then, that the doors can’t just be opened by any person or demon — they have to be unlocked somehow, and Elise seems to be able to do just that, ushering in the various demons from the first film when she used that ability.

Whannell explained also that this was a new wrinkle added in “The Last Key,” rather than a reveal they’d been building toward since that original movie.

“It wasn’t something we planned on in the first film,” Whannell said. “In the subsequent writing of the sequels, I’ve had fun playing with this idea of what the Further is and what the red doors represent.”

But if you’re looking for insight into what this new development may mean for the future of the “Insidious” series, you’re going to be stuck speculating for a while, because Whannell hasn’t yet sketched out how this addition series lore will play into future installments.

“I feel like my life would maybe be a lot easier if I pre-planned all this stuff,” Whannell said, “but I never know what I’m gonna do until I get there. I don’t really sit down and think about it until the clock has started ticking on the job.”

And since that clock hasn’t yet started ticking, your guess about where the series will go from here is as good as anyone’s.

Related stories from TheWrap:

Everything You Need to Know About ‘Insidious’ Before Watching ‘Insidious: The Last Key’

‘Jumanji’ Takes Top Box Office Spot From ‘Star Wars’

Why ‘Star Wars: The Last Jedi’ May Flop in China Despite $1 Billion Global Box Office

(Major spoilers ahead for “Insidious: The Last Key”)

After four “Insidious” movies, we’ve gone in kind of a circle. The third and fourth films take place before the original — and now the final scene of “The Last Key” brings us right up against that first movie, as Elise (Lin Shaye) receives the fateful phone call that will bring her to help the Lambert family deal with the demonic forces attempting to possess young Dalton’s body.

But that’s not the only reference to the first “Insidious” movie in “The Last Key” — an earlier callback would seem to indicate that the events of this fourth movie actually spurred the plot of “Insidious” into motion.

The big moment comes late in the film, when Elise and her niece Imogen (Caitlin Gerard) are rescuing Imogen’s sister Melissa (Spencer Locke) from the spiritual realm known as the Further. As the trio are attempting to flee the portion of that plane ruled by the “The Last Key” villain Keyface, they enter a red door and find Dalton on the other side, in his bedroom. Not knowing who Dalton was or the significance of the red door, they continue on and successfully save Melissa.

The story in “The Last Key” involves Keyface attempting to harness Elise’s ability to interact with the spirit world in order to gain access to “all the red doors.” Keyface doesn’t succeed, of course, as it’s destroyed by Elise and Imogen at the climax of the movie. But all is perhaps not well, because of that red door they walk through at the end.

I interpreted that moment, when Elise and her nieces encounter Dalton in the Further, to mean that she inadvertently opened the door, literally and metaphorically, for the demons to go after Dalton and generally cause chaos for the Lambert family. Leigh Whannell, the co-creator of the “Insidious” series and writer of all four films, said when I asked him that I was right to read it that way.

“I thought it would be interesting to play upon the idea that Elise herself had some hand in that first film by opening doors and running through,” Whannell said, before elaborating further on what exactly the red doors actually are.

“The doors to me are like literal representations of a metaphysical idea, which is doors between different planes of existence. So we have this plane in this room [referring to the room in which our interview was being held] sitting here on this couch, but then all the other things that have ever happened in this room are kind of overlayed — we just can’t see them. So I see the red doors as sort of opening a door between those two, where things from those other planes can come in.”

The crucial bit of lore added by “The Last Key” being, then, that the doors can’t just be opened by any person or demon — they have to be unlocked somehow, and Elise seems to be able to do just that, ushering in the various demons from the first film when she used that ability.

Whannell explained also that this was a new wrinkle added in “The Last Key,” rather than a reveal they’d been building toward since that original movie.

“It wasn’t something we planned on in the first film,” Whannell said. “In the subsequent writing of the sequels, I’ve had fun playing with this idea of what the Further is and what the red doors represent.”

But if you’re looking for insight into what this new development may mean for the future of the “Insidious” series, you’re going to be stuck speculating for a while, because Whannell hasn’t yet sketched out how this addition series lore will play into future installments.

“I feel like my life would maybe be a lot easier if I pre-planned all this stuff,” Whannell said, “but I never know what I’m gonna do until I get there. I don’t really sit down and think about it until the clock has started ticking on the job.”

And since that clock hasn’t yet started ticking, your guess about where the series will go from here is as good as anyone’s.

Related stories from TheWrap:

Everything You Need to Know About 'Insidious' Before Watching 'Insidious: The Last Key'

'Jumanji' Takes Top Box Office Spot From 'Star Wars'

Why 'Star Wars: The Last Jedi' May Flop in China Despite $1 Billion Global Box Office

Box Office: ‘Jumanji’ Tops ‘Insidious 4,’ ‘The Last Jedi’ With $35 Million

Sony Pictures’ “Jumanji: Welcome to the Jungle” is set to score big over “Insidious: The Last Key” and “Star Wars: The Last Jedi” at the domestic box office with $35 million at 3,801 locations. The fourth installment of the “Insidious” franchise will battle it out with Disney-Lucasfilm’s “The Last Jedi” for second place during its […]

Sony Pictures’ “Jumanji: Welcome to the Jungle” is set to score big over “Insidious: The Last Key” and “Star Wars: The Last Jedi” at the domestic box office with $35 million at 3,801 locations. The fourth installment of the “Insidious” franchise will battle it out with Disney-Lucasfilm’s “The Last Jedi” for second place during its […]