Movie Ticket Price Average Drops Slightly to $8.83 in Third Quarter

The National Association of Theater Owners (NATO) had a lot of good news to share in its Q3 report, announcing a seven percent year-over-year increase in admissions for the quarter and a 12 percent admissions increase for the summer season while the average movie ticket price took a slight drop.

Q3 domestic grosses clocked in at $2.71 billion from 307.4 million tickets sold, with the summer total being reported at just under $4.4 billion from 482.7 million tickets sold. The summer total does not include the record opening week of “Avengers: Infinity War,” which made $338 million including a $257.6 million first weekend at the end of April.

The national ticket price average dropped to $8.83, down 5.8 percent from Q2 2018 and down 1.1 percent year-over-year. It’s also 3.4 percent down from the year-to-date average of $9.14. Admission estimates for the year are set at 1.02 billion, up six percent from last year to date.

Two major blockbusters, Paramount’s “Mission Impossible: Fallout” and Disney/Marvel Studios’ “Ant-Man and the Wasp” were the top moneymakers last quarter, with “Fallout” earning $219.1 million and “Wasp” earning $216.1 million.

Also contributing to the quarter’s success were Sony’s family film “Hotel Transylvania 3” and Warner Bros.’ hit romantic comedy “Crazy Rich Asians,” each earning $165 million. WB also found success with the Chinese co-produced creature feature “The Meg,” which grossed $141 million.

Peyton Reed Trolls Fans Looking for ‘Avengers 4’ Info on ‘Ant-Man and the Wasp’ Director’s Commentary

(Spoilers ahead for the ending of both “Ant-Man and the Wasp” and “Avengers: Infinity War”)

“Ant-Man and the Wasp” got its digital home video release on Tuesday night, and if you’re like me the first thing you did was watch the movie’s audio commentary with director Peyton Reed in hopes that he might give some insight into how its ending, which intersects directly with that of “Avengers: Infinity War,” would lead into “Avengers 4” next year.

And while Reed’s commentary was certainly full of fascinating and interesting nuggets about the characters and behind-the-scenes goings-on on “Ant-Man and the Wasp,” it did seem to be missing any chatter about the future of the Marvel Cinematic Universe in general and Ant-Man specifically.

That is, until the very end of the film, when Ant-Man (Paul Rudd) is marooned in marooned inside the Quantum Realm because Hank Pym (Michael Douglas), Janet Van Dyne (Michelle Pfeiffer) and Hope Van Dyne (Evangeline Lilly) all fell victim to Thanos’ finger snap.

Finally, Reed starts to look forward a bit, but it’s all in service of lightly trolling the audience because of course he isn’t actually allowed to say anything about “Avengers 4.” So, yes, it was disappointing that we don’t get any substantial tease for what’s next from this commentary, but also this was pretty. Read Reed’s full comments below.

“What this means, in the larger sense — of course I’m not at liberty to say. You know that! Even if you’re sitting here listening to this, and you’ve been listening to me ramble on for two hours. And you’re hanging on the hope — oh man, is he gonna reveal something about ‘Avengers 4’ that I don’t know? Well guess what, you’re in luck. I have here the screenplay [shuffles papers] for ‘Avengers 4,’ which I am going to read to you right now.

“But before I actually get through the entire script I’m just going to read some of the salient plot points. Now, these are not only spoilers, I would say these are extreme spoilers. So I’m gonna go through them very, very carefully. So the first question is: is everyone dead, or who’s coming back?

“Well, here’s what I’ll say about — I can only speak about our characters in ‘Ant-Man and the Wasp.’ So Scott Lang is in the Quantum Realm, and he is seemingly trapped, and we don’t quite know how he’s gonna get out. We know in the first movie he had some grow discs with him that he used to get out. Dramatically, we can’t go to that well again. That would just be lazy. As filmmakers, we can’t do that again. So we made sure that he does not have any grow discs with him in the new suit. And, remember, it appears that it’s the malfunctioning suit. So how’s he gonna get out of that? Well, here’s how [crackling noise that he makes with his mouth, then silence for several seconds] …and he manages to do what I just said. So, umm, you guys got that, right? Cool.

“So, now let’s talk about our favorite Avengers. Let’s talk about Spider-Man. Let’s talk about Iron Man, Captain America, Black Panther, Hulk. What happens to these characters in ‘Avengers 4’? Well — hang on, someone’s coming. Yeah. You know what, I’m being told that I cannot actually tell you any of this stuff. I thought the street date of this disc would allow me to reveal some of the secrets, but I’m not gonna be able to reveal any of that. I apologize for that. Sorry to get your hopes up about that.

“I can talk to you about the next ‘Ant-Man’ movie. [pause] Actually, I’m not allowed to talk about that either. There’s really been no determination as to whether there is even going to be a next ‘Ant-Man’ movie, or ‘Wasp’ movie, or anything. We don’t know anything. And I’m not allowed to talk about that. So, umm, let’s talk about, umm, let’s talk about ‘Planet of the Apes.’ You guys like the ‘Apes’ movies?”

From there, Reed does proceed to talk about his love of the “Planet of the Apes” franchise, then “Star Wars,” then Altoids — he jokes that because of the prominent appearance of an Altoids tin in “Ant-Man and the Wasp” he now gets a lifetime supply of the mints.

Anyway, all that certainly wasn’t what we were looking for when we turned on the commentary, but it was pretty funny. In any case, only five more months or so until “Captain Marvel” comes out, and (sheesh) seven until “Avengers 4” gives us a resolution to all this. “Only” seven months.

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‘The Nun’ Raps ‘Predator’s Knuckles, Repeats At #1 – International Box Office

Refresh for latest: Warner Bros/New Line's The Nun conjured a $33.1M second weekend in 62 markets at the international box office. That's a 58% drop from her record-breaking opening and brings the offshore cume to $143.6M for $228.7M global. Fox's new entry, The Predator, faced off with the evil sister in some overlap play and overall landed $30.7M. The Nun is currently in about 74% of the international footprint while The Predator is in just 55%. In total, the Shane…

‘The Nun’ Conjures $77.5M Overseas, $131M Global Bow; ‘M:I – Fallout’ Tops $700M WW – International Box Office

Refresh for latest: Warner Bros/New Line's evil sister thrilled to a $77.5M bow at the international box office this weekend. The Nun‘s debut flight came in way past projections to score the biggest overseas opening of all films in the Conjuring universe in like-for-like markets. Out of the 60 markets where she’s haunting cinemas, there were No. 1 starts in 54. Coupled with the holier-than-expected domestic debut, the global launch is $131M. Among milestones for the…

‘Mission: Impossible – Fallout’ Flies Into China With Series High $77M, Cruises To $649M WW – International Box Office

Refresh for latest: After cruising into China on Friday with the biggest opening day for the franchise, Mission: Impossible – Fallout jumped to a three-day launch of $77.3M. That's a new Middle Kingdom record for the series, and for star Tom Cruise. It's also 84% higher than Mission: Impossible – Rogue Nation which itself was a record-setter in 2015. The full international box office weekend on Fallout was $89.1M in 65 markets to lift the overseas total to $442.7M

‘Ant-Man and the Wasp’ Leads Global Box Office With $68 Million in China

Warner Bros. might be ruling the domestic box office, but Disney remains a force overseas. Disney and Marvel’s “Ant-Man and the Wasp” returned to dominate the worldwide box office. The superhero tentpole generated $68 million when it opened in China, marking the fourth highest debut for a Marvel film in the Middle Kingdom. That brings […]

‘Ant-Man & The Wasp’ Whips Up $68M China Bow; ‘Meg’ Mints $400M+; ‘Crazy Rich’ Starts In Asia – International Box Office

Refresh for latest: Disney/Marvel's Ant-Man And The Wasp buzzed into China this weekend, winging to a $68M start there. The 4th best MCU opening ever in the market is also the 3rd highest of the year for a Hollywood movie in China. It zaps the worldwide AM&TW total up to $544.1M, and the international box office cume to $332.6M with Japan still to come. Including China and 27 other offshore markets, the full weekend was $71.2M. The critters this frame overtook the…

‘Ant-Man And The Wasp’ Wings Into China On $24M Opening Day; $500M WW Imminent

Disney/Marvel's Ant-Man and the Wasp has swooped into China with a sizable opening for the size-morphing characters. The early estimates out of the Middle Kingdom see a Friday launch of $23 million-$24 million, which includes Thursday midnights. With the global cume at $471.5M through Thursday, the China addition brings it within a tick of $500M worldwide. The PROC figures place the Paul Rudd sequel as the fourth best Marvel Cinematic Universe debut day of all time in…

China Box Office: ‘Ant-Man and the Wasp’ Heading for $21 Million Opening Day

A solid opening in China could keep Disney’s “Ant-Man and the Wasp” on course to beat its 2015 predecessor. “Ant-Man and the Wasp” reeled in $21.5 million (RMB147 million) on Friday, according to data from China Box Office at 10 p.m. local time. It comfortably dominated holdover titles, including “The Island” and “The Meg,” and […]

‘The Meg’ Devours $97M Overseas/$141M Global Opening; ‘Fallout’ Flies Past $400M WW – International Box Office

Refresh for latest: Warner Bros/Gravity Pictures' prehistoric shark took a whale of a bite out of the box office in its opening this session as it surprised both at home and abroad. With $96.8M across 42 offshore markets, The Meg gobbled up a global launch of $141.3M. Out of the total international box office debut, China turnstiles gave the co-production $50.3M. That’s a strong start in a competitive landscape with the Sunday estimate ($17.5M/RMB 120M) increasing on the…

Netflix Orders Paul Rudd Comedy ‘Living With Yourself’

Netflix has ordered an eight-episode comedy series, “Living With Yourself” starring Paul Rudd in a dual role.

Rudd will star as a man struggling with his life who undergoes a novel treatment to become a better person, and finds he’s been replaced by a new and improved version — revealing that his own worst enemy is himself. The series was created by “The Daily Show With Jon Stewart” alum Timothy Greenberg, who will serve as showrunner.

Netflix says Rudd will star in the first season of the show. He is the only cast attached to the series as of now. The project was initially set at cable network IFC as part of its 2016-2017 development slate, though Rudd was not attached at the time.

“Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris will direct the series and serve as executive producers. The duo most recently directed the Billie Jean King-Bobby Riggs biopic “Battle of the Sexes.” Anthony Bregman and Jeff Stern will oversee for their Likely Story banner; Jax Media’s Tony Hernandez, Rudd and Jeff Blitz will also executive produce.

Rudd is no stranger to Netflix, having starred in the TV-series follow up to the 2001 cult comedy “Wet Hot American Summer,” as well as in Duncan Jones’ science fiction movie “Mute.” He is currently starring in Marvel Studios’ “Ant-Man and the Wasp” which has grossed more than $430 million worldwide.

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This Obscure Marvel Hero May Be Key to ‘Captain Marvel’ and “Avengers 4’

So here we are, stuck in the painfully long space of time between this summer’s “Avengers: Infinity War” and “Ant-Man and the Wasp” and next year’s “Captain Marvel” and the as-yet-untitled “Avengers 4.” There’s a whole eight months between now and “Captain Marvel” in March. That’s a lot of time to make wild guesses about what’s to come in the final two chapters of this stage of the Marvel Cinematic Universe.

I’ve spent a lot of time going down comic book rabbit holes the last couple months to try to get a handle on all this, and I’ve got one of those wild guesses for you right here. This one involves what part Carol Danvers, aka Captain Marvel (Brie Larson), will have to play in all this madness. And how “Ant-Man and the Wasp” may have given us a pretty big hint about that by having Scott Lang, the Ant-Man (Paul Rudd), get stuck in the Quantum Realm when Thanos snapped his fingers.

I think the clue comes courtesy of an obscure hero from the ’80s named Quasar.

Ever heard of Quasar? No? Don’t worry, that’s not all that unusual. For a cosmically powerful hero from Earth, Quasar (real name Wendell Vaughn) is pretty obscure, and as I’ve polled various comic book nerds about him, only once have I gotten a stronger response than “Oh, yeah, that guy.”

His lone solo run lasted from 1989 to 1994 — 60 issues, and only nine of them are available in the Marvel Unlimited app. Nine! It’s not unusual for old runs to be missing issues on Marvel Unlimited, but that’s a pretty unusual and dramatic ratio. While, sure, he did pop up every once in a while for crossovers and guest appearances after his solo run, and Marvel recently handed off the Quasar mantle to a new character, nobody cares.

But while I categorically don’t think we’re gonna be seeing him in a movie any time soon — or ever — there are interesting Quasar-related things that I think have a pretty good chance of being very relevant to the Marvel Cinematic Universe after “Ant-Man and the Wasp” and ahead of next year’s “Captain Marvel.”

But before I get to those things, we should step back for a second and talk about the Quantum Realm. The Quantum Realm has been one of the MCU’s most interesting enigmas — specifically because of the name — since it was introduced back in the first “Ant-Man” movie. The comic book equivalent of the Quantum Realm concept is the Microverse, though it does not resemble the Microverse all that much from what we’ve seen of it so far in “Ant-Man” and “Ant-Man and the Wasp.”

The real mystery of the Quantum Realm’s name is not just about why they went with a name that has no comic book parallel, but why they went with that name specifically. And I think I’ve come up with a possible answer.

So in Marvel comic books there’s a concept of a sort of side dimension that characters use to travel around the universe quickly. Basically every sci-fi universe has some version of this — hyperspace in “Star Wars,” for example — but Marvel has been pretty haphazard about it over the decades they’ve been using this conceit, which a bunch of different names being thrown around to describe this side dimension.

But the basic concept has been relatively consistent over the years. Characters will use some kind of dimensional portal or wormhole to travel to this other dimension, and from there they can jump back out to wherever they want to go. The first time Marvel used this idea was back in “Fantastic Four #37” in 1965, when Reed Richards and pals use an experimental rocket drive to fly through what Reed calls “subspace” to get to the Kree Empire in a different galaxy.

“Subspace,” “hyperspace” and “warp space” are the three main terms that are thrown out there to describe this method of travel, though those are not the only ones, and most of the time they kinda just gloss over what’s actually going on when folks skip around the universe. Like it’s just your run-of-the-mill sci-fi faster-than-light travel, don’t worry about the specifics.

And that’s more or less how the MCU has treated interstellar travel thus far. They just go fast, don’t worry about it. And so we don’t know or care about how that works.

Okay, so there are two reason I’m talking about this right now. First, here’s how Jack Kirby drew this “sub-space” for the first time back in “Fantastic Four #37”:

So, that is vaguely reminiscent of the some parts of the Quantum Realm that we see in “Ant-Man and the Wasp.” See for yourself:

Now, let’s go to my second reason for bringing all this up: Quasar! Finally, let’s talk about Quasar.

So the really interesting thing about Quasar is that he is, essentially, a quantum superhero. His power comes from the Quantum Bands which can do, well, whatever the author of the comic in question wants them to. That’s the fun of “quantum” things.

But there is one specific thing that Quasar can do with the Quantum Bands that is relevant to all this — he can use them to do that sub-space travel thing without a ship. Except he doesn’t call that side dimension sub-space or any of the other terms that are used in Marvel lore. He calls it the Quantum Zone.

You could try to argue that Quasar’s Quantum Zone is not the same as sub-space — but it functions the same way. And when he makes what he calls a Quantum Jump in “Quasar #32,” some people watching even guess that he’d entered warp space.

So we’re going to assume they’re the same thing.

Now, even more interesting is that Quasar’s Quantum Bands draw their power from the Quantum Zone, much like how Doctor Strange draws his power from other dimensions. And even more more interesting is that Quasar was given the Quantum Bands, and thus his power, by the cosmic entity Eon — who named him the new Protector of the Universe.

The previous Protector? Mar-Vell, who we’re going to see in “Captain Marvel” next year, as played by Jude Law.

Again, I don’t think there’s even a small chance that Quasar himself is going to show up in the MCU, but I would guess there’s a distinct possibility that Carol Danvers, Captain Marvel herself, will be given some of Quasar’s quantum abilities.

It would fit irritatingly well based on how the MCU likes to sort of remix comic book lore, and based on certain assumptions we have about what will happen in “Captain Marvel” and “Avengers 4.” Let’s run through those real quick:

1. Scott Lang, aka Ant-Man, is now stuck in the Quantum Realm after “Ant-Man and the Wasp,” and he probably won’t get out the way he came in. We’re assuming a “time vortex,” which Janet van Dyne (Michelle Pfeiffer) mentioned just before he went down there, will be involved. We don’t know what a time vortex is, but we’re guessing it’s a wormhole back to the normal world — which also probably sends whoever goes through one to a different time than the one they came from.

2. Mar-Vell, the original Captain Marvel and the Protector of the Universe, will die in the 1990s-set “Captain Marvel,” setting in motion the events that will lead to “Avengers: Infinity War.” This is especially important given Mar-Vell’s relationship to Thanos in the comics — Mar-Vell was made a Protector of the Universe specifically because he and Thanos were arch-enemies. Read more about that here.

3. Carol Danvers will obviously take up the mantle of Captain Marvel and somehow be key to defeating Thanos in “Avengers 4.”

4. Time travel will be involved in defeating Thanos and undoing the damage caused by the Infinity Gauntlet in “Infinity War.”

So if time travel is important, it stands to reason that our heroes will have to figure out a way to travel to whatever times they actually want to visit on purpose. And that timely mention of time vortexes in “Ant-Man and the Wasp” would also indicate that that the Quantum Realm will be involved in facilitating said time travel — otherwise they’d need to steal the Time Stone off Thanos’ burnt out Gauntlet, which doesn’t seem like a logical way for the “Avengers 4” story to kick off.

So if the Quantum Realm of the movies is the equivalent of the Quantum Zone from the “Quasar” comics, and if Captain Marvel in the MCU, possibly as Mar-Vell’s successor as Protector of the Universe, has some sort of Quantum Band-type tool that can harness the power of the Quantum Realm, then she may well be able to use it to send the Avengers off on a rollicking time adventure.

Based on the pieces we have to work with at the moment, this feels like as good a guess as any. The MCU has often mixed and matched pieces from the comics in new places and characters, and often just goes in completely new directions with stuff, like Janet van Dyne’s as-yet-undefined quantum abilities which have no apparent precedent in the comics.

Now, if we’re right about any of this then it’s likely we’ll only be half-right. Like maybe there is a character who can use the Quantum Realm to jump through time in a controlled manner, but it’s not Carol Danvers. We theorized elsewhere that Ant-Man could meet a past version of Janet down there — maybe the reason she knows what a time vortex even is is because she has used one before, or watched Scott go through one. Or maybe Ant-Man himself will figure it out after being stuck down there a while.

Or maybe we’re completely wrong. But based on what we know about the situation in the MCU at present — which admittedly is not really all that much — and based on what we know of how the creative overseers of the MCU operate, what I’m suggesting here certainly feels like the sort of thing they would do.

But whatever the answer is, we’ve got a long wait until we find out one way or another. “Captain Marvel” is a mere eight months away.

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China Sets ‘Hotel Transylvania 3’, ‘Ant-Man And The Wasp’ For August Release As Blackout Window Shrinks

China has added a pair of Hollywood titles to its August release roster with Sony’s Hotel Transylvania 3: Summer Vacation checking in on August 17 and Disney/Marvel’s Ant-Man And The Wasp making a beeline for August 24. As we wrote on Friday, Paramount’s Mission: Impossible – Fallout is going August 31, and as previously noted, Universal’s Mamma Mia! Here We Go Again is tuned up for August 3. Along with Warner Bros/Gravity Pictures’ The Meg on August 10, that sets up a…

Korea Box Office: ‘Incredibles 2’ Beats ‘Ant-Man and the Wasp’

Opening on Wednesday, Pixar animation “Incredibles 2” debuted on top of the South Korean box office, beating the previous winner, “Ant-Man and the Wasp.” The Walt Disney release earned $10.3 million from 1.36 million admissions in five days. Its Friday to Sunday revenue of $8.55 million represented 47% of the total weekend box office. “Ant-Man […]

‘Ant-Man and the Wasp’: VFX Empowered the Clash Between The Wasp and Ghost

With “Ant-Man and the Wasp” antagonists The Wasp (Evangeline Lilly) and Ghost (Hannah John-Kamen), Marvel continues embracing female empowerment. They are combatants who both try to harness the energy of the Quantum Realm, and director Peyton Reed found their relationship even more intriguing by switching Ghost’s gender, with the visual effects playing up the contrasts between them.

The Wasp is like a bullet the way she switches sizes and fights like a martial artist, and Ghost poses an elusive threat in the way she phases in and out of physical reality and materializes as multiple versions of herself.

Marvel Studios ANT-MAN AND THE WASP..Ghost (Hannah John-Kamen)..Photo: Film Frame..©Marvel Studios 2018

“Ant-Man and the Wasp”


Read More:‘Ant-Man and the Wasp’ Director Peyton Reed Explains How ‘Captain America: Civil War’ Shaped His Sequel’s Storyline

“The power set seemed interesting and we were able to reinvent Ghost,” Reed said. “And I liked the idea that there’s a personal link there to Hank Pym’s [Michael Douglas] past, and that these powers that she has are as much an affliction as an asset, It’s something she’s struggling with.”

A Parkour Bullet

The Wasp maintains complete control of her powers, and the VFX team at Scanline (under the overall supervision of Marvel’s Stephane Ceretti) came up with a set of rules for flying and fighting. “She moves in a very balletic way and we wanted her to be very graceful in the way she flies,” said Ceretti. “So we looked at parkour stuff, how she jumps from place to place, and uses her wings. We wanted to design some nice, high-tech-looking wings for her. The idea was to avoid the Tinker Bell look. We came up with a rule that she can only fly when she’s small, so she has some limitations to her powers.”

Marvel Studios' ANT-MAN AND THE WASPThe Wasp/Hope van Dyne (Evangeline Lilly) Photo: Film Frame ©Marvel Studios 2018

“Ant-Man and the Wasp”

The Wasp first displays her powers during a frenetic kitchen fight, where she goes up and down in size to elude attackers and then sneaks up on them. She rides knives that are hurled at her and navigates around other utensils, and even zaps a salt shaker to make it a huge weapon. To achieve this, the VFX team mixed up the techniques: using macro photography, motion control camera work, and animation to constantly change scale and perspective.

This was achieved on a much larger scale during the San Francisco car chase, filmed primarily in Atlanta but with the backgrounds replaced by Lombard Street and Fisherman’s Wharf, and other iconic locales. The Wasp flies in and out of cars, and kicks baddies when she becomes full-size.

Marvel Studios ANT-MAN AND THE WASPL to R: Ghost (Hannah John-Kamen), Giant-Man/Scott Lang (Paul Rudd) and Wasp/Hope van Dyne (Evangeline Lilly) Photo: Film Frame ©Marvel Studios 2018

“Ant-Man and the Wasp”

“We wanted to go nuts with this movie: shrinking cars, shrinking buildings, and we designed the San Francisco car chase as an homage to ‘What’s Up, Doc?'” said Reed. “The scary thing was that so much of it was going to be in daylight. Effects are exhilarating when they’re photo-realistic, but the road to getting there can be difficult.”

It took precision and accuracy when shooting the background plates of San Francisco. Double Negative spent a couple of weeks photographing and scanning the city, especially the hilly parts. Then the Atlanta footage was inserted and modified.

Bi-Polar Ghosting

When it came to the VFX for Ghost, the challenge was finding the right look to convey her physical and emotional instability. Fortunately, Ceretti was an expert at quantum mechanics and was able to delve into the topic further with the “Ant-Man” sequel. “We came up with the idea that she can go through everything and has multiple images competing with her,” he said. “It depends on her state of mind if she’s angry, afraid, tired, or annoyed.”

Marvel Studios ANT-MAN AND THE WASP..Ghost (Hannah John-Kamen)..Photo: Film Frame..©Marvel Studios 2018

“Ant-Man and the Wasp”


The ghosting effect was achieved by compositing multiple versions of John-Kamen and retiming the takes, along with a CG version of the character for greater control of movement. The tricky part was varying the effects (ghosting and vibrating) so it wouldn’t be predictable or annoying.

“When she fights, she goes through people and grabs you from the inside so you can’t move,” Ceretti said. “She had a bi-polar personality disorder and wants to stabilize her body, so we came up with a strange choreography.”

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Korea Box Office: ‘Ant-Man’ Stays Bigger Than ‘Skyscraper’

“Ant-Man and the Wasp” remained on top of the South Korean box office for the second consecutive weekend. The Walt Disney release earned $8.35 million from 1.06 million admissions between Friday and Sunday, accounting for 46% of the total weekend box office. The superhero movie has earned a total of $34.0 million from 4.38 million […]

‘Hotel Transylvania 3’ Climbs Past ‘Skyscraper’ at International Box Office

“Hotel Transylvania 3: Summer Vacation” towered over “Skyscraper” overseas. The third installment in the “Hotel Transylvania” franchise checked in with $46.4 million when it opened in 42 international markets, while Dwayne Johnson’s “Skyscraper” opened with $40.4 million. Sony’s animated threequel surpassed “Skyscraper” at the domestic box office as well. It debuted with $44 million in […]

‘Hotel Transylvania 3’ Registers Sony Animation Record; ‘Skyscraper’ Scrapes Up $40M – International Box Office

Refresh for latest: After starting early offshore rollout in Australia two weeks ago, Sony Pictures Animation's Hotel Transylvania 3: Summer Vacation checked into another 42 markets this weekend, and topped the studio charts with $46.4M in 44 total hubs. The overseas tally is now $54.8M for a global total of $100.12M. The Genndy Tartakovsky-helmed threequel set a new record as Sony's biggest animated opening for the same group of 42 new markets and was No. 1 in…

Box Office: ‘Skyscraper’ Gets Rocky Start as ‘Hotel Transylvania 3’ Checks In at No. 1

It turns out Dwayne Johnson was no match for Dracula and company. “Hotel Transylvania 3: Summer Vacation” topped the domestic box office charts with $44 million from 4,267 locations, while Dwayne Johnson’s “Skyscraper” washed up with a paltry $25.5 from 3,782 theaters. Sony’s animated family feature picked up $46.4 million overseas this weekend for a global start […]

‘Hotel Transylvania 3’ Headed for No. 1 as ‘Skyscraper’ Struggles at Box Office

Dracula has taken a bit out of The Rock at this weekend’s box office, as Sony’s “Hotel Transylvania 3: Summer Vacation” opened to $16.6 million from 4,267 on Friday and is estimated to take No. 1 this weekend with $41 million, nearly matching the $42 million of the first “Hotel Transylvania,” which came out in 2012.

While critics have been muted in their reviews of the film, giving it an 59 percent on Rotten Tomatoes, family audiences have given it characteristically strong praise with an A- on CinemaScore. Sony has kept the budget for the film relatively low compared to their Disney/Pixar rivals with an $80 million price tag, as the film looks early on as though it will match the ~$150 million domestic run of its two predecessors.

Meanwhile, Dwayne Johnson’s latest film, “Skyscraper,” is looking very unstable with an estimated $25 million opening from 3,782 locations, putting it in third place this weekend and below the $35-40 million launch expected by independent trackers. Opening day totals clocked in at $9.2 million as audiences gave the film a B+ on CinemaScore.

Co-produced by Universal and Legendary on a $120 million budget, “Skyscraper” will likely have to rely on better numbers from China and other Asian markets. Such was the case for Johnson’s last film, “Rampage,” which saw China grosses beat out the U.S. $161 million to $99 million. On the domestic side, this is Johnson’s lowest stateside opening since last year’s “Baywatch,” which opened to a four-day $23 million opening on Memorial Day weekend.

Sitting between “Transylvania” and “Skyscraper” on the charts is “Ant-Man and the Wasp,” which is falling 62 percent in its second weekend to an estimated $28 million. While this performance is well below recent Marvel Studios releases, this estimate would still be higher than the second weekend total for the first “Ant-Man” and 25 percent ahead of the pace of that film’s domestic run.

“Incredibles 2” is in fourth with an estimated $15 million in its fifth weekend in theaters. That will make the film one of the top ten highest grossing films in domestic box office history, passing the North American runs for “Rogue One” and “The Dark Knight” to take the No. 9 spot on the charts. “Jurassic World: Fallen Kingdom” sits just behind in fifth with an estimated $14.9 million.

Sitting in seventh this weekend is Annapurna’s “Sorry to Bother You,” which begins its wide run after a week in limited release. Expanding to 805 screens this weekend, the Boots Riley film is looking at a $3.9 million weekend, which would bring its total to around $5 million.

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Dwayne Johnson's 'Skyscraper' Performance Praised by Critics as Support for 'Silly' Movie

‘Hotel Transylvania 3’ to Rock the Box Office While ‘Skyscraper’ Falls Short

Sony’s “Hotel Transylvania 3: Summer Vacation” is heading for a box office victory while Dwayne Johnson’s “Skyscraper” is badly under-performing at the North American box office, early estimates showed Friday. “Hotel Transylvania 3” will finish in the middle of forecasts with $44 million at 4,267 sites, while “Skyscraper” should finish at about $23 million — […]