Leinwandliebe Film Talk

20th Century Studios’ much-hoped-for awards contender biopic Springsteen: Deliver Me From Nowhere was no Bob Dylan or Bob Marley at the box office, with an $8.88 million opening and a B+ CinemaScore.

Then Amazon MGM Studios’ $70M-$80M Julia Roberts-Andrew Garfield dramatic thriller After the Hunt was slain at the B.O. with a three-weekend running cume of $2.9M and a double whammy in its audience exits with a low 23% definite recommend in Screen Engine/ComScore PostTrak and a C- CinemaScore. Amazon MGM spared no expense on the movie, with sources telling Deadline that Julia Roberts was paid $20M for the movie and other talent receiving full freight.

Those are just two upscale, adult-skewing movies in a crowded September and October that have seen the subgenre buckle. Other casualties include Sony’s Margot Robbie-Colin Farrell drama A Big Bold Beautiful Journey (net $45M production cost, $6.6M domestic, $21M global, B- CinemaScore) and Darren Aronofsky’s crime comedy Caught Stealing (which we’re hearing cost well in excess of net $40M, with numbers as high as $65M, $19M box office, $32M global, B CinemaScore), A24’s Smashing Machine (net $50M production cost, $11.3M domestic, $19.7M global, B- CinemaScore), Focus Features’ Daniel Day-Lewis-starring Anemone (net $14M production cost, $1.1M domestic, no public exit scores) and Roadside Attractions/Lionsgate/LD Entertainment’s Kiss of the Spider Woman (a distribution deal for the distribs, but a $30M production cost, $1.6M domestic, 54% definite recommend on PostTrak).

“The 40- to 60-plus-aged crowd used to attend movies on a frequent basis. They wouldn’t just go to critically acclaimed movies but programmable ones like Woman in Gold ($33M) and Hello My Name Is Doris ($17.7M). That demographic has been lost to the convenience of Netflix, and the arthouse exhibition track for these movies which included the Landmark and Arclight Cinemas isn’t in the same shape as it was pre-pandemic. The cinemas that made these movies pop on opening weekend are gone, and with it the audience. Something needs to be done to get this crowd back,” continued the same specialty executive.
When it comes to the broken adult movie space, some point the finger at studios who shortened the theatrical window on such titles to 17 days before PVOD.
(...) in recent years there’s been a tightening of the Premium VOD window and an expansion of the SVOD window. Since last year, 70% of studio releases make it to PVOD within 45 days of theatrical release. That’s up from 40% during 2022 In contrast, around 55%-60% of all studio releases are taking 90+ days to reach SVOD, up from 14% in 2022.

Inflation. Streaming. Ads. People. Cellphones. High prices. Poorly made films.
Why would I pay to see a sub-par film when I can wait a few weeks and see it on a service I already pay for? Why deal with people on their phones? Why pay $22 tickets, $10 soda, $12 popcorn? And if I have a date, double that.

Julio Sacchi wrote: ↑Wed Oct 29, 2025 6:02 pm Eric Roberts kriegt die 20 Cent und war selbst die nie wert.