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The Report (2019)

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Movie details, weekend box office performance, daily box office performance, weekly box office performance.

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December 11th, 2019

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November 15th, 2019

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‘The Report’ Review: Inconvenient Truths

Adam Driver’s gracefully intelligent performance as an investigator never quite zaps this dramatically frozen procedural to life.

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By Jeannette Catsoulis

The very title of “The Report” lays out the movie’s most daunting challenge: How do you engage, never mind excite, an audience with sheafs of classified documents, vaultlike work spaces and reams of expository dialogue — chunks of it delivered by impassive men in identical gray suits? Well, you could start by giving Adam Driver the starring role, hiring Jon Hamm to lope in and out of otherwise stagnant scenes, and threading shocking flashbacks through the more arid patches.

The writer and director, Scott Z. Burns , does all of those things. Yet his smart, layered screenplay — depicting the U.S. Senate’s yearslong investigation into the C.I.A.’s endorsement of torture in the aftermath of Sept. 11 — adamantly resists liftoff. Saturated with details and counterterrorism jargon, crammed full of real-world characters some would prefer to forget ( looking at you, John Yoo ), this swampy exposé is so tangled in red tape and competing political agendas that it can barely breathe.

Striding through the fog of obfuscation is Daniel J. Jones (Driver), a staffer charged by Senator Dianne Feinstein ( Annette Bening ) with investigating the C.I.A.’s euphemistically named enhanced interrogation techniques. As Jones and his small team learn about these methods, and the psychologists — the movie’s de facto villains — who designed them, stomach-churning flashbacks of abused Al Qaeda detainees hammer home their brutality and the myth of their effectiveness.

These backward leaps act like cattle prods, jarring us out of the somnolence that densely talkative films can induce. We need them: However crucial and opportune in its truth-seeking and depictions of political trickery (Burns could hardly have known his film would plop into theaters alongside the impeachment hearings for President Trump ), “The Report” is too often dramatically frozen, its emotions stubbornly internal. Given the near-impossible task of gluing our eyes to blank rooms and cautious conversations, the cinematographer, Eigil Bryld , mostly zooms in close and crosses his fingers.

So starved are we for sensation that when a summary of Jones’s findings is finally exposed to the light of an official hearing, the triumphal surge nearly caused me to yelp with relief. Aside from the occasional spicy performance (like Hamm’s smooth turn as Denis McDonough, Barack Obama’s chief of staff, and Ted Levine ’s slyly damning portrayal of the former C.I.A. Director John Brennan), it’s Driver who must bear the film’s considerable weight. He does so by giving Jones a mounting fury that manifests not in explosive confrontations, but in a gradually hardening resolve to protect and disseminate his findings. With Driver, there’s always a sense of something leashed, and his characters can seem to be operating on a plane above and beyond everyone else. These qualities align perfectly with Jones’s increasingly isolated and dangerous journey, yet the man beneath the mission remains frustratingly unknowable.

In his vibrant screenplays for Steven Soderbergh ( like “Contagion” in 2011 and this year’s “The Laundromat” ), Burns has shown he’s more than capable of zapping complicated stories to life. And where “The Report” succeeds, it’s in pointing constantly and anxiously to the importance of holding government to account. Burns has clearly thought long and hard about how to open our eyes, but maybe not enough about how to keep them that way.

Rated R for nauseating abuse and disgusting cover-ups. Running time: 1 hour 59 minutes.

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Home » Box Office

Furiosa: A Mad Max Saga Box Office (Japan): Chris Hemsworth’s Film Becomes The First Hollywood Movie Of 2024 To Debut At The Top Spot

The report further states that word of mouth in japan is strong, and furiosa: a mad max saga..

George Miller is an established director in Hollywood, famous for his Mad Max franchise. His new film, Furiosa: A Mad Max Saga, is already in the theatres. Although it has been performing poorly at the domestic box office, the film has debuted at #1 in Japan, becoming Hollywood’s first 2024 film to achieve this feat. Keep scrolling for more.

Furiosa is the prequel and spin-off of the 2015 dystopian magnum opus Mad Max: Fury Road. The latest release features Chris Hemsworth and Anya Taylor Joy in the lead roles. Hemsworth plays the antagonist in this post-apocalyptic drama. The film opened to lower-than-expected box office collections.

According to Luiz Fernando’s latest box office report, Furiosa: A Mad Max Saga was released in Japan this Friday, one week after its domestic release, and is doing well. As per the trade analyst’s report, Furiosa earned a solid $520K on Friday, its opening day. It added more $910K , going up +75% from Friday and adding a decent $1.4 million in two days. It has debuted at the #1 spot and is reportedly the first film to earn that position at the Japanese box office in 2024.

The report further states that word of mouth in Japan is strong, and Furiosa: A Mad Max Saga received a 4.1 star from a local audience, and the trade analyst reveals it is equivalent to an A CinemaScore. It is the highest score locally for the Mad Max franchise. Mad Max: Fury Road received 4 stars. Furiosa: A Mad Max Saga aims to earn a $2 million — $2.5 million three-day weekend in Japan.

According to Box Office Mojo, Furiosa: A Mad Max Saga earned $41.9 million in the US, $32.8 million internationally, and $74.7 million worldwide. The film was released in the US on May 24 and in Japan on May 31.

Note: Box office numbers are based on estimates and various sources. Numbers have not been independently verified by Koimoi.

For more of the latest Hollywood box office updates, stay tuned to Koimoi!

Must Read:   Maleficent Box Office Revisit: Reminiscing Angelina Jolie’s Success Worth $750 Million+ As The Film Turns 10 This Year!

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Weekend Box Office Report January 21 - January 23, 2022

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Weekend Box Office

A Sunday breakdown of winners and losers at the box office every weekend.

Weekend Box Office Results: Furiosa Edges Out  Garfield in Worst Memorial Day Weekend in Decades

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IMDb Charts

Top box office (us).

1. Furiosa: A Mad Max Saga

• Weekend Gross : $26M
• Total Gross : $42M
• Weeks Released : 1

2. The Garfield Movie

• Weekend Gross : $24M
• Total Gross : $41M

• Weekend Gross : $16M
• Total Gross : $72M
• Weeks Released : 2

4. Kingdom of the Planet of the Apes

• Weekend Gross : $13M
• Total Gross : $134M
• Weeks Released : 3

5. The Fall Guy

• Weekend Gross : $6M
• Total Gross : $77M
• Weeks Released : 4

6. The Strangers: Chapter 1

• Weekend Gross : $5.6M
• Total Gross : $25M

• Weekend Gross : $2.8M
• Total Gross : $5.1M

8. Challengers

• Weekend Gross : $1.4M
• Total Gross : $48M
• Weeks Released : 5

9. Back to Black

• Weekend Gross : $1.1M
• Total Gross : $5.8M

• Total Gross : $1.9M

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Box Office: ‘Garfield’ Noodling to First as ‘Furiosa’ Fades in Dead Quiet Summer Weekend

By J. Kim Murphy

J. Kim Murphy

• Box Office: ‘Garfield’ Noodling to First as ‘Furiosa’ Fades in Dead Quiet Summer Weekend 22 hours ago
• Welcome to ‘Ren Faire’: Lance Oppenheim’s HBO Docuseries Follows a Festival Trapped in a Real-Life Game of Thrones 2 days ago
• Box Office: ‘Furiosa’ Off to Slow Start With $10.2 Million Opening Day, ‘Garfield’ Dines on $8.4 Million 1 week ago

If the summer box office is ever going to heat up, it’ll have to wait a while longer. In a weekend being led by holdovers, Sony’s “The Garfield Movie” looks to overtake “ Furiosa: A Mad Max Saga ” for first place on domestic charts.

Popular on Variety

Further down, Warner Bros.’ “Furiosa: A Mad Max Saga” took in $3 million on Friday. Competitors are projecting a drop of around 59% for the dystopian epic’s sophomore outing — not all too bad, but far from the dramatic recovery that it needed to gas up its box office prospects. With a $168 million production budget to account for, plus marketing and distribution costs, the well-reviewed revenge prequel has little hope of becoming profitable in theaters. Its 2015 predecessor “Mad Max: Fury Road,” already considered only a modest box office winner at the time, had earned $63 million through its first seven days in North America. “Furiosa” ended its first week way behind at $38.9 million.

Fourth place will likely go to 20th Century Studios’ “Kingdom of the Planet of the Apes,” which earned $2.4 million on Friday. Disney’s sci-fi franchise revival has now surpassed $130 million in North America. Now the fourth-highest grossing domestic release of the year, it’s also pacing ahead of its 2017 predecessor “War for the Planet of the Apes,” which had earned $124 million in its first 21 days and finished with $146 million.

“The Fall Guy” is expected to round out the top five after earning $1.1 million on Friday. Universal’s action-comedy, starring Ryan Gosling and Emily Blunt, should surpass $80 million in North America over the weekend.

Also opening, IFC Films and Shudder are putting out the Canadian slasher “In a Violent Nature” in more than 1,426 locations, marking the widest release ever for IFC. Competitors are projecting a solid opening of $2.2 million for the well-reviewed low-budget horror feature.

Disney also has the drama “Young Woman and the Sea” in limited release. The period sports feature, which stars Daisy Ridley as Trudy Ederle, the first woman to ever swim English Channel, was originally commissioned for Disney+ but shifted to theatrical after testing highly. However, Disney isn’t reporting grosses.

Roadside Attractions is debuting “ Summer Camp ,” starring Diane Keaton, Kathy Bates and Alfre Woodard, in 1,787 locations. Reviews are terrible and the Cinema Score grade of “C” shows early moviegoers aren’t fans either. It’s expected to earn in the low-single digits, as is fellow new release “Ezra,” Bleecker Street’s feel-good drama about a comedian raising his autistic son. That’s playing in 1,320 venues.

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Ava DuVernay: A-list auteur, voice of the underrepresented

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A typical afternoon at Ava DuVernay’s sprawling, 14,000-square-foot creative headquarters in Historic Filipinotown is a buzzing, bustling sight: Staff from the Oscar-nominated filmmaker’s arts and social impact collective Array meet in bright and welcoming alcoves over production, distribution, education and public programming projects; visitors head across a sun-drenched courtyard to the buildings that host writers rooms, preproduction, editing suites and Array’s 501(c)(3) nonprofit initiatives; and DuVernay herself flits in and out of the 50-seat state-of-the-art Amanda Cinema with her postproduction team, fine-tuning her drama “ Origin ,” arguably the most ambitious film of her already ambitious career.

Discover the change-makers who are shaping every cultural corner of Los Angeles. This week we bring you The Creators, who are leaving their mark in film, art, music and more. Come back each Sunday for another installment.

Most directors focus on getting their next movie made. DuVernay, 51, is building something bigger — an institution, a community, a future for underrepresented voices — as she climbs the ranks of Hollywood’s A-list auteurs.

Born in Long Beach and raised in Lynwood, the award-winning writer, director, producer (“Selma,” “13th,” “When They See Us”) and Oprah bestie has proven an industry rebel simply by leading by example. In 2016, her mandate to hire all female directors on her series “ Queen Sugar ” served as a model in making radical change while leaving no room for excuses. By 2018, she became the first woman of color to direct a $100-million live-action film with “ A Wrinkle in Time .” Array Crew, created to connect underrepresented below-the-line talent with jobs in entertainment, is now the largest hiring database in Hollywood.

Under DuVernay’s leadership, Array’s collective efforts have included free screenings and film literacy guides for the public, eco-green practices and the launch of LEAP (the Law Enforcement Accountability Project), which called attention to police brutality after the murder of George Floyd. All are rooted in a desire to build community and create change.

“It started with a need to create a space where I can be safe, and for me, safety comes with community,” DuVernay said of the vision that unifies her work, from the stories of underrepresented voices she shepherds on screen to the conversations they inspire.

“The movement outlives the movie — and that’s how your art outlasts you,” said Tammy Garnes, Array’s education division vice president, described by DuVernay as one of the company’s “pillars” along with Mercedes Cooper, senior vice president of public programming, and President Tilane Jones.

“When we look at legacy organizations that stay around beyond their founder’s lifetime, that’s my goal,” DuVernay said. “If I’m not here tomorrow, I would hope that Array, or the principles of Array, or something that Array did or started or meant would last.”

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Jen Yamato is a former film reporter for the Los Angeles Times.

Christina House is a staff photojournalist with the Los Angeles Times. She officially joined the visual journalism team in 2017 after 10 years as a freelance photographer. House grew up in Long Beach and is a graduate of Cal State Fullerton. Her love for photography started when she visited the Philippines, her mother’s native country, at age 7. That unforgettable experience inspired her to pick up a camera. House won the 2023 Pulitzer Prize for Feature Photography and the 2022 Robert F. Kennedy Journalism Award for Domestic Photography for “Hollywood’s Finest,” an intimate look into the life of a pregnant 22-year-old woman living on the street. She received the 2021 Cliff Edom New America Award and was honored in the portrait series category for her work on “Game Changers: A Celebration of Women in Sports” from the 2021 National Press Photographers Assn.’s Best of Photojournalism awards.

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More neon love as ‘babes’ blasts off stateside – specialty box office, ‘furiosa’ wins awful memorial day frame with $32m+, but ‘garfield’ will bite back next weekend – tuesday update.

By Anthony D'Alessandro

Anthony D'Alessandro

Editorial Director/Box Office Editor

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TUESDAY PM: So, at the end of the day, The Garfield Movie did not beat Warner Bros ‘ Furiosa for the No. 1 spot over an extremely poor Memorial Day weekend that saw all movies gross $132.1M per ComScore. Here’s the good news: It wasn’t as low as Memorial Day weekend 2021 when theaters were reopening post Covid, that 4-day posting $97.8M. This weekend was +35% over that point and -20% off from last Memorial Day when Disney’s The Little Mermaid led the chart with $118.8M.

But with no major studio wide release next weekend, the only ones being IFC’s In a Violent Nature, Crunchyroll’s Haikyu!! The Dumpster Battle , Bleecker Street’s Ezra and Roadside Attraction’s Summer Camp, many figure it’s Garfield ‘s weekend to lose with at least a -50% hold off its $24M 3-day for $12M to Furiosa ‘s at least -60% decline from its 3-day of $26.3M for $10.5M .

MONDAY AM: Warner Bros.’ Furiosa had the edge over The Garfield Movie on Sunday, $7.6M to $7.4M , which is putting her ahead on the four-day estimates of the orange cat, $32M to $31.1M .

Many were expecting Garfield to own matinees yesterday. The movie showed a strong Hispanic and Latino audience turnout at 38% throughout the weekend, and the notion is that bad weather in the South kept moviegoers inside. There is still a world as of tomorrow AM whereby Garfield bests the George Miller Mad Max prequel. In regards to admissions, EntTelligence shows more people going to Garfield over Furiosa , 2.8M to 2.1M and that’s because the cat’s average ticket prices were lower than the one-armed desert renegade, $11.87 to $13.73.

Also, as we mentioned, Memorial Day weekend more often than not is the best place for a major studio to hide a tentpole which might not work, and that’s because they’ll get the extra day of grosses. Among the misfires launched over the frame are 2010’s Prince of Persia : The Sands of Time ($37.8M 4-day), 2015’s Tomorrowland ($42.6M) and 2016’s Alice Through the Looking Glass ($33.5M). Furiosa is by far not the first movie which hasn’t worked over the holiday.

AMC Lincoln Square in NYC was the best theater for Furiosa at $170K, while Garfield ‘s was the AMC Burbank with close to $47K.

As we told you yesterday in regards to dollars and cents on Garfield, it’s a win for Alcon and Sony, the animated pic only costing $60M before P&A and global grosses at $97.6M .

Without a studio wide release next weekend due to the lack of product on account of the strikes, it will be a downer weekend for sure. What Furiosa won’t have that Mad Max: Fury Road did was the ability to play into a holiday weekend. That perk went to No. 3 family pic, IF , from Paramount which posted a second weekend of $16.1M , -52%, 4-day of $21M , domestic of $63.5M and worldwide of $100M . Sony hopes to rev everything back up again with Bad Boys: Ride or Die on June 7 which is eyeing a $50M start. Domestic through 11 days is pacing 5% ahead of Ryan Reynolds’ original action PG-13 pic, Free Guy, which ended its run at $121.6M.

1.) Furiosa (WB) 3,804 theaters, Fri $10.35M, Sat $8.3M Sun $7.6M Mon $5.7M 3-day $26.3M 4-day $32M /Wk 1

2.) The Garfield Movie (Alcon/Sony) 4,035 theaters, Fri $8.4M Sat $8.2M Sun $7.4M Mon $7M 3-day $24M 4-day $31.1M /Wk 1

3.) If (Par) 4,068 theaters (+27) Fri $4.3M (-59%) Sat $6.1M Sat $5.7M Mon $4.8M 3-day $16.1M (-52%), 4-day $21M , Total $63.5M /Wk 2

4.) Kingdom of the Planet of the Apes (20th/Dis) 3,550 (-525) theaters, Fri $3.4M (-50%) Sat $5.1M Sun $4.9M Mon $3.8M 3-day $13.4M (-47%), 4-day $17.2M , Total $126.6M /Wk 3

5.) Fall Guy (Uni) 2,955 (-890) theaters, Fri $1.6M (-32%), Sat $2.29M Sun $2M Mon $1.66M 3-day $5.99M (-28%),4-day $7.65M Total $73.9M /Wk 4

6.) Strangers -Chapter 1 (LG) 2,856 theaters, Fri $1.65M (-68%) Sat $2M Sun $1.84M Mon $1.34M 3-day $5.5M (-53%)4-day $6.9M Total $22.6M /Wk 2 The reboot of the horror franchise from Renny Harlin is pacing 20% ahead of the 2018 predecessor, The Strangers: Prey at Night , that movie having finaled at $24.5M stateside.

7.) Sight (Angel) 2100 theaters Fri $1M Sat $886K Sun $810K Mon $800M 3-day $2.79M 4-day $3.6M /Wk 1

8.) Challengers (AMZ MGM) 1,089 (-849) theaters, Fri $438K (-53%) Sat $483K Sun $494K Mon $346K 3-day $1.41M (-51%) 4-day $1.76M /Total $46.8M / Wk 3

9.) Back to Black (Foc) 2013 theaters (+3), Fri $300K (-75%) Sat $400K Sun $380K Mon $270K 3-day $1.08M (-62%), 4-day $1.35M , Total $5.2M /Wk 2

10.) Babes (NEON) 590 (+578) theaters, Fri $480K (+603%), Sat $300K Sun $280K Mond $168K 3-day $1.06M (+550%), 4-day $1.22M , Total $2M /Wk 2

EARLY SUNDAY AM UPDATE: The 4-day fight between Warner Bros’ Furiosa and Alcon/Sony’s The Garfield Movie will drag out into Monday, both titles currently in a dead heat, eyeing $31M over 4-days, $25M over 3-days.

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‘Furiosa’ Up In Smoke With $31M-$33M, Lowest Memorial Day Opening In Decades, Might Get Clawed By ‘Garfield’: How Worried Should Hollywood Be About Theatrical? – Saturday Update

George Miller Says “There’s Certainly More Stories” In The ‘Mad Max’ World – Cannes

There are those showing the 48-year old comic strip feline eating the one-armed desert renegade’s lunch with $31M to $30.96M, but it’s too close to call right now. In regards to Garfield upsetting Furiosa, we told you this was in the cards.

After beating Furiosa on Saturday, $8.3M to $8M, Garfield looks to have the edge over it on Sunday and Monday. Garfield is booked at 4,035 boosted by some PLFS. Furiosa is in play at 3,804 juiced by 400 Imax auditoriums, Dolby, 4DX, D-box, etc.

Some blame Warners for starting the last leg of their campaign too late in May. Realize that they did kick off Furiosa in late Q4 at Brazilian Comic-Con with Anya Taylor-Joy and Chris Hemsworth in tow. That’s a pretty big platform to blast word of mouth off from, and it’s the same place Warners re-ignited the campaign for Legendary’s Dune: Part Two . Others believe that the slowdown here stems from Taylor-Joy taking over the title role from Charlize Theron. However, anyway you cut it, the reality is that Furiosa and Mad Max appeal to a finite fanboy, largely male audience. It’s R-rated, not five quad, which is why there wasn’t a lot of heat coming off of the first trailer drop in November.

In PostTrak exits, 52% said they went to Furiosa because it was part of a franchise they love, while 34% cited director George Miller, 32% cited Taylor-Joy, and 25% Chris Hemsworth. In regards to Garfield , the overall reason why people bought tickets was because it looked fun.

Sony and Alcon are high that they’ve revived Garfield, and who can disagree. Pic’s opening even on a 3-day beats the previous debuts of 2006’s Garfield: A Tail of Two Kitties ($7.2M 3-day) and 2004’s Garfield: The Movie, which opened to $21.7M. The Garfield Movie off a $60M production cost before P&A is bound to be profitable, with $50M already in the till from its offshore release.

Paramount’s IF at 4,068 theaters is still third, with a $15.6M second weekend, -54%, after a $6M Saturday, +41% from Friday’s $4.3M. 4-day is $20.2M, running total by EOD Monday is $62.7M.

Kingdom of the Planet of the Apes from 20th Century Studios/Disney at 3,550 theaters posted $5M Saturday, +48% over Friday. Third weekend is $12.8M, -50%, 4-day is $16.5M, and running total is $125.9M. The pic became the first title of summer 2024 to cross $100M last weekend. See, there is some pulse in the marketplace.

Fifth goes to Universal’s Fall Guy at 2,955 with a $2.3M Saturday, +44%, for a 3-day of $6M, 4-day of $7.6M and running total by end of Monday of $73.8M.

Angel Studios’ faith-based title Sight is crashing with $830K Saturday, off 24% from Friday’s $1M which translates to a 3-day of $2.8M and 4-day of $3.6M.

For the first part of our weekend analysis, and why we shouldn’t worry about the fate of theatrical, click here.

We’ll have more updates for you on Monday.

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What happened to $100m box office openers.

Yes, studio and theater chain executives knew this year was going to be a challenge amid major tentpole delays — but May is already a historic flop. Even 'The Fall Guy' is fleeing for home early.

By Pamela McClintock

Pamela McClintock

Senior Film Writer

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No one could blame the box office for needing an imaginary friend right now. For the first time in more than a decade — excluding the worst period of the COVID-19 crisis — no movie opening during the first six months of the year has come close to hitting the $100 million mark in its domestic launch.

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With the 2024 summer box office now nearly one month in, the vanishing $100 million opener is especially problematic because moviegoing begets moviegoing. There’s no more crucial season than the months when younger kids, teenagers and college students are sprung from school.

This year, the high season started off with a groan of pain when Universal’s The Fall Guy opened on the low end of expectations despite headlining two of the stars who were part of the Barbenheimer phenomenon, Barbie ’s Ryan Gosling — who enjoyed career-high attention and was nominated for an Oscar for his performance as Ken — and Oppenheimer ’s Emily Blunt, also nominated for an Oscar. No one expected the action comedy to reach $100 million in its launch, but $27.7 million? It has currently grossed $65.8 million against a net budget of $130 million.

Then came John Krasinki’s IF , Paramount’s original live-action/CGI imaginary friend family pic starring Ryan Reynolds opposite a voice cast that includes just about every big name in town. IF , which was expected to bow with at least $40 million, debuted with $33.7 million.

For years, Marvel Studios has provided a spark to summer by opening a superhero pic the first weekend of May. (Last year, Guardians of the Galaxy Vol. 3 kicked off May with a gross north of $118 million.) But this year’s calendar was dramatically rearranged between the production and postproduction delays stemming from the labor strikes and even the pandemic. At one point, Marvel’s Captain America: Brave New World was scheduled to open the first weekend of May. Other big movies that moved out of summer 2024 include the next Mission: Impossible and Spider-Verse installments.

“Hollywood is sucking wind right now. The strike wreaked havoc,” says Wall Street analyst Eric Handler of MKM Partners. “For the first time in years, we started off summer with an unproven, character-driven film,” he adds, referring to The Fall Guy . “I’m not worried because there are big movies coming, but it does put pressure on the rest of the summer and year.”

Memorial Day weekend boasts two solid titles — The Garfield Movie and George Miller’s Furiosa — but neither is expected to come near $100 million (think more in the mid-$30 million to mid-$50 million range).

May has been brutal in terms of moviegoing. For the May 1-19 corridor, domestic box office revenue is off nearly 20 percent from last year and 50 percent behind 2019. Year-to-date revenue is likewise hovering roughly 20 percent behind 2023. “We knew it was going to be bad, but not this bad,” says a top studio executive of post-strike estimates predicting summer box office losses exceeding half a million dollars. “There was no alarm bell going off this year telling people the summer box office had started.”

Comscore chief box office analyst Paul Dergarabedian has another theory: The industry has over the years backed itself into a corner with a fixation on the $100 million opening weekend as both a key benchmark for success and as a revenue-based marketing hook that, if not achieved, knocks great films on their heels and deems them financial failures, often unfairly. Studios are now placed in the position of defending their marketing and distribution strategies that, unable to power their big-budget releases, are scrutinized for not achieving this lofty goal.

“In today’s modern theatrical marketplace, the emphasis should shift from the short-term gain to the long-term playability, since this is now a game of yards instead of inches,” Dergarabedian says. “And the analysis of what constitutes a hit or a flop must be reevaluated.” 

May 23, 11:15 a.m. : Updated with Inside Out 2 tracking data.

A version of this story first appeared in the May 22 issue of  The Hollywood Reporter  magazine.  Click here to subscribe.

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