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'' Delighted Death Day ' scares off ' Blade Runner ' at ticket office

Sunday, Oct. 15, 2017|6:19 p.m.

LOS ANGELES– Package office may be struggling this year, but the horror category lives and well.

This weekend the “Groundhog Day”-like scary pic “Happy Death Day” scored a first-place surface, going beyond expectations and blowing the much costlier and star-driven “Blade Runner 2049” from the water.

Studio estimates Sunday show “Delighted Death Day” took in $26.5 million from 3,149 North American theaters. With a $5 million production cost, “Delighted Death Day” is already a hit.

With a PG-13 ranking, the movie scored big with more youthful audiences– 63 percent were under 25.

It’s the most recent success story from Blumhouse Productions, which earlier this year launched “Split” and “Get Out,” with the help of Universal Pictures, which dispersed.

Jim Orr, executive vice president of domestic circulation for Universal, stated “Pleased Death Day” is an original movie that’s reimaging the category.

“It’s as much thriller as it is horror movie. It’s frightening, it’s amusing, and it has an extremely clever script that is effectively executed,” Orr stated. “Blumhouse owns this space no doubt about it, and they do this much better than anyone regularly.”

The movie likewise had the advantage of coming on the heels of the massive success of “It,” which has actually made $314.9 million domestically to date. The “Happy Death Day” trailer played in front of “It” at theaters, which “tremendously increased” audience awareness, stated comScore senior media analyst Paul Dergarabedian.

Horror continues to be one of the bright spots throughout a roller-coaster year at the box workplace.

“This is a horror gold rush at the theaters,” Dergarabedian said. “It’s been possibly the most consistently favorable story this year.”

One movie that does not look destined for a delighted ending is “Blade Runner 2049,” which fell 54 percent in its second weekend in theaters, including $15.1 million to bring its domestic overall to $60.6 million.

The movie was an expensive venture with a production price tag north of $150 million and was well-reviewed by critics. However it couldn’t handle to attract significant audiences beyond the fans of the 1982 original, which was also a flop upon release.

Jackie Chan’s “The Immigrant” debuted in third location with $12.8 million from 2,515 screens, while “It” landed in fourth place in its sixth weekend in theaters.

The Kate Winslet and Idris Elba disaster pic “The Mountain Between United States” rounded out the top five with $5.7 million.

Other brand-new releases landed outside the top 10. The Thurgood Marshall biopic “Marshall” took in a promising $3 million from 821 theaters.

“Marshall is off to a solid start,” said Open Roadway Films CEO Tom Ortenberg in a statement. “We expect Marshall to hold extremely well and run well into the fall.”

However the Marvel Lady creator biopic “Teacher Marston and the Marvel Woman” cannot capitalize from the huge success of “Wonder Lady” previously this year. The movie earned only $737,000 from over 1,200 areas.

“Goodbye Christopher Robin,” about author A.A. Milne and the creation of the precious children’s books and characters, likewise got off to a bad start with $56,000 from 9 theaters.

“October is off to a sluggish start,” Dergarabedian stated.

Approximated ticket sales for Friday through Sunday at U.S. and Canadian theaters, inning accordance with comScore. Where offered, the latest global numbers for Friday through Sunday are likewise consisted of. Last domestic figures will be released Monday.

1.”Happy Death Day,” $26.5 million ($5 million worldwide).

2.”Blade Runner 2049,” $15.1 million ($29.3 million international).

3.”The Foreigner,” $12.8 million ($5.2 million worldwide).

4.”It,” $6.1 million ($10.4 million worldwide).

5.”The Mountain In between Us,” $5.7 million ($4.1 million international).

6.”American Made,” $5.4 million ($3.2 million global).

7.”Kingsman: The Golden Circle,” $5.3 million ($15.6 million worldwide).

8.”The Lego Ninjago Movie,” $4.3 million ($9.5 million international).

9.”My Little Pony: The Motion picture,” $4 million ($4.9 million international).

10.”Victoria and Abdul,” $3.1 million ($1.9 million international).

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Estimated ticket sales for Friday through Sunday at worldwide theaters (leaving out the U.S. and Canada), according to comScore:

1. “Never Say Pass away,” $30 million.

2. “Blade Runner 2049,” $29.3 million.

3. “Bad Genius,” $16.9 million.

4. “Kingsman: The Golden Circle,” $15.6 million.

5. “It,” $10.4 million.

6. “The Lego Ninjago Motion picture,” $9.5 million.

7. “Geostorm,” $9.1 million.

8. “The Snowman,” $9 million.

9. “The Outlaws,” $8.3 million.

10. “Chasing the Dragon,” $7.7 million.

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Universal and Focus are owned by NBC Universal, a system of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are systems of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by 21st Century Fox; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of previous creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Home entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

‘Blade Runner 2049’ instills sci-fi with design and viewpoint

Three and a half stars

Blade Runner 2049 Ryan Gosling, Ana de Armas, Sylvia Hoeks. Directed by Denis Villeneuve. Rated R. Opens Friday citywide.

It took quite a while for Ridley Scott’s 1982 sci-fi film Blade Runner to attain timeless status, and the long-in-the-works sequel could have an equally bumpy ride reaching a large audience, at least initially. Directed by master stylist Denis Villeneuve (Sicario, Arrival), Blade Runner 2049 is moody, systematic and careful, with spectacular visuals, strong efficiencies and a sci-fi story that’s more ponderous than thrilling. Anybody searching for an action-packed sci-fi blockbuster will rather find a sluggish rumination on exactly what it means to be human– simply as audiences did back in 1982.

Set Thirty Years after the occasions of the initial movie, 2049 stars Ryan Gosling as an LAPD investigator called K, a so-called blade runner whose job is to locate and eliminate renegade replicants (human-looking androids). K himself is a replicant, too, but a loyal one (at least in the beginning) who follows guidelines set down by his stern however caring employer (Robin Wright). K’s newest case eventually puts him on the path of previous blade runner Rick Deckard (Harrison Ford), but the movie script by Hampton Fancher (one of the co-writers of the original film) and Michael Green takes a very long time arriving (or getting anywhere, really).

Ford’s greatly hyped function is similar to his turn as Han Solo in Star Wars: The Force Awakens, a small supporting part (he doesn’t show up until more than 90 minutes into the film) that serves to bridge the gap between generations. Primarily, the story here has to do with K, and particularly about how his fascination with Deckard’s case fuels his desire to be something more than a cog in a device, whether by getting in touch with his holographic girlfriend (Ana de Armas) or by exploring memories of his own past (which might or might not be real). Gosling makes K into a well-rounded, sensitive figure whose emotions are easy to have compassion with, even if they’re synthetic.

Ford passes the baton efficiently enough as Deckard, and Jared Leto gets in a few creepy moments as the power-hungry designer of the most recent replicants, however it’s the ladies who actually stick out in the supporting cast: Wright as the tired police, de Armas as the computer program who can never touch her lover, and particularly Dutch starlet Sylvia Hoeks in a breakout performance as K’s main replicant foe. The uncomplicated story is extended pretty thin over the extreme 163-minute running time, but it’s framed by such elegant visuals (including a check out to an eerie, deserted post-apocalyptic Las Vegas) that it’s never less than awesome to watch. The initial motion picture’s style sense, world-building and atmosphere were all more interesting than its story, which’s the case here once again. If 2049 takes a while to construct a following, every bit of it will be made.