The Biggest Box Office Bombs Of 2022: Deadline’s Most Valuable Blockbuster Tournament

A Phantom-less Broadway took a hit at the box office last week, dropping about 18% in total receipts (to $31,558,171) from the previous week when Andrew Lloyd Webber’s masked singer had contributed $3.7 million in its final week.

according to IMDB’s Box Office Mojo.Since its opening on April 5, it has earned over $400 million nationwide, the second-fastest animated film to reach those numbers after “The Incredibles 2,” according to Deadline. The supernatural horror movie “Evil Dead Rise,” the fifth installment of the “Evil Dead” series, came in second, with a $10.3-million take on its opening day.The Post called the film “gory-as-hell” and said it is “as campy and fun as any chapter in producer Sam Raimi’s four-decade-old horror series.”“The Covenant,” the story of an army sergeant in Afghanistan, played by Jake Gyllenhaal, and an Afghani interpreter, played by Danish actor Dar Salim, landed in third, with $2.25 million in sales.

James Cameron climbs the ladder to cut the net for winning Deadline’s 2022 Most Valuable Blockbuster Movie Tournament after cleared over a half-billion dollars in profit after all ancillaries.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Beau Is Afraid posted the top per-screen average of the year so far and the best limited opening for distributor A24 since Uncut Gems, grossing an estimated $320,396 at four locations in New York and LA for a hefty per-screen average of $80K+ in sold-out shows on both coasts. (Uncut Gems with Adam Sandler had a $105k PSA on five screens in 2019 — a limited-opening record at the time.)

The box office for “The Super Mario Bros. Movie” just keeps on growing.

Rebecca Rubin Film and Media Reporter Ari Aster’s latest anxiety-inducer “Beau Is Afraid” is taking the indie box office by storm. The A24 film, which stars Joaquin Phoenix as an apprehensive man who endures a lot over the course of three hours, grossed $320,396 on four screens in New York and Los Angeles. Those ticket sales translate to a sizable $80,099 per location, the biggest screen average of the year. It’s also the second-best per-screen-average for A24 after Adam Sandler’s “Uncut Gems.” Now, “Beau Is Afraid” needs to sustain its momentum as it expands nationwide next weekend. That’s been a struggle for plenty of indies in post-pandemic times, although A24 has managed to propel films like “Everything Everywhere All at Once” and “The Whale” to box office success. But “Tár,” “Triangle of Sadness” and other acclaimed arthouse films weren’t as successful in parlaying their huge screen averages — which is the key metric for platform releases — to robust theatrical runs. Those films fizzled after struggling to connect with mainstream audiences.

first week, according to IMDB’s Box Office Mojo.The film, which The Post found “lousy,” has now earned $500 million globally, making it the top-grossing video game adaptation in cinematic history, Variety reported. The horror-thriller “The Pope’s Exorcist,” which tells the petrifying tale of the Vatican’s top exorcist’s investigation into a child’s possession, landed second with $4.3 million after debuting on Tuesday.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Amy Childs has shared a heart-warming video clip of her two daughters cuddling, after welcoming newborn twins just a few days ago.The former TOWIE star is now mum to four children, the twins, whom she shares with boyfriend Billy Delbosq, and two older children daughter Polly and son Ritchie who she had with separate previous partners. The blended family have been happily adapting to having the new additions, with Amy now sharing a video of Polly holding and cuddling her newborn sister, whose name Amy is yet to announce. Speaking in the video, Amy says: "Polly is that your sister?" to which the youngster responds with a nod before adding: "I love her." The sweet clip continues with Amy asking asking: "Do you love her so much?" with Polly replying: "She loves me" and excitedly announcing that she's moving.

according to IMDB’s Box Office Mojo. The film, which The Post called “lousy,” opened on Wednesday, ahead of the holiday weekend.

J. Kim Murphy It’s a box office Koopa d’état. “The Super Mario Bros. Movie” continues to super smash its opening projections, drawing $55 million from 4,343 theaters on Friday. Released Wednesday, the film has already earned $137 million in domestic ticket sales. If every dollar were a coin, that would amount to 1.37 million 1-Up mushrooms. That’s a lot of extra lives. The Universal and Illumination film is still on track for a $195 million opening in North America over the five-day Easter weekend frame. That’s way ahead of the $150 million projections that were being reported at the start of the week. Even more impressively, “Super Mario Bros.” now looks to leap to a $368 million global debut. That would become the biggest ever opening for an animated film, though that comes with a huge caveat. The current record holder, 2019’s “Frozen II,” earned $358 million over a traditional three-day window.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Deadline’s Most Valuable Blockbuster tournament took a hiatus during the pandemic as movie theaters closed for the majority of 2020-2021 and theatrical day-and-date titles on both the big screen and studios’ respective streaming platforms became more prevalent. Coming back from that brink, the studios have largely returned to their theatrical release models and the downstream monies they can bring. Not to mention their power in launching IPs around the world with big global marketing campaigns. When it comes to evaluating the financial performance of top movies, it isn’t about what a film grosses at the box office. The true tale is told when production budgets, P&A, talent participations and other costs collide with box office grosses, and ancillary revenues from VOD to DVD and TV. To get close to that mysterious end of the equation, Deadline is repeating our Most Valuable Blockbuster tournament for 2022, using data culled by seasoned and trusted sources.

Illumination/Nintendo/Universal’s Super Mario Bros Movie doesn’t need a mushroom to get bigger, it just organically is. Out of the gate today Wednesday, sans any Tuesday previews, the feature take of the classic game is looking at $26M, for what’s translating into a $86.2M 3-day, $127.5M Wednesday through Sunday haul. Interesting, even though its opening day was a Friday, Paramount/Sega’s Sonic the Hedgehog 2 had a $26.3M first day a year ago (that included Thursday previews). That film currently holds the 3-day record for a videogame feature adaptation with $72.1M, a benchmark which Super Mario Bros looks to squash.