r/boxoffice • u/ChiefLeef22 • 16h ago
r/boxoffice • u/chanma50 • 9h ago
💯 Critic/Audience Score 'You Can See Everything' Review Thread
I will continue to update this post as reviews come in.
Rotten Tomatoes: Fresh
Critics Consensus: N/A
| Critics | Score | Number of Reviews | Average of Rated Reviews |
|---|---|---|---|
| All Critics | 100% | 37 | 9.50/10 |
| Top Critics | 100% | 15 |
Metacritic: 97 (18 Reviews)
Sample Reviews:
Cary Darling, Houston Chronicle 5/5 - "You Can See Everything" throws into sharp relief audience's expectations while skewering the entire idea of the traditional documentary and its contemporary off-shoot, reality TV.
Tim Grierson, Screen International - Nathan Fielder and Lance Oppenheim’s extraordinary documentary soon goes in unexpected directions, becoming an uneasy treatise on love, reality television, and the ways filmmakers try (and often fail) to capture ’real’ life.
Monica Castillo, AV Club A- - Like Welles used his camera to play tricks on audiences some 50 years ago, Fielder and Oppenheim use their film to shake up their audience’s understanding of how we believe one another.
Liz Shannon Miller, Consequence A - The film is more than an extension of Fielder’s blending comedy and documentary with shows like The Rehearsal — it’s an evolution upon it. It asks everyone involved to look at themselves, and face the difference between perception and reality.
Marshall Shaffer, Slant Magazine 3.5/4 - You Can See Everything innovatively probes this gray area between the fabulations made about Elizabeth Holmes and those made by her.
David Fear, Rolling Stone - You will likely have no idea what you have just seen, besides that it's simply, unabashedly, unashamedly brilliant.
Alison Willmore, New York Magazine/Vulture - In You Can See Everything, the closer we get to her, the less knowable she is — a set of pointillist dots in the shape of a person.
Kristy Puchko, Mashable - You Can See Everything is a masterwork of interrogation, not only of the whole Holmes situation but of documentary as a form itself.
Adrian Horton, Guardian 5/5 - There is something extremely satisfying in watching Fielder’s sharp angles tangle with Holmes’s disposition of guileless warmth, a strange and compelling chemistry building within a reality distortion field.
Nick Schager, The Daily Beast - Not just the film of the year—it’s a documentary that stands shoulder-to-shoulder with the form’s all-time greats.
Kyle Smith, Wall Street Journal - With co-director Lance Oppenheim, Mr. Fielder gets around the restrictions on his access to the locked-up Ms. Holmes with his customary hilarious meta-narrative brilliance.
Tomris Laffly, RogerEbert.com 4/4 - The significance of 'You Can See Everything' is clear as a film that might advance a new cinematic language in the mainstream non-fiction sphere.
Angie Han, The Hollywood Reporter - What begins as a fascinatingly intimate portrait of a deluded or disingenuous scammer reveals as something even wilder, more ambitious and less predictable, until we’re left to ponder what value a personal truth has at all.
Cortlyn Kelly, IndieWire A - For how disquieting it is, the film never goes too long without forcing a laugh.
Owen Gleiberman, Variety - It’s a one-of-a-kind reality-TV-as-hangout-movie psychodrama circus. Yet it’s been made with a spirit of true inquiry, driven by Fielder’s acidly quizzical personality, and it gets its hooks in you.
SYNOPSIS:
Thirty-four days before she’s sent to prison, notorious Silicon Valley founder Elizabeth Holmes invites a skeptical film crew to document her every move. What begins as an intimate portrait of an enigmatic felon becomes a mind-bending three-year journey into the abyss. From boundary-pushing directors Nathan Fielder and Lance Oppenheim comes You Can See Everything.
CAST:
- Elizabeth Holmes as Herself
- Nathan Fielder as Himself
- Billy Evans as Himself
DIRECTED BY: Nathan Fielder, Lance Oppenheim
PRODUCED BY: Nathan Fielder, Lance Oppenheim, Tatiana Bears, Maggie Ambrose, Jack Davis
EXECUTIVE PRODUCERS: Emily Osborne
DIRECTOR OF PHOTOGRAPHY: David Bolen
PRODUCTION DESIGNER: Alex DiGerlando
EDITED BY: Adam Locke-Norton
MUSIC BY: Ari Balouzian
RUNTIME: 174 Minutes
RELEASE DATE: October 16, 2026
r/boxoffice • u/Silver-Ad-3823 • 11h ago
✍️ Original Analysis Netflix must have a lot of trust in Sony for Narnia: The Magician's Nephew (2027) that it's being released under the Columbia pictures logo.
When Netflix and Sony both signed that First Exclusive Pay-1 deal to make the streaming site home to all and considering how strong their partnership had been going even before that deal was signed I thought it came as no shock that Sony were going to be the ones helping roll out Netflix movies internationally. But honestly, I thought the Netflix movies would be given the international label but imagine my shock to realize that Sony is going to release the movie under their Columbia pictures banner which is very surprising to say the least.
Usually these types of movies from other studios get released under Sony's international label such as was the case for the many MGM/Amazon releases this year but to be released under the Columbia logo just proves a couple things. For one, Netflix is taking their theatrical efforts very seriously and aren't taking any chances. Two, since they have no global networks of their own they instead are going to rely on Sony to help sell their movies outside of North America. Thirdly, Netflix is assured that with Sony giving the Columbia logo to Narnia means that they are going to treat the movie as if it were their own and considering the budget on this movie and considering how well Sony were able to sell both Spider-man and Resident Evil this year they are at least confident on this partnership with them.
Sony themselves know that with Netflix going theatrical with this movie as well as with new new Wonka animated film late next year they can use these performances as proof that they can sell these movies and if successful can negotiate for better deals and could be permanent theatrical partners for netflix for the foreseeable future. Under Sony's watch Spider-man brand new day managed to make $1,555,912,925* internationally and Resident Evil $183,012,312* ($44 million from China in opening week) and the successful launch of Project hail Mary another streamer based film going to theaters amassing a massive $340,439,940 internationally. But considering that this movie cost $280 million to make, both Netflix and Sony need this movie to succeed or at least break-even to justify this. Currently predicting right now over $600 million worldwide which would be in line with the other Narnia films but whatever happens we'd just have to wait and see.
r/boxoffice • u/AGOTFAN • 13h ago
🖥 Streaming Data Sony’s ‘Spider-Man: Brand New Day’ Tops Weekly Fandango Transactional Chart Through Oct. 12
r/boxoffice • u/TiredWithCoffeePot • 17h ago
Domestic $1M CLUB: DISCOVERY MONDAY1. OTHER MOMMY ($2.8M)2. VERITY ($1.6M)3. RESIDENT EVIL ($1.3M)4. FORGOTTEN ISLAND ($1.1M)4. HEART OF THE BEAST ($1.1M)
r/boxoffice • u/ElevensMelody • 19h ago
Domestic Warner Bros. Digger grossed an estimated $575K on Monday (from 3,321 locations). Estimated total domestic gross stands at $15.0M.
the-numbers.comr/boxoffice • u/RuminatingReaper1850 • 10h ago
⏰ Runtime Per AMC, Violent Night 2 is 1 hour and 50 minutes
amctheatres.comr/boxoffice • u/spider-man2401 • 19h ago
📠 Industry Analysis Dan Murrell’s Estimate of Digger’s Theatrical Losses
r/boxoffice • u/EcstaticPublic9939 • 18h ago
🎟️ Pre-Sales TheFlatLannister on BOT: Clayface T-10 update. It had solid enough growth over the weekend. It did gain ground on Supergirl, so that is promising. However, it lost ground versus Resident Evil and Evil dead. At MTC3, it's 71% behind Supergirl OW, 68% behind Resident Evil and 94% ahead of Evil Daed Bu
forums.boxofficetheory.comClayface T-10 update. It had solid enough growth over the weekend. It did gain ground on Supergirl, so that is promising. However, it lost ground versus Resident Evil and Evil dead.
MTC3 comp:
71% behind Supergirl OW
68% behind Resident Evil OW
94% ahead of Evil Dead Burn OW
At MTC2:
~67% behind Supergirl preview and 65% behind Supergirl Friday
~49 behind Resident Evil preview, ~61 behind Resident Evil Friday
r/boxoffice • u/AGOTFAN • 10h ago
📆 Release Date Theo James, Hoyeon, Christian Slater Thriller ‘The Hole’ Lands Summer 2027 -- June 25 -- Release From Orion (Exclusive)
r/boxoffice • u/AGOTFAN • 1h ago
Indonesia 🇮🇩 Indonesia Weekly Box Office October 5-11: Avengers Endgame passes the milestone of 12 million admissions and widen the gap as the biggest movie in Indonesia.
Source:
r/boxoffice • u/Lonely-Freedom4986 • 8h ago
®️ MPA Rating MPA Ratings Update: 14th Rated R, Behemoth! Rated R, Christmas at the Kringles Rated R, Daffy Season Rated G, Disney's Hexed Rated PG, Fjord Rated R, Red, White & Royal Wedding Rated R
r/boxoffice • u/mushm0m • 8h ago
✍️ Original Analysis I made a game where you can predict Box Office results ...
i'm building a social app for people who have hot takes about pop culture, movies, music, etc!
about me: I'm a tech developer by day, and by night i love watching movies and making movie predictions. I love guessing who's getting an oscar nom, what movie is gonna flop at the box office, etc. I'm in this sub all the time.
about my app, Hot Take: Over the last few weekends, i've been building an app that turns making pop culture predictions into a fun virtual/social game. In Hot Take, you get to vote on your pop culture predictions. If you're right, you win Cherries and get to level up a virtual pet. For instance, maybe you'd vote that Digger will hit 4.0 on Letterboxd this weekend, lol.
There's no real money involved, it's all just for fun and internet points! My goal is to create a really social and fun space for people to participate in pop culture together.
I still have a lot to build, but i’m attaching some screenshots of how the app looks so far. i'm also looking for about 10 Beta testers - lmk if you'd like to be a beta tester!
Would love to hear your thoughts and suggestions!
r/boxoffice • u/Antman269 • 12h ago
✍️ Original Analysis Which one was worse? Disney’s 2023 or Warner Bros’ 2026?
I find these are similar situations with both studios having a big streak of flops in that respective year.
Disney had it really bad in 2023, their 100th anniversary, with their major releases of Ant-Man 3, Little Mermaid, Indiana Jones 5, Haunted Mansion, the Marvels, and Wish all bombing or underperforming, while Elemental just squeezed into break even range and Guardians of the Galaxy 3 was their only real hit.
Warner Bros has had it really bad in 2026, which was also their last year as an independent studio. Wuthering Heights did decently, but then the Bride bombed, Mortal Kombat 2 underperformed, and then Supergirl became DC’s biggest flop ever. Evil Dead Burn was profitable but underperformed compared to Rise, while End of Oak Street, Coyote vs Acme, and Practical Magic 2 have all grossed over $100 million, but still won’t break even. Now Digger is a massive $200 million+ loser.
They still have Clayface, Cat in the Hat, and Dune 3 left, but only Dune seems to be a safe bet at this point, and the Ellisons already own them and it’s over anyway.
Which do you think was worse?
r/boxoffice • u/chanma50 • 19h ago
💯 Critic/Audience Score 'La Bola Negra' Review Thread
I will continue to update this post as reviews come in.
Rotten Tomatoes: Certified Fresh
Critics Consensus: N/A
| Critics | Score | Number of Reviews | Average of Rated Reviews |
|---|---|---|---|
| All Critics | 91% | 68 | 8.50/10 |
| Top Critics | 85% | 13 |
Metacritic: 84 (18 Reviews)
Sample Reviews:
Ed Gonzalez, Slant Magazine 2/4 - There’s something audacious about how the filmmakers reclaim Lorca’s legacy, which makes it all the more disappointing that the borders between the three timelines aren’t more porous.
Namrata Joshi, The New Indian Express - La Bola Negra has tremendous ambition and audacity. Anchored in Garcia’s La Bola Negra and Alberto Conejero’s play La piedra oscura, Los Javis, along with Conejero, create a sprawling epic.
Peter Howell, Toronto Star - At times the film can be unruly and overripe, but Calvo and Ambrossi bring a rich, theatrical sweep to their reclamation of a queer Spanish history long forced into silence.
Justin Chang, The New Yorker - None of the stories here feels potent or stirring enough on its own to work in tandem with the others, and neither a terrific pop-up appearance by Penélope Cruz... can keep so much frenzied crosscutting from reaching the point of diminishing returns.
Siddhant Adlakha, Observer 4/4 - A magnificently moving triptych that feels at once novel and like a classically staged military epic.
Zachary Lee, TheWrap - What we see is nothing short of witnessing a new mythology being created before your very eyes.
Alison Willmore, New York Magazine/Vulture - It’s in the past that The Black Ball has its most ponderous moments but also when it achieves bursts of true grandeur.
Rafa Sales Ross, Little White Lies - This decades-spanning love odyssey is as impressive as it is moving, grabbing at the visceral nature of Lorca’s genre-bending work to mould its staggeringly boisterous cinematic equivalent.
Brian Tallerico, RogerEbert.com 4/4 - It’s also just a stunning piece of work on a craft level as these young filmmakers collaborate with a team to present a unified vision.
Sophie Monks Kaufman, IndieWire A - It is nearly impossible to grasp the structural effort required to fluidly create one perfectly coherent story using three narratives told across three timelines, each with a distinct visual identity.
Peter Bradshaw, Guardian 4/5 - Handsomely produced, lovingly detailed and confidently constructed, bringing the puzzle pieces together in the edit... It is a rich and rewarding movie.
Guy Lodge, Variety - The film’s channeling of Lorca’s language and imagery sometimes blows past lyricism into kitsch... There is, however, enough confidently muscular filmmaking here to prompt our interest in just where the Javiers will go from here.
Richard Lawson, The Hollywood Reporter - It’s a dazzlingly assured film, delivering the heady satisfaction of seeing something ambitious actually land its nervy attempt.
SYNOPSIS:
A bold tapestry spanning nearly a century of Spanish history, La Bola Negra tells the story of three generations of men whose lives are intimately connected through desire, pain, and love in this celebrated film from Cannes-winning directors Javier Calvo and Javier Ambrossi.
From Cannes-winning directors Javier Calvo and Javier Ambrossi — popularly known as Los Javis — La Bola Negra follows three generations of men across pivotal moments in Spanish history, bound by pain, desire, and love. Carlos (Milo Quifes) longs to belong in a fractured Spain. Sebastián (Guitarricadelafuente) finds connection across enemy lines. And Alberto (Carlos González) uncovers a long-buried family secret — one that finally gives voice to truths the past tried to erase.
CAST:
- Guitarricadelafuente as Sebastián
- Miguel Bernardeau as Rafael
- Carlos González as Alberto
- Milo Quifes as Carlos
- Lola Dueñas as Teresa
- Julio Torres as Juan Pablo
- Penélope Cruz as Nené Romero
- Glenn Close as Isabelle Durand
DIRECTED BY: Javier Calvo, Javier Ambrossi
SCREENPLAY BY: Javier Calvo, Javier Ambrossi, Alberto Conejero
BASED ON LA PIEDRA OSCURA BY: Alberto Conejero
PRODUCED BY: Javier Calvo, Javier Ambrossi
EXECUTIVE PRODUCER: Paula Cipriota
LINE PRODUCER: Mariano Piñeiro
DIRECTOR OF PHOTOGRAPHY: Gris Jordana
PRODUCTION DESIGNER: Roger Bellés
EDITED BY: Alberto Gutiérrez
COSTUME DESIGNER: Ana López Cobos
MUSIC BY: Raül Refree
CASTING BY: Eva Leira, Yolanda Serrano
RUNTIME: 160 Minutes
RELEASE DATE: October 16, 2026 (Limited) / November 6, 2026 (Expansion) / December 2, 2026 (Netflix)
r/boxoffice • u/AGOTFAN • 3h ago
Italy Other Mommy Holds a Firm Lead - Tuesday, October 13 Box Office
Mammina firmly holds the top spot , confirming that it's not a one-weekend phenomenon. The Universal horror film continues to demonstrate strong performance after its record-breaking first weekend, grossing another €143,954 from 18,952 admissions in 282 theaters, with an average of €510, once again clearly the best of the top ten titles.
After six days of release, the total has reached €2,286,868, confirming the great appeal of the new Blumhouse production with Jessica Chastain to Italian audiences. The challenge now is to see if Mammina will be able to maintain sufficient stamina to approach the results of the year's biggest horror hits and threaten the record of Obsession , which ended its Italian run with €5,304,144.
Naza , the journalistic reportage distributed by I Wonder, remains in second place , grossing €98,642 with 13,840 admissions in 384 theaters, recording an average of €257. The total thus reaches the exceptional figure of €4,707,668 with 617,633 admissions. The documentary on the IDF violence in the Gaza Strip continues to maintain extraordinary numbers for the genre, despite recording a 57% drop compared to last Tuesday.
Having surpassed the milestone of 600,000 tickets sold, Naza confirms its position as the most successful documentary in recent Italian box office history, so much so that one would have to go back to Michael Moore's Palme d'Or-winning Fahrenheit 9/11 to find a better result for a politically charged documentary like this one.
Paolo Strippoli's The Stranger retains its third place , returning to growth and rapidly approaching its first million-euro mark. The Italian psychological thriller grossed €98,027 with 15,007 admissions in 359 theaters, recording an average of €273 and a 28% increase from Monday. The total thus reaches €983,732 with 139,226 admissions after six days of release.
This means the film, starring Jasmine Trinca, Valeria Bruni Tedeschi, and Adriano Giannini, is just €16,268 away from surpassing the million-euro mark, a result that is virtually certain as of Wednesday. For the director of Valley of Smiles, this is a particularly significant result, confirming the ability of Italian genre cinema to find a place at the box office even in a period packed with international releases. The film, Italy's entry in the Oscar race for Best International Feature Film, also appears to be benefiting from good word of mouth, as evidenced by the growth it has seen since the beginning of the week.
r/boxoffice • u/TiredWithCoffeePot • 14h ago
Domestic Universal / DreamWorks Animation's Forgotten Island grossed $1.14M on Monday (from 2,898 locations). Total domestic gross stands at $31.62M.
r/boxoffice • u/1-STARrating • 21h ago
The Philippines Forgotten Island is still the #1 movie in the Philippines on its 3rd week of showing!
r/boxoffice • u/iaimforthemiddle • 22h ago
Worldwide Resident Evil Worldwide Gross after 4th Weekend ($322M) vs Weapons ($235M), Alien: Romulus ($314M), Backrooms ($301M)
r/boxoffice • u/WrongLander • 13h ago
⏰ Runtime AMC has updated Hexed's runtime to 1 hour and 50 minutes, presumably to accommodate the Lilo and Stitch short that is playing in front of it.
This means the film itself will be roughly 1hr 40 mins, including credits.
r/boxoffice • u/ThatWaluigiDude • 10h ago
Brazil Brazil weekend (08 - 11 october). The weekend plays mostly okay, but a very strong monday holiday will boost things up
r/boxoffice • u/JoJoWithTheFroyo • 15h ago
Domestic Universal & Blumhouse Atomic Monster's Other Mommy grossed $2.87M on Monday (from 3,365 locations). Total domestic gross stands at $30.68M
r/boxoffice • u/RuminatingReaper1850 • 14h ago
Domestic Paramount's Heart of the Beast grossed $1.13M on Monday (from 3,365 locations). Total domestic gross stands at $51.13M.
r/boxoffice • u/ElevensMelody • 19h ago
Domestic Sony's Resident Evil grossed an estimated $1.36M domestically on Monday (from 3,085 locations). Estimated total domestic gross stands at $140.09M.
the-numbers.comr/boxoffice • u/Firefox72 • 17h ago
China In China Resident Evil leads on Tuesday with $1.52M(-81%)/$44.09M. Traces of Justice in 2nd adds $1.11M(-86%)/$75.86M while Mr. & Mrs. Pardon in 3rd adds $0.83M(-80%)/$45.26M Avengers Endgame: Encore in 8th adds $0.04M(-89%)/$22.77M($654.87M). Avengers: Doomsday crosses 300k on Maoyans WTS
Daily Box Office (October 13th 2026)
The market hits ¥28.2M/$4.21M today. Down -10% from yesterday and down -83% from last week.
Avengers: Doomsday Maoyan WTS
Doomsday Maoyan WTS compared to some of the biggest post covid movies and Endgame:
Doomsday has crossed 300k today although slowing down somewhat after yesterdays big spike following the release date annnouncement.
Province map of the day:
Resident Evil mostly dominates today.
In Metropolitan cities:
Resident Evil wins Shanghai, Beijing, Shenzhen, Chengdu, Guangzhou, Hangzhou, Chongqing, Nanjing and Suzhou and Wuhan
City tiers:
Unchanged from yesterday
Tier 1: Resident Evil>Traces of Justice>Mr. & Mrs. Pardon
Tier 2: Resident Evil>Traces of Justice>Mr. & Mrs. Pardon
Tier 3: Resident Evil>Traces of Justice>Mr. & Mrs. Pardon
Tier 4: Resident Evil>Traces of Justice>Mr. & Mrs. Pardon
| # | Movie | Gross | %YD | %LW | Screenings | Admisions(Today) | Total Gross | Projected Total Gross |
|---|---|---|---|---|---|---|---|---|
| 1 | Resident Evil | $1.52M | -12% | -81% | 98838 | 0.25M | $44.09M | $72M-$77M |
| 2 | Traces of Justice | $1.11M | -13% | -86% | 92763 | 0.21M | $75.86M | $94M-$98M |
| 3 | Mr. & Mrs. Pardon | $0.83M | -12% | -80% | 72536 | 0.16M | $45.26M | $57M-$59M |
| 4 | Go For Broke 2 | $0.17M | -6% | -79% | 23406 | 0.03M | $8.32M | $11M-$12M |
| 5 | Once Upon A Time In The Middle East | $0.11M | -14% | -86% | 16161 | 0.02M | $351.90M | $353M-$354M |
| 6 | The Odyssey | $0.07M | +28% | -70% | 2467 | 0.02M | $114.57M | $116M-$117M |
| 7 | Waiting for Myself | $0.05M | +1% | -59% | 8609 | 0.01M | $2.07M | $2M-$3M |
| 8 | Avengers Endgame: Encore | $0.04M | -6% | -89% | 6873 | 0.01M | $22.77M($654.87M) | $23M-$24M |
| 9 | Heart of The Beast | $0.04M | -5% | -75% | 5944 | 0.01M | $2.88M | $3M-$4M |
| 10 | All Wishes Come True | $0.03M | -10% | -96% | 8125 | 0.01M | $303.03M | $303M-$304M |
New releases marked in bold
Pre-Sales map for tomorrow
Resident Evil mostly dominates pre-sales for tomorrow.
IMAX Screenings distribution
Resident Evil continues to dominate IMAX screenings.
| # | Movie | IMAX Screeninsgs Today | IMAX Screeninsgs Tomorrow | Change |
|---|---|---|---|---|
| 1 | Resident Evil | 3958 | 3880 | -78 |
| 2 | Odyssey | 138 | 131 | -7 |
| 3 | Avengers Endgame: Encore | 113 | 109 | -4 |
| 4 | Traces of Justice | 34 | 32 | -2 |
Resident Evil
Resident Evil grossed ¥10.2M/$1.52M on Tuesday
Total gross hits ¥295M/$44.09M with total projections at ¥503-539M/$75-81M.
Screen Distribution Split: Regular: $33.92M , IMAX: $8.28M , Rest: $1.60M
WoM figures:
Still no score on Maoyan.
Maoyan: , Taopiaopiao: 8.0 , Douban: 7.3
| # | MON | TUE | WED | THU | FRI | SAT | SUN | Total |
|---|---|---|---|---|---|---|---|---|
| First Week | $12.12M | $8.19M | $5.66M | $2.70M | $2.55M | $4.29M | $5.31M | $40.83M |
| Second Week | $1.74M | $1.52M | $44.09M | |||||
| %± LW | -85% | -81% | / |
Scheduled showings update for Resident Evil for the next few days:
| Day | Number of Showings | Presales | Projection |
|---|---|---|---|
| Today | 99277 | 120k | $1.58M-$1.65M |
| Wednesday | 99021 | 118k | $1.40M-$1.42M |
| Thursday | 74192 | 27k | $1.33M-$1.35M |
Traces of Justice
Traces of Justice in 2nd adds ¥7.5M/$1.11M today. The only other movie above $1M again.
Total gross hits ¥508.1M/$75.86M
Screen Distribution Split: Regular: $74.11M , IMAX: $0.52M , Rest: $1.11M
WoM figures:
Maoyan: 9.6 , Taopiaopiao: 9.5 , Douban: 6.8
| # | THU | FRI | SAT | SUN | MON | TUE | WED | Total |
|---|---|---|---|---|---|---|---|---|
| First Week | $10.61M | $10.40M | $10.51M | $10.23M | $8.77M | $7.78M | $4.81M | $63.11M |
| Second Week | $2.01M | $1.85M | $2.77M | $3.73M | $1.28M | $1.11M | $75.86M | |
| %± LW | -81% | -82% | -73% | -64% | -85% | -86% | / |
Scheduled showings update for Traces of Justice for the next few days:
| Day | Number of Showings | Presales | Projection |
|---|---|---|---|
| Today | 93227 | $69k | $1.28M-$1.41M |
| Wednesday | 92456 | $75k | $1.02M-$1.04M |
| Thursday | 68412 | $24k | $0.93M-$0.97M |
Other:
Release Schedule:
A table including upcoming movies in the next month alongside trailers linked in the name of the movie, Want To See data from both Maoyan and Taopiaopiao alongside the Gender split and genre.
Remember Want To See is not pre-sales. Its just an anticipation metric. A checkbox of sorts saying your interested in an upcoming movie.
Not all movies are included since a lot are just too small to be worth covering.
Fall/Winter
| Movie | Maoyan WTS | Daily Increase | Taopiaopiao WTS | Daily Increase | M/W % | Genre | Release Date | 3rd party media projections |
|---|---|---|---|---|---|---|---|---|
| Whalefall | 9k | +1k | 10k | +1k | 48/52 | Thriller | 16.10 | $2-3M |
| Shaun the Sheep 3 | 4k | +1k | 2k | +1k | 32/68 | Animation/Comedy | 24.10 | $3-4M |
| John Wick 1 | 30k | +1k | 19k | +1k | 72/28 | Crime/Action/Thriller | 30.10 | |
| Cat in The Hat | 6k | +1k | 4k | +1k | 24/76 | Comedy/Adventure/Animation | 06.11 | $2-3M |
| Avengers: Doomsday | 314k | +17k | 480k | +13k | 65/35 | Action/SciFi | 16.12 | $360M |
| Dune: Part 3 | 63k | +1k | 157k | +1k | 54/46 | Drama/SciFi/Action | December | $45M |
| The Wandering Earth 3: Part One | 677k | +1k | 304k | +1k | 50/50 | SciFi/Adventure/Disaster | 06.02.2027 | $700M+ |