: Captain america the winter soldier box office
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Captain america the winter soldier box office -
Captain America will have his hands full against both Batman and Superman in 2016.
But until then, the box office belongs to Marvel anytime one of its heroes hits the multiplex. "Captain America: The Winter Soldier" held on to the top spot over the Easter holiday, fending off "Rio 2" (for a second time), the faith-based "Heaven Is for Real" and "Transcendence," a big-budget flop from Johnny Depp.
Game-changing Marvel Cinematic Universe hit "The Winter Soldier" crossed $200 million at the domestic box office on Sunday, with a worldwide tally of $586 million. The Cap stand-alone sequel is just $5 million away from passing "Thor: The Dark World" at home, bolstered no doubt by the inclusion of Black Widow, Falcon, the popular villain name-checked in the title and a beefed-up role for Nick Fury. (The whole jaw-dropping Hydra plot certainly doesn't hurt either.)
Speaking of superheroes, "The Amazing Spider-Man 2" grabbed $47 million overseas, a week ahead of its domestic debut. The second entry in Sony's reboot of the beloved webslinger series sets up a mini-Marvel Universe of its own, populated by characters controlled by the studio's old-school deal with the comic creators. Fox controls the mutants of the "X-Men" corner of the Marvel Universe, but the studio lent a scene from "Days of Future Past" to Spidey's end credits.
Disney may not control the Spidey franchise, but Marvel's corporate parent had plenty to be happy about over the weekend. "Frozen" climbed past "The Lord of the Rings: Return of the King" and "Transformers: Dark of the Moon" on the all-time worldwide box-office chart, where it now sits at #6 with $1.12 billion.
"Rio 2" stayed in second place here at home with another $22.5 million, a steeper decline than the second weekend for the 2011 original.
The faith-based movie category received a new entry over the weekend in the form of "Heaven Is for Real," a modest-budget adaptation of the popular account of a young boy's near-death experience. The book was adapted by writer/director Randall Wallace, who wrote Mel Gibson's 1995 blockbuster, "Braveheart." Reviews from critics have been mixed, but the audiences who gave "Heaven Is for Real" its $21.5 million debut assigned it an "A" CinemaScore.
Johnny Depp's "Transcendence" opened at a distant fourth with an estimated $11.1 million. The production budget for the sci-fi dud was roughly ten times that, according to reports. "Transcendence" is one of the mega-star's worst-reviewed films, ranking toward the bottom near "The Astronaut's Wife" and "The Tourist." Depp's star is unlikely to fade anytime soon, with sequels to "Alice in Wonderland" and "Pirates of the Caribbean" both on his docket. But it's nevertheless certainly still a disappointment, given the highly publicized flop of last year's "The Lone Ranger," which opened to three times as much as "Transcendence."
Marlon Wayans' spoof-sequel "A Haunted House 2" rounded out the top five with a $9.1 million debut. That number might sound bad (it's half the opening of last year's original), but considering the film's $4 million production budget and the generally low expectations associated with the genre, it's fine.
Captain America: The Winter Soldier breaks box office records
Captain America: The Winter Soldier has followed up its sterling critical reception by breaking box office records in America.
The Marvel sequel pulled in an estimated $96.2 million over its first 3 full days of release, besting the previous April record held by Fast 6.
Elsewhere, Noah dipped over 60% in its second week, pulling in a further $17 million to take its domestic gross to just over $72 million; it is doing extremely strong numbers globally however and should turn a solid profit for Paramount despite the hefty $125 million price tag.
There were no other new entrants in the top 10, but it’s worth noting that 2014 has its first sleeper hit - the sublime Grand Budapest Hotel, which is showing incredible endurance and had the lowest drop off percentage of the weekend. The superb Ralph Fiennes starring Wes Anderson flick has now coined over $33 million and counting domestically.
Marvel’s most offensive habit threatens the future of the entire MCU
In Avengers: Endgame, Tony Stark says, “I love you 3000.” Little did we know, he was actually describing the amount of money Marvel (and DC) typically pay the creators of the comic books where these stories originate.
Avengers: Endgame made $2.8 billion at the box office. Most comic book creators get checks for about $5,000 and an invitation to the premiere of the movie they helped inspire.
On August 9, The Guardian published a damning new report on familiar news: The monoliths behind Marvel and DC underpay writers, artists, and creators whose comic book creations inspire big-screen adventures. A few weeks earlier on July 16, The Hollywood Reporter published its own story that called low sums of payment as “Shut-up Money” in its headline.
Both outlets centered on celebrated comic book writer Ed Brubaker, who was shut out of film premieres for Captain America: The Winter Soldier in 2014 and expressed “mixed feelings” in his newsletter about the Disney+ series The Falcon and the Winter Soldier.
In an April 2021 appearance on Kevin Smith’s podcast Fat Man Beyond, Brubaker said: “There’s nothing preventing anyone at Marvel from looking over how much the Winter Soldier has been used in all this stuff and calling me and [co-creator] Steve Epting and saying, ‘You know what, we’re going to try to adjust the standard thing so you guys feel good about this.'”
Brubaker is just one person, but his situation is a microcosm for hundreds of other comic creators whose stories and characters for Marvel and DC — almost always in work-for-hire capacities — make the leap to Hollywood. But outside seeing their names in credits, which fans only stick around for to watch the next teaser, these creators get little thanks.
This isn’t just a question of giving credit where credit’s due, it’s a bigger problem facing the superhero industry right now. If comic book writers and artists feel less compelled to produce noteworthy original ideas for Marvel and DC, that could mean an end to the original ideas that power the biggest genre in Hollywood today.J
Journalist Reed Tucker, who wrote Slugfest, a nonfiction chronicle of Marvel and DC’s historic rivalry, tells Inverse these consequences are already being felt.
“Marvel and DC aren't in danger of losing out,” Tucker says. “They've already been losing out for decades.”
“No one is going to give away the next Superman to Marvel or DC these days.”
In the late ‘70s, creator compensation “got a lot of attention” when industry giants like Jack Kirby, and Superman creators Jerry Siegel and Joe Schuster, had public spats with publishers over inadequate payment for their popular works, Tucker says.
“At that point, a lot of writers and artists began to become more aware that they weren't going to be fairly compensated for their creations, so many of them stopped creating new characters for Marvel and DC. That's why — in part — if you look at the last few years, most of the ‘new’ characters are derivative of existing characters or gender-swapped heroes, like Lady Bullseye or Jane Foster Thor. No one is going to give away the next Superman to Marvel or DC these days.”
In the story by TheGuardian, the most revealing bit of information is Marvel’s “company practice” to send a check for just $5,000 and an invitation to the premiere of the film or TV show. (Brubaker’s story is proof even that isn’t guaranteed, telling The Guardian he was only able to attend the premiere of the 2014 Captain America sequel by texting actor Sebastian Stan, who played his creation Winter Soldier on the screen, for help past security.)
Given that any given Marvel or DC film includes characters and/or stories inspired, however loosely, by an existing work made by real people, the $5,000 payment feels paltry when the same superhero movies continue to set box office records. Even during a pandemic.
The Guardian further looked into both Marvel and DC’s respective contracts — “special character contract” at Marvel, and “creator equity” at DC — and describes them as “ways to keep creators happy enough that they don’t hold back all of their original creations for competitors.”
Further illustrating how bizarre writers receive any money for their work: Jim Starlin wrote on Facebook in 2017 he’s received more money from Warner Bros. for using a version of his DC villain KGBeast (in 2016’s Batman v Superman: Dawn of Justice) than he’s received from Marvel Studios for Thanos, his iconic villain who ruled the big screen in the MCU.
Brubaker, too, has said he’s seen more money from “SAG residuals” for his cameo role in Captain America: The Winter Soldier (his one line was cut) than for actually creating The Winter Soldier in the Marvel Universe.
That Marvel and DC fail to appropriately pay creators what they’re owed is not a new story. DC infamously paid Schuster and Siegel just $130 ($2,505 today, adjusted for inflation) for Superman, the prototype for the modern superhero. It wasn’t until relentless campaigning by the comic book community during the release of Superman in 1978 that Schuster and Siegel finally received appropriate payments for creating a global icon.
Unfortunately, the saga continued, and Hollywood’s nearly 30-year obsession with comic book adaptations — which also means further merchandise and royalty mathematics — has made the disparities far more severe.
In the 1980s, Watchmen and V For Vendetta creator Alan Moore soured on working for DC over the low payments he received in profits of his heavily-acclaimed Watchmen series, and his lack of payment at all from royalties for related merchandise. In 2006, prompted by the release of the film V For Vendetta, he recounted to The New York Times how he left DC: "I said, 'Fair enough.' You have managed to successfully swindle me, and so I will never work for you again.”
In the early ‘90s, Marvel saw an exile of its best talent at the time, including Todd McFarlane, Jim Lee, Erik Larsen, Rob Liefeld, and more. The group founded Image Comics, which prioritized creator’s copyrights over their work. Some of Image’s biggest successes include Spawn, The Walking Dead, Invincible, and Kick-Ass, all of which have made their way into films and TV.
In a 2021 interview with Polygon, author Ta-Nehisi Coates, who spent years as the writer of both Marvel’s Black Panther and Captain America comic series, laments the treatment of talent.
“I wish that Marvel found better ways to compensate the creators who helped make Black Panther Black Panther. I wish that they found better ways to compensate the folks who made Captain America Captain America,” Coates said. “I wish they found ways to compensate the author of the greatest Winter Soldier stories that you’re ever going to read ... The corporate side of this is not pretty. It’s not pretty at all. How you treat people who create the basis for this, I don’t love it.”
It should be said that Brubaker and Coates have both spoken highly of various levels of Marvel’s management. In his original newsletter that got the industry talking once again about equity, Brubaker went as far to write that “everyone at Marvel Studios that I’ve ever met (all the way up to Kevin Feige) have been nothing but kind to me.”
But kindness doesn’t pay bills, and creators are known to fall on hard times when work dries up. The mere existence of the non-profit charity Hero Initiative, which serves to provide assistance to artists in need, is illuminating.
“Marvel and DC will potentially miss out on a lot of great stories.”
Marvel, DC, and many other big comic book publishers have relied on freelancers to fill its pages with stories about good and evil, justice and injustice. But for many years the industry has taken advantage of talents, who in turn provide the basis for pop culture that gross billions worldwide. While the creators are not (normally) involved in the actual scriptwriting or filmmaking process, their imaginations still fuel everything fans latch onto. In that way, just a few thousand bucks hardly feels like a tall leap in a single bound.
Adds Reed Tucker: “One huge downside for the publishers is that some of the bigger talent will no longer work for them, instead preferring to create their own comics with characters they own. That means Marvel and DC will potentially miss out on a lot of great stories that could sell a lot of copies and could have been mined for TV and movies.”
Disney and Marvel could be one of the finest teams around.
Continuing the success of their superhero franchise, "Captain America: The Winter Soldier" has set a record as the biggest domestic April release ever. The Disney sequel debuted with $96.2 million, topping the previous record-holder, 2011's "Fast Five," which opened with $86.2 million.
"The Winter Soldier," which stars Chris Evans as the shield-wielding superhero and Scarlett Johansson (whose sci-fi film "Under the Skin" also debuted this weekend with $140,000) as Black Widow, commanded 32 international markets last weekend.
Expanding to Russia, Australia and China in its second week, the Marvel comic adaptation, boasting a budget of over $170 million, earned $107.1 million internationally this weekend, bringing its overall worldwide haul to more than $303 million.
Also a touchstone for Imax, "The Winter Soldier" received $9.6 million of its U.S. haul on 346 screens showing the film in the enhanced resolution format. Internationally, it showed on 278 Imax screens, bringing in $6.5 million, $4 million of which was delivered from China.
"Captain America: The First Avenger," which had a budget of around $140 million, debuted in July 2011 with $65 million. Overall, it earned $371 million worldwide.
Why the shift to an April release rather than remaining a summer launch?
"We looked at the possibility of creating separation from the other summer tentpoles," said Dave Hollis, head of worldwide theatrical distribution for Disney. "There was an opportunity. We have the second Marvel film coming at the end of the summer in 'Guardians of the Galaxy.' We wanted to start and end the summer and take advantage of this holiday. In the next month or so we'll have the benefit of spring break."
"The Avengers effect," as Hollis calls it, set the stage for the continuation of Marvel's massive box office presence, which includes the "Iron Man" and "Thor" franchises. With the release of the films' sequels, both have seen earning jumps of over 35 percent.
"There are very few movie brands that are this consistent," Paul Dergarabedian, senior media analyst for box-office tracker Rentrak, said of the Disney-Marvel team. "For `The Winter Soldier' to push on $100 million in April shows that you can release a big movie any time of the year. Every studio is going to be looking at this date to plant their flag in the future."
There's plenty of stars in the new "Captain America" film, including Chris Evans, Scarlett Johansson, Sebastian Stan, Anthony Mackie, Cobie Smulders, Robert Redford and Samuel L. Jackson.
Johansson told CBS News it was great working with Evans: "I've known Chris for, gosh, 10 years and this our fourth movie together. He's got a lot of humlity and a great sense of humor."
Meanwhile, Paramount's biblical saga "Noah," starring Russell Crowe, Jennifer Connelly and Emma Watson, took a drastic dip in its second weekend, earning $17 million after debuting with $44 million. Still, it sailed into second place, crossing the $70 million mark domestically, while pushing Lionsgate's young adult science-fiction thriller "Divergent," led by Shailene Woodley, to third with $13 million in its third week. Its stateside total is now $114 million.
Freestyle Releasing's surprise hit "God's Not Dead" took the No. 4 slot with $7.7 million in its third weekend.
Despite the decrease in the "Noah" box office performance, the outcome of film's debut, its overall haul, and the success of both "Son of God" and "God's Not Dead" bodes well for other biblical-themed films coming this year, including "Heaven is for Real," starring Greg Kinnear and "Exodus: Gods and Kings," starring Christian Bale.
Coming in at No. 5, Wes Anderson's "The Grand Budapest Hotel" collected $6.3 million, bringing its domestic total to $33 million. Fox Searchlight expanded its stylish comedy to 1,263 locations, and the studio plans to add even more in the coming weeks. This is Anderson's second widest expansion following 2009's "Fantastic Mr. Fox."
"As this movie is expanding it is just building an audience," Dergarabedian said. A total of "$33 million compared to something like `Captain America' doesn't sound like a lot, but it's a huge number for a film like 'Grand Budapest' that is so indie-minded and original."
The weekend's other releases included Codeblack Films' "Frankie and Alice," starring Halle Berry as a dancer with multiple personality disorder. Playing in 171 locations, it earned $350,000.
And Fox Searchlight's dark comedy "Dom Hemingway," starring Jude Law and "Game of Thrones" star Emilia Clarke, had a domestic gross of $32,000 after showing in only four theaters in New York and Los Angeles. Next week the film will expand to nearly 40 locations.
Disney's "Muppets Most Wanted," which landed at No. 6 with $6.3 million in its third weekend, and Fox's "Mr. Peabody and Sherman," coming in at No. 7 with $5.3 million in its fifth weekend, were the top kiddie films. But Fox's animated "Rio 2" stands to knock them down a few notches when it opens in the U.S. next weekend.
Tell us: Did you see "Captain America: The Winter Soldier"? What did you think?
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'Captain America' Sequel Set To Be Largest April Box-Office Opening Weekend Ever
"Captain America: The Winter Soldier" is opening Friday and is expected to have a huge box-office weekend. Not only should it have the largest box-office opening weekend for an April release but also of 2014 so far.
Currently, "The Winter Soldier" is commanding 82% of the Fandango's advanced weekend ticket sales. That's ahead of advanced tickets sales for "Thor: The Dark World" at the same point.
That sequel brought in $85.7 million opening weekend last November.
The film is also out-pacing ticket pre-sales of the fifth “Fast & Furious” movie, 2011’s “Fast Five” which debuted to $86.2 million.
Estimates are placing "The Winter Soldier" anywhere from $90-$97 million this weekend.
Fandango's Chief Correspondent Dave Karger tells Business Insider fan's anticipation of next summer's "Avengers" sequel is one reason the movie is already selling like a summer hit.
"This movie is the closest thing that we're going to get to an Avengers film all year and the Marvel fans know that," says Karger.
Scarlett Johansson's Black Widow is another driving force behind strong ticket sales.
"Scarlett is a huge factor in the early success of this film," says Karger. "She has a huge fanbase, and early reviews have really trumpeted her position in the movie as a strong female co-lead."
"Captain America: The Winter Soldier" opened up in Europe a week ahead of its US release and has already made $75.2 million overseas.
Here are the numbers to beat this weekend for April openings:
Here are the largest worldwide 2014 box-office openings:
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