STX is currently mulling where to re-date the film in the 4Q release schedule. 25 release on Gerard Butler’s Greenland it’s the right type of movie for right now. I think that’s why a number of sources, including exhibition and distributors, were upset to hear that STX wasn’t sticking to its Sept. The notion behind these titles being on the marquee is that Red State male moviegoers per sources are more prime to head to the movies than older females. The interesting thing here is that this is another red meat- and-potato action movie aimed at older men (who showed up at 57% men, 62% over 35 years of age per Screen Engine/ComScore’s PostTrak) that did some decent business in the current pandemic following Solstice Studios’ Unhinged which has a shot at reaching $20M domestic ultimately (Not bad for a movie that cost $30M). The one notable wide entry this past weekend on the independent side was the Jim Caviezel action thriller Infidel from Cloudburst Entertainment at 1,724 locations which grossed $1.5M (or $870 a location) in the No. They’ve kept their P&A thrifty on the TV stateside with spots during the NBA and NFL, and have largely focused on a digital campaign. The studio, of course, plans to give Tenet a big marketing relaunch whenever New York, Los Angeles, and San Francisco reopen. As we have mentioned before, the movie is powered by its offshore grosses as COVID-19 has been managed much better abroad than in the U.S. Domestic stands at a very low $36.1M with the sunny patches for this Christopher Nolan feature being the overseas box office where it counts $214M after a great start in Japan over the weekend, sending WW to $250M.
Again, great on Warner Bros., for having a marquee movie out there that can draw audiences as they become comfortable with attending cinemas during the pandemic. Warner Bros., which is still hiding box office figures from distributors in ComScore, has finally reported the fourth domestic weekend for Tenet (3rd weekend U.S.) and the 3-day clocked $4.7M, -30% from last weekend’s $6.7M, in a nation where only 74% of all movie theaters are open (based on total grossing capacity), with hard tops still closed in Los Angeles, New York City, and San Francisco.
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