Marvel Studios is already shifting around its movie release schedule of Phase 4 and 5 of the Marvel Cinematic Universe. Blade, Untitled Deadpool Movie, Fantastic Four, and Avengers: Secret Wars all have new release dates, many of these only recently announced.
The Hollywood Reporterhas the scoop that Destin Daniel Cretton will direct Marvel‘s Avengers: The Kang Dynasty. Cretton previously directed Shang-Chi and the Legend of the Ten Rings for the film studio.
After that film Cretton signed an overall deal with Marvel. He is currently developing a series with Andrew Guest focused on Wonder Man. There’s also the Shang-Chi sequel that’s in the works.
The writer(s) for Avengers: The Kang Dynasty have not been revealed but the film will help close out Phase 6 of the Marvel Cinematic Universe. It’s expected to arrive May 2, 2025 and will be followed by Avengers: Secret Wars on November 7, 2025.
The seeds for the film are being laid out now as a version of the character debuted in Loki and being played by Jonathan Majors. He will next appear in Ant-Man and the Wasp: Quantumania which is out February 17, 2023. That film launches Phase 5. The version in Ant-Man is different than the one in Loki as there’s multiple versions of the character.
Also revealed is that Bassam Tariq will be directing Blade which is scheduled for November 3, 2023; Julius Onah is directing Captain America: New World Order which is scheduled for May 3, 2024; and Jake Schreier is directing Thunderbolts which is the last film of Phase 5 and comes out July 26, 2024.
Blade has found its writer as Stacy Osei-Kuffour has been tapped to pen the Marvel Studios film.
Stacy Osei-Kuffour is a playwright and was the story editor and writer on HBO’s Watchmen. She’s the first Black woman to write a Marvel movie. The film has Oscar winner Mahershala Ali attached to star.
Osei-Kuffour was the story editor on the television series Hunters, executive story editor on Run, and wrote the script for the television film Binti which has been announced.
The studio has reportedly spent six months meeting with writers for the film.
Blade was created by Marv Wolfman and Gene Colan and first appeared in Tomb of Dracula #10 in 1973. The character appeared in a trilogy of films with Wesley Snipes in the role. The first film was released in 1998.
As expected Marvel Studios brought the house down in Hall H at San Diego Comic-Con revealing their next line-up of films and television shows.
First announced was The Eternals! The movie stars Angelina Jolie, Richard Madden, Kumail Nanjiani, Lauren Ridloff, Brian Tyree Henry, Salma Hayek, Lia McHugh and Don Lee. Directed by Chloé Zhao. In theaters November 6, 2020.
Shang-Chi and the Legend of the Ten Rings stars Simu Liu, Awkwafina, and Tony Leung. Marvel Studios’ Shang-Chi and the Legend of the Ten Rings will be directed by Destin Daniel Cretton. the film promises a more accurate version of the Mandarian than the one seen in Iron Man 3. The “Ten Rings” has been something that has been threaded through Marvel films and shows for some time now. In theaters February 12, 2021.
Doctor Strange in the Multiverse of Madness stars Benedict Cumberbatch and Elizabeth Olsen. Scott Derrickson returns as director. Doctor Strange in the Multiverse of Madness will cast its spell in theaters May 7, 2021.
Natalie Portman returns for Marvel Studios’ Thor: Love and Thunder, joining stars Chris Hemsworth and Tessa Thompson. Taika Waititi returns as director. Portman will reportedly suit up as the Jane Foster version of Thor for the film. In theaters November 5, 2021.
Black Widow stars Scarlett Johansson, David Harbour, Florence Pugh, O-T Fagbenle, and Rachel Weisz. Directed by Cate Shortland. In theaters May 1, 2020.
In some of the biggest news, Mahershala Ali is Blade!
Kevin Feige also assured sequels to Captain Marvel,Black Panther, and Guardians of the Galaxy are in the works and the studio is in development on Fantastic Four and X-Men.
It wasn’t just movies being announced, television shows for Disney+ were revealed as well.
The Falcon and The Winter Soldier starring Anthony Mackie, Sebastian Stan, and Daniel Brühl. Streaming exclusively on Disney+, Fall 2020.
WandaVision is an original series starring Elizabeth Olsen, Paul Bettany, and Teyonah Parris. The show will start streaming exclusively on Disney+ in Spring 2021.
Loki will head to Disney+. Marvel Studios’ Loki stars Tom Hiddleston. Streaming exclusively on Disney+ in Spring 2021.
What If…? comics will be adapted for the smalls screen! What If…?, the first animated series in the MCU, starring Jeffrey Wright as the voice of The Watcher and many actors from across the MCU reprising their roles as voice talent. Streaming exclusively on Disney+ in Summer 2021.
Hawkeye will introduce Kate Bishop and stars Jeremy Renner. It exclusively comes Disney+, Fall 2021.
Marvel Comics Chief Creative Officer Joe Quesada and Editor-in-Chief C.B. Cebulski took over a packed ballroom at the Austin Convention Center during SXSW (South By Southwest) on its opening day, Friday, March 9 to deliver an important message to a rapt audience of cinephiles: read your comics.
During their hour-long presentation, they went through all of the various stories and creative artists and writers who inspired the blockbusters of today. No real surprises, (and no, they were most definitely NOT signalling the end of Marvel Comics) but essentially presented a greatest hits collection of the various IP that has been mined to bring us the MCU.
First, Dear SXSW, this needed to be in a bigger room. This was one of the most hotly attended panels of SXSW Day 1, and while seats remained plentiful in some of the keynotes in the larger venues, this was packed to capacity. Second, given the giant interest and hype around all things MCU in the film world right now, Marvel should’ve brought their A-game. Cebulski and Quesda did just fine, all things considered, (they usually do) but they basically talked over a slideshow. Past Marvel presentations at SXSW have literally broken the internet (ok, well, just a few websites) when they rolled out major digital comics initiatives. And they did a great job in years past bringing in surprise guests– including Clark Gregg (Agent Coulson himself!) via Skype. Compared to that, this just felt anti-climactic.
Plus, given the panel taking place on the release date of Captain Marvel and International Women’s Day, there was a relative paucity of representation of women. Perhaps my view is tinged by the fact that Marvel followed a presentation by the editors of Cherrypicks, the critical aggregator of female film critics, and the general “Up With Women” vibe of SXSW Day 1 in general, but it still felt odd to just have sort of the same old show we’d expect at any old comic convention. They did make a small news splash (pardon the pun) by announcing a new character, Wave, who will be the first Filipina character in Marvel’s roster, so that’s nothing to sneeze at, but the way it was tossed off in the room sort of non-chalantly made it feel like a less big deal than it could have been.
As announced at @sxsw, I'm thrilled to share the great @leinilyu's stunning design of WAVE, Marvel's new Filipino superhero! Gorgeous colors by @sunnygho! She'll appear for the first time in WAR OF THE REALMS: NEW AGENTS OF ATLAS #1 in May, with art by Gang-Hyuk Lim! pic.twitter.com/cZhwXbQ1FG
This was a squandered opportunity for both SXSW and Marvel, even though there was nothing technically wrong or bad about it.
Ok, so enough of the kvetching– the panel was actually pretty fun and would be a great introduction to the world of comics for more casual MCU fans who only know the characters from the screen, which, ostensibly, a lot of the Film Festival attendees are. I’ve had a lot of great conversations in line the last few days talking with other folks, especially about Captain Marvel and Avengers: Endgame, and even among a lot of these rank cinephiles, not many have actually read the books they’re based on.
However, the crowd in attendance may have been a little more in the know, as there were cheers for luminaries like Jack Kirby and how their visual style inspired so much of the look of comics and our films. But, perhaps surprisingly, the biggest cheers came for Christopher Priest, as Quesada explained how much of last year’s blockbuster was inspired by Priest’s run on the Black Panther comic.
There were also a few fun nods to other Marvel adaptation and how they’ve inspired the cinematic universe. The 90’s X-Men cartoon was a gateway for so many people who now work in comics and in the movies. Storm, specifically, was a touchstone for so many young women to see a leader who is a black woman. The value in that representation can’t be understated.
Speaking of animation, they also pointed to the turning point in time when the “Infinity Gems” of the comics were re-branded as “Infinity Stones” and it just so happened to be. . . The Super Hero Squad Show? Indeed. Luckily, Quesada was otherwise mum on the cringy moment in the cartoon when Reptil and Hulk make a joke about their “cheesy friend” Joe (who served as Executive Producer). Good thing. We didn’t need to be reminded of that. Wait. Yes, yes we do:
Another interesting and unexpected break was a discussion of Blade, which almost everyone forgets was a Marvel comic. Quesada pointed out that Blade never sold comic books, but the success of the first film led other studios to produce more comic book movies. Those first two Blade movies are pretty good, especially the Guillermo Del Toro helmed second one.
This was a fun panel and a nice walk down memory lane of all of the comics that inspired the films that we love so much. But SXSW can do much better by putting this is the larger venue it deserves and bringing in a broader subset of Marvel talent. The panel begged the question of “Which Marvel storyline from today will inspire the movies of a few years from now?” Let’s bring in the creative teams behind The House of Ideas– even if just in a video montage let’s hear from folks working on some of their top stories. You know who would draw a GIANT crowd at SXSW (especially as politically-oriented as the festival is this year?) Ta-Nehisi Coates. Or here’s an idea– get some of the filmmakers from the MCU to talk about their favorite comic books. Don’t just tell us how much of a comic book nerd Kevin Feige is– do a trivia contest between him and Tom Breevort and let’s see how he does! Bring in Ryan Penagos and Lorraine Cink and have some banter. (Not that Quesada and Cebulski aren’t fine, but. . .) Look, we know Ike Perlmutter, CEO of Marvel, is notoriously thrifty and probably doesn’t want to shell out big bucks to promote their company. As the saying goes, you have to spend money to make money– and when tv shows like American Gods and Good Omens are doing their best to take over downtown Austin, you need to get in the game!
I’m glad I attended the panel. But I hope if Marvel returns in 2020 they do so more like they have done in the past, and they bring in newer, more diverse talent. And SXSW better put them in the biggest room possible.
No matter how you feel about Captain Marvel, (I personally liked it very much, thank you!) you have to respect its soundtrack. As a child of the 80’s and an adolescent of the 90’s, this took some of the best of my high school years and put it up on screen beside a character from some of my favorite comics of the same time. Of course, she had a slightly different costume then. . .
But it was the 90’s! Everything was a little weird. Back then everyone wanted Jennifer Aniston’s haircut from Friends for some reason, acceptable fashion included overalls or flannel, we played with pogs, Pokemon, connecting to the internet made a weird noise, and we impeached presidents for basically nothing!
Times have changed, but that soundtrack from Captain Marvel lives on. This is a mixtape Meredith Quill would be proud of. It’s a mixtape I would’ve listened to. And hearing from some of our other Graphic Policy writers, people are really into it. For instance:
Can I just say how glad I am that there’s a movie that acknowledges that women love rock music? It seems like the discourse has floated so far to the “all those years I was just pretending to like rock to keep my boyfriend from complaining but now I’m free and just want to listen to Taylor Swift” type narrative. I’m sure that’s true for a lot of women and I’m happy they can feel free to embrace their love of dreck now. But a lot of us just genuinely love rock music. I liked seeing that on screen.
AGREED. 100%. This soundtrack is grounded in great 90’s rock and alternative, but it’s also got this great energy that comes into it from the inclusion of some soulful r&b. But Carol Danvers is a rocker. And despite maybe a few of the songs being a bit on the nose, it’s overall incredibly enjoyable.
But, because we just can’t get enough here, scroll to the bottom to find a Spotify playlist where I’m also adding my own list of 90’s songs “fit” with Captain Marvel (sort of, at least in my logic) as well as a special list of songs from other 90’s soundtracks that belong on this soundtrack because omg it’s meta-inception.
But beware, dear reader, I warn you that reading this article may spoil some of the best surprises of the film. It’s not that the songs themselves are spoilers in any way, but that how they get used and their reveal in the film is so beautiful, you may want to go into your first viewing not knowing. In searching for songs they may have used in the soundtrack, there was only one that I found confirmed on a website, but I almost wish I hadn’t known because the reveal was so good. But, if you want to read further, here’s your giant[SPOILER ALERT!!!]
I’ll do these in the order they appear in the film:
Heart – Crazy On You
Technically not a 90’s song, but when they flash back to Carol Danvers’ past, there is literally no better song than an anthem like this from the First Ladies of Rock, Ann and Nancy Wilson.
Lita Ford – Kiss Me Deadly
Here’s another unconventional choice (and another holdover from 80’s hair metal), but given the context (a brief flash of karaoke) this totally makes sense. Uh huh, it ain’t no big thing. But I know what I like. . .
Salt N Pepa ft. En Vogue – Whatta Man
While Deadpool got to “Shoop” first, this is the real deal. I wasn’t even really into rap or r&b in the early 90’s, but I still loved this song. Still do. Whatta song. Whatta video. Whatta collaboration.
Elastica – Connection
Confession time: from the moment this song ended up in a trailer, I was 99% sold on Captain Marvel as a 90’s period piece, even moreso than the Blockbuster Video or other easter eggs. This song was everything that a slightly depressed teenage me wanted circa 1995.
Garbage – Only Happy When It Rains
Did I mentioned what slightly depressed me in 1995 loved to listen to? This album didn’t leave my 5-disc cd changer for a year. (See kids, back in the day, music came on compact discs. . .) Literally any track from the first two Garbage albums would’ve been perfect in this movie. Seriously. Any of them. My pick would’ve been “Vow,” but going with the iconic, radio-friendly song isn’t so bad. Also, I may have had a crush on comic book Carol Danvers in the mid-90’s, but I was madly in love with Shirley Manson. Plus Butch Vig, the keystone of 90’s grunge. I’m riding high on a deep depression. Pour some misery down on me.
TLC – Waterfalls
And then sometimes you just had to chill out. This song has hooks for days, and the rap breakdown by Left Eye remains amazing. Again, even as someone who wasn’t that much into r&b/rap, this song was ubiquitous. And that wasn’t a bad thing.
Des’ree – You Gotta Be
This is not a song in a million years I would’ve thought to put in this movie. And so it’s a good thing I wasn’t in charge of the soundtrack, because the lyrics to this pretty much tell the lesson of the second half of this movie. This is now my favorite.
Nirvana – Come As You Are
Again, not the Nirvana song I would’ve picked for this soundtrack (“Been a Son” seems actually more apt, especially to address the throngs of fragile manbabies triggered by the idea of a female superhero– she should’ve been a son. Get it?) but but but this song more than any other is used so effectively to set a very specific mood that it is a gamechanger. Literally, after this song played, I didn’t have any more gripes about the movie after that. It took it to a next level. Which leads me to. . .
No Doubt – Just a Girl
I’d complain this song is a little too on the nose, especially for the scene it’s used in, but it’s just so infectious and perfect. It’s a move I would’ve made if I was making the movie. I was tickled. True story: I saw No Doubt play in a converted airplane hangar in Orem, Utah in 1994 when they were just part of the local/regional ska scene. I was jarred, but not surprised, when they broke through with this poppy crossover. And here I sit snuggling my Dance Hall Crashers cds wondering why they didn’t break out (there’s some of them on the Spotify playlist below),
R.E.M. – Man on the Moon
Now Andy did you hear about this one? Yeah yeah yeah yeah. While REM was certainly everywhere at this point in the 90’s, this one may have been a little on the nose. And there’s so many others to pull from this album or Monster or (bold choice) New Adventures in Hi-Fi. Again, the soundtrack makes the safer choice of the more mainstream and ubiquitous song, and that’s fine. At least it wasn’t Shiny Happy People?
The Marvelettes – Please Mr. Postman
Do you count this as being in the soundtrack if we just got Sam Jackson singing a few bars of it? I do. I most certainly do. Also, this has nothing to do with the 90’s or the rest of the movie. I love how left-field it is. And is that how she gets her name? Ironically, if Carol Danvers tries to explain it to everyone, old man Steve Rogers still won’t get it. . . unless he ever got past that “Troubleman” album. Or if he was on Vine, which was how my kids knew it:
Hole – Celebrity Skin
Ok, confession time. I don’t like Courtney Love. I probably never will. But if you’re going to choose a Hole song, get Malibu or Bruise Violet. Ok, fine, fine, I concede that Celebrity Skin is actually pretty good and a fair choice to play over the closing credits. It’s fine, it’s great actually, I just have to get rid of my distaste for Hole.
And so that’s it! If you want more, I’ve made a Spotify playlist with these dozen songs as well as a bunch more. I will take the blame for anything you hate, but whatever you love on the playlist know that it was carefully curated from among a bunch of our Graphic Policy writers.
What’s in it? A lot more rock/alternative, especially skewing towards female artists (Liz Phair, The Breeders, Veruca Salt), a bunch of Riot Grrl stuff, a little more hip hop, and because it’s a tragedy she wears a Nine Inch Nails shirt the whole time and never listens to NIN, we have some of that. And starting with track 50, the last songs are very special songs from other soundtracks because the 90’s was full of great movie soundtracks. So, so meta.
What did we miss? Hop in the comments and tell us. Maybe we’ll even add it to the playlist!
Note: No songs from any of the Batman soundtracks because I’m not mixing Marvel and DC. Nope. (Even though “Trust” by Prince is amazing. So is “Partyman.” But still nope.) And also no Space Jame because ewwwww even small proximity to R. Kelly. . . NOPE.
Foo Fighters – Breakout – Me, Myself and Irene Sneaker Pimps – Six Underground – The Saint Coolio – Gangsta’s Paradise – Dangerous Minds Green Day – J.A.R. – Angus The Crystal Method – The Name of the Game (ok, bending the rules here as this was from 2001, but it still sounds super 90’s and was in another Marvel movie and I can’t resist) – Blade II Edwyn Collins – A Girl Like You – Empire Records Daft Punk – Da Funk – The Saint Dr. Dre – Keep Their Heads Ringin’ – Friday Nine Inch Nails – Dead Souls – The Crow Dance Hall Crashers – Enough – Angus (what is this Angus movie and how did it have such a great soundtrack?!?) Metric – Black Sheep (Ok, REALLY breaking the rules here, but if you don’t get the joke, I’m not going to explain it) Guns n Roses – You Could Be Mine – Terminator 2 Nine Inch Nails – The Perfect Drug – Lost Highway Filter – Hey Man, Nice Shot – The Cable Guy The Cardigans – Lovefool – Romeo+Juliet Chris Cornell – Seasons – Singles
Unsurprisingly Avengers: Infinity War won the weekend easily with an estimated $112.5 million a 56.4% drop from the previous weekend. That beat the second place film by almost $100 million.
Avengers: Infinity War has earned $450.8 million domestically after ten days which only paces Star Wars: The Force Awakens which did that in nine.
Internationally the film remained in first place with an estimated $162.6 million from 54 markets. The weekend brought in $275.1 million for the film which has now earned $1.16 billion worldwide.
The film’s 11 day run to $1 billion worldwide is the fastest any film has crossed the line. It’s the sixth Marvel film to cross that mark and 17th for Walt Disney Studios. 34 films have crossed $1 billion at the worldwide box office.
The film is the fifth highest grossing comic adaptation and will likely move up a spot after this week. It’s $50 million behind Iron Man 3 and $175 million behind Black Panther.
Black Panther was #7 for the week with an estimated $3.1 million. Domestically the film has earned $693.1 million. Worldwide, the film has earned $1.338 billion.
The film is still earning far more domestically than the average Marvel film with 51.79% earned versus 41.02% on average. International earnings seem to have slowed down as the percentage has increased for the domestic ever so slightly. The film is an outlier as far as that and we’ll have a deeper dive in a few weeks to see where it over performed and where it might have under performed.
The Death of Stalin improved one spot to come in at #23 for the week. The film earned $181,623 to bring its domestic total to $7.5 million.
I Kill Giants continues to be a weird one when it comes to numbers. Some more numbers have come in. In Russia, the film has earned $163,289, Ukraine, $13,599, Australia it’s $926, United Arab Emirates it’s $85,002, and United Kingdom it’s $805. All together, the film has earned a reported $263,621 at the foreign box office. No domestic numbers have been released. The movie was released on demand at the same time in theaters, so the film has made money it’s just unknown how much.
We’ll have a deeper analysis of 2018’s releases as more are released but lets do the time warp to 2017…
It looks like 2017’s films have wrapped up their earnings as no film has brought in any money over the past week. The last holdover was Thor: Ragnarok. We’ll wait one more week to see if this has completely wrapped up or not.
2017 has been a record year for comic adaptations. The films have earned $2.365 billion domestically beating the previous year’s $1.901 billion. Internationally, films have earned $3.755 billion beating the previous record of $3.215 billion set in 2014. Worldwide comic adaptations have earned $6.120 billion beating the 2016 record of $5.026 billion. “Profits” too have seen a record year with $4.442 billion versus 2016’s record of $3.812 billion.
We’ll continue to report on 2017’s statistics until all dollars are in, at least a few more weeks.
Lets compare how the big two comic companies compare for earnings. Black Panther is included, so Marvel’s totals will increase over time. On average DC films earn $317.6 million domestically while Marvel earns $333.6 million. Internationally, Marvel rules with $495.1 million and DC lags behind with $435.7 million.
2017 has had five clear successes and a whole lot of mixed otherwise. Thor: Ragnarok, Wonder Woman, Logan, Spider-Man: Homecoming,and Guardians of the Galaxy Vol. 2 have done well this year. My Friend Dahmer, Justice League, Kingsman: The Golden Circle, The LEGO Batman Movie and Smurfs: The Lost Village, and Atomic Blonde are in that debatable area. Valerian, Wilson,Ghost in the Shell, and Blade of the Immortal are generally disappointments. Marvel’s Inhumans… got no clue and tough to debate since it’s a television show primarily with a limited film engagement.
Here’s where this year’s comic films stand as far as the actual numbers. With a new film opening the averages have dipped.
Total Domestic Gross: $2.365 billion
Total International Gross: $3.755 billion
Worldwide Gross: $6.120 billion
Total Reported Budgets: $1.667 million
Total “Profit”: $4.442 billion
Average Domestic Gross: $147.8 million
Average International Gross: $268.2 million
Average: Worldwide Gross: $382.5 million
Average Budget: $128.2 million
Average Profit: $254.3 million
Below is where the films released stand when it comes to being compared to this year’s averages. Those in green are above average while those below are red.
Everyone knew Avengers: Infinity War would open big but the question was, how big? We’ve got that answer with a record opening weekend. The film has opened with a record $250 million domestically which bests the previous record holder Star Wars: The Force Awaken‘s $247.9 million. The film also earned a record $630 million worldwide. Disney has a habit of underestimating these types of things, so it’s possible that number could go even higher.
Addition records include:
Largest single Saturday gross
Largest single Sunday gross
Largest April opening
Largest Spring opening
Widest PG-13 release
Fastest film to $150, $200, and $250 million
Internationally the film opened with an estimated $380 million from 72% of the international marketplace. That’s the second largest. Fate of the Furious holds the record with $442 million but it had the benefit of China which earned $185 million of that. The film will open there May 11th. It was #1 in all territories.
Infinity War received an “A” CinemaScore with audience that was 58% male and 58% over the age of 24. With this opening the 18 Marvel Cinematic Universe films has amassed nearly $15.5 billion combined.
The film is currently #28 in all time grosses for a comic adaptation.
Black Panther improved from last week’s eighth place to come in at fifth for the weekend. The film added $4.4 million to its domestic total and clearly has gotten a boost from Avengers: Infinity War. This is the first time since 2008 that Marvel has had two films in the top ten. The film is $1 million behind Star Wars: The Last Jedi to move in to ninth place for worldwide grosses of all time.
The film is still earning far more domestically than the average Marvel film with 51.68% earned versus 41.1% on average. International earnings seem to have slowed down as the percentage has increased for the domestic ever so slightly. The film is an outlier as far as that and we’ll have a deeper dive in a few weeks to see where it over performed and where it might have under performed.
The Death of Stalin held steady at #21 earning $210,478 to bring its domestic total to $7.2 million after eight weeks.. It debuted internationally last year, with controversy in Russia. It has earned $9.05 million in foreign markets. The film has passed Superman IV: The Quest for Peaceand is now #141 when it comes to comic adaptation earnings.
I Kill Giants continues to be a weird one when it comes to numbers. Reported earnings are scarce. In Russia the film opened on March 29and has earned $127,713. In the United Kingdom is listed as having opened April 6th and earned $804. The film has likely earned money elsewhere, so we’ll keep digging.
We’ll have a deeper analysis of 2018’s releases as more are released but lets do the time warp to 2017…
Things have slowed down as 2017 wraps up.
Thor: Ragnarok looks to have earned a few hundred dollars and stands at $854 million. It’s the last film from 2017 that’s still earning money at the box office.
2017 has been a record year for comic adaptations. The films have earned $2.365 billion domestically beating the previous year’s $1.901 billion. Internationally, films have earned $3.755 billion beating the previous record of $3.215 billion set in 2014. Worldwide comic adaptations have earned $6.120 billion beating the 2016 record of $5.026 billion. “Profits” too have seen a record year with $4.442 billion versus 2016’s record of $3.812 billion.
We’ll continue to report on 2017’s statistics until all dollars are in, at least a few more weeks.
Lets compare how the big two comic companies compare for earnings. Black Panther is included, so Marvel’s totals will increase over time. On average DC films earn $317.6 million domestically while Marvel earns $333.6 million. Internationally, Marvel rules with $495.1 million and DC lags behind with $435.7 million.
2017 has had five clear successes and a whole lot of mixed otherwise. Thor: Ragnarok, Wonder Woman, Logan, Spider-Man: Homecoming,and Guardians of the Galaxy Vol. 2 have done well this year. My Friend Dahmer, Justice League, Kingsman: The Golden Circle, The LEGO Batman Movie and Smurfs: The Lost Village, and Atomic Blonde are in that debatable area. Valerian, Wilson,Ghost in the Shell, and Blade of the Immortal are generally disappointments. Marvel’s Inhumans… got no clue and tough to debate since it’s a television show primarily with a limited film engagement.
Here’s where this year’s comic films stand as far as the actual numbers. With a new film opening the averages have dipped.
Total Domestic Gross: $2.365 billion
Total International Gross: $3.755 billion
Worldwide Gross: $6.120 billion
Total Reported Budgets: $1.667 million
Total “Profit”: $4.442 billion
Average Domestic Gross: $147.8 million
Average International Gross: $268.2 million
Average: Worldwide Gross: $382.5 million
Average Budget: $128.2 million
Average Profit: $254.3 million
Below is where the films released stand when it comes to being compared to this year’s averages. Those in green are above average while those below are red.
Black Panther remained in the top ten at the box office coming in at #8 this past weekend. The film dropped 19.7% over the weekend adding $4.6 million to its total. The film now stands at $681.1 million. Worldwide the film stands at $1.324 billion. The film is $8 million behind Star Wars: The Last Jedi to move in to ninth place for worldwide grosses of all time. The movie’s domestic run accounts for almost 20% of 2018’s overall box office. So, while the year is only a third of the way done, it looks like Marvel’s dominance will be the story of the year with Avengers: Infinity War likely also earning a billion dollars by the time it’s done.
The film is still earning far more domestically than the average Marvel film with 51.4% earned versus 41.1% on average. International earnings seem to have slowed down as the percentage has increased for the domestic ever so slightly. The film is an outlier as far as that and we’ll have a deeper dive in a few weeks to see where it over performed and where it might have under performed.
The Death of Stalin was #21 earning $340,216 to bring its domestic total to $6.9 million after seven weeks domestically. It debuted internationally last year, with controversy in Russia. It has also earned $9.05 million in foreign markets. The film has passed Josie and the Pussycats and Billy and Buddy and is now #142 when it comes to comic adaptation earnings.
I Kill Giants continues to be a weird one when it comes to numbers. Reported earnings are scarce. In Russia the film opened on March 29and has earned $127,713. In the United Kingdom is listed as having opened April 6th and earned $804. The film has likely earned money elsewhere, so we’ll keep digging.
We’ll have a deeper analysis of 2018’s releases as more are released but lets do the time warp to 2017…
Things have slowed down as 2017 wraps up.
Thor: Ragnarok looks to have earned a few hundred dollars and stands at $854 million. It’s the last film from 2017 that’s till earning money at the box office.
2017 has been a record year for comic adaptations. The films have earned $2.365 billion domestically beating the previous year’s $1.901 billion. Internationally, films have earned $3.755 billion beating the previous record of $3.215 billion set in 2014. Worldwide comic adaptations have earned $6.120 billion beating the 2016 record of $5.026 billion. “Profits” too have seen a record year with $4.442 billion versus 2016’s record of $3.812 billion.
We’ll continue to report on 2017’s statistics until all dollars are in, at least a few more weeks.
Lets compare how the big two comic companies compare for earnings. Black Panther is included, so Marvel’s totals will increase over time. On average DC films earn $317.6 million domestically while Marvel earns $333.6 million. Internationally, Marvel rules with $495.1 million and DC lags behind with $435.7 million.
2017 has had five clear successes and a whole lot of mixed otherwise. Thor: Ragnarok, Wonder Woman, Logan, Spider-Man: Homecoming,and Guardians of the Galaxy Vol. 2 have done well this year. My Friend Dahmer, Justice League, Kingsman: The Golden Circle, The LEGO Batman Movie and Smurfs: The Lost Village, and Atomic Blonde are in that debatable area. Valerian, Wilson,Ghost in the Shell, and Blade of the Immortal are generally disappointments. Marvel’s Inhumans… got no clue and tough to debate since it’s a television show primarily with a limited film engagement.
Here’s where this year’s comic films stand as far as the actual numbers. With a new film opening the averages have dipped.
Total Domestic Gross: $2.365 billion
Total International Gross: $3.755 billion
Worldwide Gross: $6.120 billion
Total Reported Budgets: $1.667 million
Total “Profit”: $4.442 billion
Average Domestic Gross: $147.8 million
Average International Gross: $268.2 million
Average: Worldwide Gross: $382.5 million
Average Budget: $128.2 million
Average Profit: $254.2 million
Below is where the films released stand when it comes to being compared to this year’s averages. Those in green are above average while those below are red.
Black Panther has dropped out of the top give after nine weeks at the box office. The film dropped 38.6% over the weekend adding $5.3 million to its total. The film now stands at $673.8 million domestically and $1.313 billion worldwide. The film is just $20 million behind Star Wars: The Last Jedi for worldwide grosses and there’s a good chance it’ll pass it before its run is over.
The film is still earning far more domestically than the average Marvel film with 51.3% earned versus 41.1% on average. International earnings seem to have slowed down as the percentage has increased for the domestic ever so slightly. The film is an outlier as far as that and we’ll have a deeper dive in a few weeks to see where it over performed and where it might have under performed.
The Death of Stalin held steady at #18 with an estimated $474,692. The film has earned $6.3 million domestically. It’s decreased in theaters now showing in 330 a decrease in 224. It debuted internationally last year, with controversy in Russia. It has also earned $9.05 million in foreign markets. The film has passed Josie and the Pussycats and Billy and Buddy and is now #142 when it comes to comic adaptation earnings.
I Kill Giants still is a weird one when it comes to numbers. So far, only its earnings in Russia have been reported and that was last week. It opened March 29 in that region. The film earned $127,713. Now, the United Kingdom is lsited where it opened April 6th and earned $804 (reported on April 11th). The film has likely earned money elsewhere, so we’ll keep digging.
We’ll have a deeper analysis of 2018’s releases as more are released but lets do the time warp to 2017…
Things have slowed down as 2017 wraps up.
Thor: Ragnarok looks to have earned a few hundred dollars and now stands at $854 million.
2017 has been a record year for comic adaptations. The films have earned $2.365 billion domestically beating the previous year’s $1.901 billion. Internationally, films have earned $3.755 billion beating the previous record of $3.215 billion set in 2014. Worldwide comic adaptations have earned $6.120 billion beating the 2016 record of $5.026 billion. “Profits” too have seen a record year with $4.442 billion versus 2016’s record of $3.812 billion.
We’ll continue to report on 2017’s statistics until all dollars are in, at least a few more weeks.
Lets compare how the big two comic companies compare for earnings. Black Panther is included, so Marvel’s totals will increase over time. On average DC films earn $317.6 million domestically while Marvel earns $333.6 million. Internationally, Marvel rules with $495.1 million and DC lags behind with $435.7 million.
2017 has had five clear successes and a whole lot of mixed otherwise. Thor: Ragnarok, Wonder Woman, Logan, Spider-Man: Homecoming,and Guardians of the Galaxy Vol. 2 have done well this year. My Friend Dahmer, Justice League, Kingsman: The Golden Circle, The LEGO Batman Movie and Smurfs: The Lost Village, and Atomic Blonde are in that debatable area. Valerian, Wilson,Ghost in the Shell, and Blade of the Immortal are generally disappointments. Marvel’s Inhumans… got no clue and tough to debate since it’s a television show primarily with a limited film engagement.
Here’s where this year’s comic films stand as far as the actual numbers. With a new film opening the averages have dipped.
Total Domestic Gross: $2.365 billion
Total International Gross: $3.755 billion
Worldwide Gross: $6.120 billion
Total Reported Budgets: $1.667 million
Total “Profit”: $4.442 billion
Average Domestic Gross: $147.8 million
Average International Gross: $268.2 million
Average: Worldwide Gross: $382.5 million
Average Budget: $128.2 million
Average Profit: $254.2 million
Below is where the films released stand when it comes to being compared to this year’s averages. Those in green are above average while those below are red.
Unsurprisingly Avengers: Infinity War won the weekend easily with an estimated $112.5 million a 56.4% drop from the previous weekend. That beat the second place film by almost $100 million.
