6th UPDATE, Monday, 1:40 PM: The final domestic grosses are in and it appears that Gods of Egypt ended up with only $14.1M. Added to the international total, it’s worldwide launch this weekend made a mere $38.3M but it still has many large markets to open in overseas, including China yet to come. Still, this film was a stiff in the states and should fall quickly out of theaters next weekend when yet another Gerard Butler-starring movie opens: London Has Fallen from Focus Features. Also on deck is the Tina Fey-starring comedy Whiskey Tango Foxtrot from Paramount.

The big movie coming up, however, is going to be the animated family film Zootopia, which has already opened overseas and after three weeks has grossed $84M. Next weekend will see not only the North American launch of the Disney film but also big launches for it in China, Russia and Germany.

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As far as the Best Picture Oscar nominees and winners: Expect Spotlight, which has all but played out here and abroad, to look to add more theaters after its Best Picture win last night. Although on DVD and VOD, Open Road is looking to get the film back into over 1,000 theaters. (The Martian, Mad Max: Fury Road and Bridge of Spies are now also on VOD/DVD). Mad Max, which took home six Oscars, was in approximately 200 locations this past weekend as part of Oscar Showcases; this week, they will stay in about 15 dates including in theaters in Los Angeles and New York. The Big Short, which won for Adapted Screenplay, will go be on DVD March 12, but Paramount will keep it in about 260 theaters next weekend.

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All Oscar nominated pictures got jumps in attendance this weekend as Deadline has reported (some added theaters which helped that increase). Meanwhile Fox’s The Revenant, which won three Oscars (for Leonardo DiCaprio, director Alejandro Inarritu and DP Emannuel Lubezki), is being welcomed in China but it will not add screens stateside as it’s in its 10th weekend of release and is already in over 1,600 dates. Here’s the Top 20 and some notables:

Anita Busch compiled the Monday final report.

1). Deadpool (FOX), 3,856 theaters (+134) / 3-day cume: $31.1M (-45%) / Per screen average: $8,069 / Total cume: $285.2M / Wk 3

2). Gods of Egypt (LG), 3,117 theaters / 3-day cume: $14.1M / Per screen: $4,531 / Wk 1

3). Kung Fu Panda 3 (DWA/FOX), 3,296 theaters (-152) / 3-day cume: $8.8M (-29%) / Per screen: $2,700 / Total cume: $128.3M / Wk 5

4). Risen (SONY), 2,915 theaters (0) / 3-day cume: $6.8M (-42%) / Per screen: $2,338 / Total cume: $22.5M / Wk 2

5). Triple 9 (OR), 2,205 theaters / 3-day cume: $6.1M / Per screen: $2,771 / Wk 1

6). Eddie the Eagle (Fox), 2,042 theaters / 3-day cume: $6M / Per screen: $2,980 / Wk 1

7). The Witch (A24), 2,046 theaters / 3-day cume: $5M (-42%) / Per screen: $2,299 / Total cume: $16.6M / Wk 2

8). How To Be Single (WB/MGM/New Line), 3,047 theaters (-310) / 3-day cume: $5M (-39%) / Per screen: $1,644 / Total cume: $39.4M / Wk 3

9). Race (FOC), 2,387 theaters (+18) / 3-day cume: $4.1M (-44%) / Per screen: $1,719 / Total cume: $13.6M / Wk 2

10). The Revenant (FOX), 1,645 theaters (-294) / 3-day cume: $3.9M (+2%) / Per screen: $2,403 / Total cume: $170.6M / Wk 10

11). Star Wars: The Force Awakens (DIS), 1,433 theaters (-185) / 3-day cume: $2.9M (-24%)/ Per screen: $2,084 / Total cume: $925.9M / Wk 11

12). Zoolander 2 (PAR), 1,974 theaters (-1,444) / 3-day cume: $2.2M (-59%) / Per screen: $1,131 / Total cume: $27.3M / Wk 3

13). Ride Along 2 (UNI), 941 theaters (-269) / 3-day cume: $1.5M (-32%) / Per screen: $1,601 / Total cume: $88.4M / Wk 7

14). Hail, Caesar! (UNI), 959 theaters (-767) / 3-day cume: $1.2M (-56%) / Per screen: $1,260 / Total cume: $28.3M / Wk 4

15). The Lady in the Van (SPC), 602 theaters (+62) / 3-day cume: $1.17M / Per screen: $1,960 / Total cume: $5.8M / Wk 7

16). The Big Short (PAR), 543 theaters (+111) / 3-day cume: $1M (+13%) / Per screen: $1,860 / Total cume: $68.5M / Wk 12

17). The Boy (STX), 672 theaters (-305) / 3-day cume: $891K (-38%) / Per screen: $1,327 / Total cume: $34.5M / Wk 6

18). The 5th Wave (SONY), 588 theaters (-262) / 3-day cume: $852K (-35%) / Per screen: $1,449 / Total cume: $33M / Wk 6

19). The Choice (LGF), 1,060 theaters (-757) / 3-day cume: $829K (-54%) / Per screen: $783 / Total cume: $18M / Wk 4

20). Brooklyn (FSL), 477 theaters (+34) / 3-day cume: $750K (-4%) / Per screen: $1,574 / Total cume: $36.5M / Wk 17

NOTABLES:



21). Spotlight (OR), 685 theaters (+284) / 3-day cume: $736K (+41%) / Per screen: $1,074 / Total cume: $39.1M / Wk 17

24). Room (A24), 530 theaters (+178) / 3-day cume: $579K (+42%) / Per screen: $1,094 / Total cume: $13.4M / Wk 20

5TH WRITETHRU, Sunday 9:25 AM Final: With 20th Century Fox’s Deadpool continuing to rule the box office in its third outing with $31.5M, some insiders refuse to blame the Marvel superhero for three rival duds, one more severe than the other in their red ink: Lionsgate’s CGI sword and sandal film Gods of Egypt ($14M in second, though some see it at $13.6M), Fox’s British ski-jumper Eddie the Eagle ($6.3M in 5th) and Open Road’s cop heist title Triple 9 ($6.1M).

At this point in time, what is clear is that Lionsgate stands to suffer the most from the bombing of Gods of Egypt, given their $50M exposure between P&A and capital risk (they’re not on the hook for foreign P&A). Nancy Tartaglione will have overseas results this afternoon, though it’s too early in the game to tell whether the foreign partners who put up $40M-$50M for Gerard Butler’s second sword and sandal film in nine years are bound to lose their shirts. This genre performs much better abroad, and in cases where it overperforms, Lionsgate could receive overages. Of note, Gods of Egypt has a March 11 China release date thanks to its co-financing deal with Hunan TV, announced back in March.

On how Gods of Egypt was the ultimate B.O. fail, one rival distribution insider snarked, “It’s a tired genre that has been done a thousand times and there’s nothing that could be done about it.”

Gods of Egypt was mentioned earlier this month during Lionsgate’s last call with Wall Street, as there was some nervousness about it . After blaming the overperformance of Star Wars and terrorist attacks for harming the last Mockingjay, Lionsgate executives worked to assure investors on Gods of Egypt, talking about the tax credit it received in Australia (we understand it was 40%) and pre-sales. Executives said that Lionsgate “was under $10M in risk capital” on this reportedly $140M film. After the call (in which numerous other businesses were discussed), the stock fell 27% which contributed to talks stalling between Lionsgate and Starz on a possible merger. Lionsgate has thrown around that $10M exposure number too often when it comes to some of its troubled fare, i.e. last fall’s $90M stateside bomb The Last Witch Hunter which only made $27.4M here, prompting suspicions among those in the film finance world. Essentially, Gods of Egypt was built entirely from Australian tax credits and foreign pre-sales, but a financial third party covered 25% of the net budget, or $20M, which assisted in getting Lionsgate down to that reported $10M exposure.

Bottom line: Lionsgate took a shot on what they saw as a good business opportunity with what they calculated to be a low risk, and it just didn’t work. An ad bought during the pre-show for the Super Bowl did not impress either, and despite best efforts, Lionsgate’s creative for this CGI monster fell flat.

Despite the uproar last fall over Gods of Egypt‘s whitewashed cast, one exhibitor told Deadline this weekend, “It has nothing to do with the whitewashing controversy. At the end of the day, audiences just want to see a good story and this was just a retread of Clash of the Titans.” Further proof of this is found in ComScore’s PostTrak study which showed Caucasians only repping 42% of the audience, while African Americans, Asian, Latin American combined made up 59% of Gods’ audience.

Deadpool or no Deadpool in the market, all the tea leaves were there pointing to Gods of Egypt‘s demise: The film was registering low in its tracking for quite some time.

Adding further insult to injury for Gods Of Egypt is that Butler has another film opening next weekend, the Olympus Has Fallen sequel London Has Fallen, which is expected to make $25M in its opening.

Then why the hell did Lionsgate date Gods of Egypt so close to London Has Fallen?

Originally, Gods of Egypt was to open on Presidents Day weekend, but then Deadpool and Zoolander 2 jumped on to the frame, so Gods took a hike to April 8. Still that wasn’t the ideal time given that it was two weeks after Batman v. Superman: Dawn of Justice who is hogging all the Imax venues. However, when Paramount’s Ben Hur moved to summer and left the Feb. 26 weekend open, Gods of Egypt moved there as they were able to gain some of those Imax theaters back. Lionsgate moved Gods of Egypt to its current weekend in October 2015. London Has Fallen was already sitting on March 4 at that point, but the thinking per Lionsgate insiders was that it was better to be ahead of that Butler film than after.

According to RelishMix, Butler is busy promoting London Has Fallen to his 3.7M Twitter/Facebook followers and completely bailing on Gods. Even he could smell a bomb. Just look at the banner on both of his accounts: It’s for London Has Fallen!

Furthermore, Gods of Egypt is part of a dying genre that’s become too damned expensive to produce. Constantin, to cite another example, spent $100M on Pompei and never even made its production costs back, drawing $23.2M domestic and $94.6M foreign. In regard to CinemaScore, Gods Of Egypt earned a B- to Pompei and Immortals’ B grades. Butler’s 300 was made for a comparatively thrifty $65M and generated $456M worldwide.

One box office tracker said CGI effects like this one were hot years ago, but no longer impress audiences, and the trailers failed. Rev4Media, a New Bedford, Massachusetts-based movie analytics firm that monitors theater audience real-time responses to trailers, collected data on Gods Of Egypt when it was attached to Star Wars: The Force Awakens. Their findings? Half the audience members said they weren’t interested in buying a ticket after watching the first trailer. Another exhibition source tells Deadline that the most redeeming part of Gods was its love story between mortals. “That should have been the selling point in spots, and would have gone over better than the VFX spectacle which we’ve seen before,” said the exhibition chief. Critics aren’t helping at all with an 11% Rotten score.

Older males took up the most seats at Gods of Egypt with 56% men and 62% over 25. Those 50 and up at 21% gave the film a C+. Eighty-six percent came out because they liked sword and sandal movies while Butler fans made up a quarter of the crowd. Only half of the audience according to PostTrak said they’d recommend Gods of Egypt to their friends.

It’s never a good time when great movies die at the B.O. 20th Century Fox’s Eddie The Eagle has a budget of what we heard is around $35M. Fox’s reported exposure on this movie is $21M+ P&A due to their acquisition, however, they have worldwide rights sans the U.K. Given the popularity of skiing in Europe, Eddie should recoup from his jumping disaster here in the U.S. Fox insiders have their fingers crossed that the film’s A CinemaScore legs Eddie out farther than anticipated. Out of all the films opening this weekend, critics loved it most with a fresh 72% Rotten Tomatoes score. With Hugh Jackman above the title, you’d think there’s enough star power here to spin turnstiles. The problem with Eddie, though, is that it’s dressed like a niche Fox Searchlight release in concept and marketing. I hear Fox considered a platform release at one point, but scaling back to a 2,000-range wide release made more economical sense. In regards to Olympic stories that might appeal to U.S. audiences, the Nancy Kerrigan-Tonya Harding story Eddie ain’t. And indeed that’s one of the reasons why poor Eddie fell down. Per a rival distribution chief, “The movie is about a sport that nobody can relate to.” Top market for the film? The ski town Salt Lake City. iSpot reports the studio paid $14.9M in TV spots.

Eddie the Eagle was a huge older chick magnet drawing in 54% females, 75% over 25. Close to 70% came out because they enjoy sports movies while Jackman’s fans comprised 19% of all ticket buyers.

Open Road’s cop heist film Triple 9 is also a non-winner this weekend with a C+ CinemaScore. Says one non-Open Road distribution chief on the film’s misfire, “It’s nothing new. It’s a copy drama — good cop, bad cop. You can see that on TV seven days a week. It’s a difficult drama to break through on the big screen.” And a stellar cast of Casey Affleck, Chiwetel Ejiofor, Anthony Mackie and Kate Winslet couldn’t save Triple 9 either. Critics didn’t help Triple 9 giving it a middling 52% Rotten score. Fifty-eight percent guys, with 85% over 25 made up Triple 9‘s audience.

What we’ve been witnessing over the last two weekends are a slew of adult-geared movies — The Witch, Race, Eddie The Eagle — that by 1990 standards would have been considered arthouse releases. Some are critical hits, others boast A CinemaScores, and they’re being improperly positioned as multiplex titles for the masses. Something isn’t working here. When it comes to a great adult title, it needs to be better than anything on TV, particularly in this DVR age. Why spend $12 when you can stay home and watch HBO’s Vinyl, FX’s American Crime Story, AMC’s Better Call Saul and Netflix’s Crouching Tiger, Hidden Dragon: Sword of Destiny?

A big shout to best picture Oscar nominated titles which all saw decent holds this weekend as last minute audiences made their way to watch the contenders before tonight’s ceremony. Those seeing upticks over last weekend include A24’s Room (+59%), Open Road’s Spotlight (+51%) and Paramount’s The Big Short (+12%), while Fox’s The Revenant saw a -2% dip and its Searchlight’s Brooklyn a -4%.

Anita Busch contributed to this report.

Amanda N’Duka‘s report on the top 10 Sunday studio reported figures for Feb. 26-28:

1). Deadpool (FOX), 3,856 theaters (+134) / $8.9M Fri. /$14.2M Sat. (+59%)/ $8.4M Sun. (-41%) /3-day cume: $31.5M (-44%) / Total Cume: $285.6M / Wk 3

2). Gods of Egypt (LG), 3,117 theaters / $4.7M Fri. /$5.58M Sat. (+17%)/ $3.7M Sun. (-34%) / 3-day cume: $14M / Wk 1

3). Kung Fu Panda 3 (DWA/FOX), 3,296 theaters (-152) / $2M Fri. /$4.3M Sat. (+122%)/ $2.7M Sun. (-38%) / 3-day cume: $9M (-28%) / Total cume: $128.5M / Wk 5

4). Risen (SONY), 2,915 theaters (0) / $1.9M Fri. /$2.9M Sat. (+50%)/ $2.1M Sun. (-26%) / 3-day cume: $7M (-41%) / Total cume: $22.7M / Wk 2

5). Eddie the Eagle (Fox), 2,042 theaters / $1.9M Fri. /$2.8M Sat. (+43%)/ $1.6M Sun. (-43%) / 3-day cume: $6.3M / Wk 1

6). Triple 9 (OR), 2,205 theaters / $2.1M Fri. /$2.4M Sat. (+12%)/ $1.6M Sun. (-35%) /3-day cume: $6.1M / Wk 1

7). How To Be Single (WB/MGM/New Line), 3,047 theaters (-310) / $1.6M Fri. /$2.28M Sat. (+41%)/ $1.3M Sun. (-45%)/ 3-day cume: $5.2M (-37%) / Total cume: $39.6M / Wk 3

8). The Witch (A24), 2,046 theaters / $1.5M Fri. /$2.2M Sat. (+53%)/ $1.3M Sun. (-35%) / 3-day cume: $5M (-38%) / Total cume: $16.6M / Wk 2

9). Race (FOC), 2,387 theaters (+18) / $1.2M Fri. /$1.9M Sat. (+57%)/ $1.1M Sun. (-40%) / 3-day cume: $4.3M (-42%) / Total cume: $13.9M / Wk 2

10). The Revenant (FOX), 1,645 theaters (-294) / $970K Fri. /$1.9M Sat. (+96%)/ $930K Sun. (-51%) / 3-day cume: $3.8M (-2%) / Total cume: $170.5M / Wk 10

OSCAR NOMS:

The Big Short (PAR), 543 theaters (+111) / $262K Fri. /$511K Sat. (+95%)/ $227K Sun. (-56%) / 3-day cume: $1M (+12%) / Total cume: $68.5M / Wk 12

Spotlight (OR), 685 theaters (+284) / $192K Fri. /$372K Sat. (+93%)/ $223K Sun. (-40%) / 3-day cume: $788K (+51%) / Total cume: $39.2M / Wk 17

Brooklyn (FSL), 477 theaters (+34) / $200K Fri. /$368K Sat. (+84%)/ $167K Sun. (-55%) / 3-day cume: $735K (-4%) / Total cume: $36.5M/ Wk 17

Room (A24), 530 theaters (+178) / 3-day cume: $650K (+59%) / Total cume: $13.5M / Wk 20

NOTABLES:

Where To Invade Next (DRFT), 212 theaters (-63) / $99K Fri. /$172K Sat. (+74%)/ $109M Sun. (-37%) /3-day cume: $381K (+20%) / Total cume: $2.6M/ Wk 3

Chasse Galerie: La lege (eOne), 59 theaters / $41K Fri. /$58K Sat. (+39%)/ $35K Sun. (-40%) /3-day cume: $133K / Wk 1

King Ge0rges (IFC), 3 theaters / $5K Fri. /$4K Sat. (-28%)/ $2K Sun. (-45%) /3-day cume: $12K / Wk 1

****************

Feb. 26-28 weekend as of Saturday AM per industry estimates:

1). Deadpool (FOX), 3,856 theaters (+134) / $8.9M Fri. (-44%) / 3-day cume: $31M-$31.5M (-45%) / Total Cume: $285M / Wk 3

2). Gods of Egypt (LG), 3,117 theaters / $4.7M Fri. / 3-day cume: $13M-$13.7M / Wk 1

3). Kung Fu Panda 3 (DWA/FOX), 3,296 theaters (-152) / $1.9M Fri. (-31%) / 3-day cume: $8.7M (-30%) / Total cume: $128.2M / Wk 5

4). Risen (SONY), 2,915 theaters (0) / $1.9M Fri. (-51%) / 3-day cume: $6.7M-$7.1M (-40%) / Total cume: $22.4M-$22.8M / Wk 2

5). Triple 9 (OR), 2,205 theaters / $2M Fri. /3-day cume: $5.8M-$6M / Wk 1

6). Eddie the Eagle (Fox), 2,042 theaters / $1.9M Fri. / 3-day cume: $5.6M-$5.8M / Wk 1

7/8/9). How To Be Single (WB/MGM/New Line), 3,047 theaters (-310) / $1.6M Fri. (-39%) / 3-day cume: $4.8M-$5M (-40%) / Total cume: $39.4M / Wk 3

Race (FOC), 2,387 theaters (+18) / $1.2M Fri. (-49%) / 3-day cume: $4.1M-$4.5M (-40%) / Total cume: $13.8M-$14.1M / Wk 2

The Witch (A24), 2,046 theaters / $1.4M Fri. (-56%) / 3-day cume: $4.5M-$4.9M (-44%) / Total cume: $16.5M / Wk 2

10). The Revenant (FOX), 1,645 theaters (-294) / $970K Fri. (+0%) / 3-day cume: $3.6M-$3.8M (-5%) / Total cume: $170.4M / Wk 10

OSCAR NOMS:



The Big Short (PAR), 543 theaters (+111) / $254K Fri. (+16%) / 3-day cume: $990K-$1M (+12%) / Total cume: $68.5M / Wk 12

Spotlight (OR), 685 theaters (+284) / $192K Fri. (+57%) / 3-day cume: $760K-$789K (+48%) / Total cume: $39.1M / Wk 17

Brooklyn (FSL), 477 theaters (+34) / $200K Fri. (+1%) / 3-day cume: $725K-$750K (-3%) / Total cume: $36.5M/ Wk 17

Room (A24), 530 theaters (+178) / $151K Fri. (+95%) / 3-day cume: $558K (+37%) / Total cume: $13.4M / Wk 20

Carol (TWC), 202 theaters (+101) / $35K Fri. (+34%) /3-day cume: $127K (+20%) / Total cume: $12.5M/ Wk 15

1ST UPDATE: Judging from the ennui of Thursday night previews, it looks like we’re going to see a replay of last weekend at the box office. 20th Century Fox’s Deadpool continues to be the big man on the chart with a No. 1 estimated$3.86M take yesterday at 3,722 theaters; far more cash than any other preview last night. Even Sony Affirm’s Risen made a little bit more than the new stuff with an estimated $845K and a week’s cume of $15.7M. Deadpool through two weeks counts an estimated $254.1M. It won’t cross the three century mark this weekend at the domestic B.O., rather next, especially when its third FSS is projected in the $30M range.

Lionsgate’s Gods of Egypt struck $800K last night. The film, which cost $140M, has the benefit of Imax and 3D surcharges, however, its FSS is projected between $12M-$15M. Overseas, Lionsgate reports that the Gerard Butler sword and sandal film is off to a solid start with No. 1 rankings in Russia, Thailand, Malaysia, Singapore and the Philippines. That’s good news. Should Gods die a bloody death this weekend in U.S./Canada, it’s going to need overseas as a lifeline. Typically, this genre, even in the worst case scenarios makes more abroad than in the states: Sony’s $100M 2014 failure Pompei made $94.6M overseas to $23.2M domestic. Here in the U.S., the media lashed out at Gods of Egypt for whitewashing its cast, prompting Lionsgate and director Alex Proyas to issue public apologies last fall. The armchair assumption might be that Butler continually stars in sword and sandal films, but in fact Gods of Egypt is his second in this genre in nine years after making a huge splash in 2007’s 300 which made $456M worldwide. iSpot TV observes that Lionsgate shelled out $15.3M in TV ads, with the top four channels being FOX, CBS, ABC and TNT.

Open Road’s heist film Triple 9 seized $335K last night and is expected to churn a weekend take in the high single digits. Worldview Entertainment made the film for $20M. iSpot.TV reports that Open Road spent about $10.4M in TV spots and media, hitting such male-demo channels as ESPN, TNT, Cartoon Network and Comedy Central.