BoxOffice® Pro - January 2014

$6.95
JANUARY 2014
IS A
‘DO-NOTHING
CONGRESS’ A
DANGER TO
EXHIBITION?
MEET OUR
EXHIBITOR
OF THE YEAR
A LOOK AT THE HITS
OF SUNDANCE—
AND THE MISSES
WORLD BOX OFFICE
2013: THE COMPLETE
BREAKDOWN
PLUS
THE 2014
CAN CHRIS PINE
JUMP-START
A DORMANT
FRANCHISE?
THE PROSPECTS OF
JACK RYAN:
SHADOW RECRUIT
SUPERNATURAL
PROFITS
PARANORMAL
ACTIVITY
The Official Magazine of the National Association of Theatre Owners

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JAN.
2014
VOL. 150 NO. 1
chris pine and kevin
costner in jack ryan:
shadow recruit
BOXOFFICE ® MEDIA
CHAIRMAN
Peter Cane
CEO
Julien Marcel
EXECUTIVE EDITOR /
CREATIVE DIRECTOR
Kenneth James Bacon
12 BOX OFFICE REPORT
THE GLOBAL TOP 25 BoxOffice looks at the biggest films
worldwide for 2013
16 FESTIVAL CIRCUIT
SUNDANCE BY THE NUMBERS As preparations mount for the latest
edition of the Sundance Film Festival, BoxOffice looks back at its
economic impact
18 GIANTS OF EXHIBITION
THE TOP 50 CIRCUITS Our annual listing of the exhibitors based on
screen count—who’s number one?
28 BIG PICTURE
SUPERNATURAL PROFITS Paramount unleashes two new Paranormal
Activity sequels in 2014, but is the record-breaking horror franchise a
ghost of its former self?
32 EXHIBITOR OF THE YEAR
MEET BILL CAMPBELL President, Orpheum Theatres
34 FILM FRANCHISE
THE SUM OF ALL FILMS Is it too late for Paramount to revive the Jack
Ryan franchise?
6 EXHIBITION BRIEFS
The latest news from the exhibition industry
10 EXECUTIVE SUITE
A “Do-Nothing Congress”: Good for exhibition now—but a danger in
the long term
36 COMING IN JANUARY
A summary of 12 films coming your way this month
40 BOOKING GUIDE
48 CLASSIFIEDS
BOXOFFICE ® PRO
INDUSTRY CONTRIBUTOR
John Fithian
CONTRIBUTING EDITORS
Daniel Garris
Daniel Loria
Shawn Robbins
COPY EDITOR
Laura Silver
PRODUCTION ASSISTANT
Ally Bacon
BOXOFFICE.COM
EDITOR
Phil Contrino
OVERSEAS EDITOR
Daniel Loria
FORUMS EDITOR
Shawn Robbins
NORTH AMERICAN GROSSES EDITOR
Daniel Garris
ADVERTISING
VP OF ADVERTISING
Susan Uhrlass
9107 Wilshire Blvd., Ste. 450
Beverly Hills, CA 90210
susan@boxoffice.com
310-876-9090
CORPORATE
230 Park Ave., Ste. 1000
New York, NY 10169
212-922-9800 tel
866-902-7750 fax
2 BoxOffice ® Pro The Business of Movies JANUARY 2014

BoxOffice ® Crosses the Atlantic
n We’re starting off 2014 with some big news here at BoxOffice. Our parent company,
BoxOffice Media, LLC, has entered into a strategic partnership with CCG (Côte Ciné Group).
Based in Paris, CCG publishes Côté Cinéma®, France’s leading exhibition trade magazine, and
provides business information and other services to the French film industry.
CCG’s cofounder and CEO, Julien Marcel, will be taking over as CEO of BoxOffice Media
from our new headquarters in Los Angeles. In addition to his experience and success to date, Julien
has a great vision for the future of BoxOffice. I’m pleased and proud to be handing over the reins
to him.
I’ll remain chairman of the company based in our New York office, and I look forward to continuing
to work and play with my friends and colleagues in the film industry.
Our new partnership comes as BoxOffice begins its 94th year of continuous service to the
exhibition industry. We’ve kept you covered from talkies to digital, and the addition of Julien’s
leadership to our current U.S.-based team bodes very well indeed for the next 94 years.
BOXOFFICE.COM
Peter Cane
peter@boxoffice.com
A Message from NATO
n NATO has been engaged in thorough discussions with both Julien Marcel and Peter Cane
and we fully support the new ownership and management team at BoxOffice Media. With his
background in exhibition trade publishing in Europe, and his keen interest in the global unity
of the exhibition industry, Julien brings exciting energy and expertise to the enterprise. We have
valued tremendously our partnership with Peter and his current team, and are delighted that they
will remain involved going forward. Given all of those factors, NATO’s executive board of directors
voted unanimously to continue our sponsorship of BoxOffice® Pro as NATO’s official magazine.
We look forward to our expanded partnership as we bring vital information to the global exhibition
industry.
John Fithian
jf@natodc.com
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BOXOFFICE ® PRO (ISSN 0006-8527), Volume 150, Number 1, January 2014. BOXOFFICE PRO is published monthly
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JANUARY 2014 BoxOffice ® Pro The Business of Movies 3

UPCOMING 3D MOVIES
2014
JAN 10 LIONSGATE/SUMMIT THE LEGEND OF HERCULES
JAN 17 OPEN ROAD THE NUT JOB
JAN 24 LIONSGATE I, FRANKENSTEIN
FEB 7 WARNER BROS. THE LEGO MOVIE
FEB 21 SONY / TRISTAR POMPEII
MAR 7 WARNER BROS. 300: RISE OF AN EMPIRE
MAR 7 FOX / DREAMWORKS ANIMATION MR. PEABODY & SHERMAN
APR 4 DISNEY CAPTAIN AMERICA: THE WINTER SOLDIER
APR 4 WARNER BROS./IMAX ISLAND OF LEMURS: MADAGASCAR
APR 11 FOX RIO 2
MAY 2 SONY/COLUMBIA THE AMAZING SPIDER-MAN 2
MAY 9 CLARIUS LEGENDS OF OZ: DOROTHY’S RETURN
MAY 16 WARNER BROS. GODZILLA
MAY 23 FOX X-MEN: DAYS OF FUTURE PAST
MAY 30 DISNEY MALEFICENT
JUN 6 WARNER BROS. EDGE OF TOMORROW
JUN 13 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 2
JUN 27 PARAMOUNT TRANSFORMERS: AGE OF EXTINCTION
JUL 11 FOX DAWN OF THE PLANET OF THE APES
JUL 18 WARNER BROS. JUPITER ASCENDING
JUL 18 DISNEY PLANES: FIRE & RESCUE
AUG 1 DISNEY GUARDIANS OF THE GALAXY
AUG 22 WEINSTEIN/DIMENSION SIN CITY: A DAME TO DIE FOR
SEP 26 FOCUS THE BOXTROLLS
NOV 7 DISNEY BIG HERO 6
NOV 26 FOX / DREAMWORKS ANIMATION HOME
DEC 17 WARNER BROS. THE HOBBIT: THERE AND BACK AGAIN
2015
JAN 16 LIONSGATE NORM OF THE NORTH
FEB 6 UNIVERSAL SEVENTH SON
MAR 27 FOX / DREAMWORKS ANIMATION THE PENGUINS OF MADAGASCAR
MAY 15 WARNER BROS. MAD MAX: FURY ROAD
JUN 5 FOX / DREAMWORKS ANIMATION B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS
4 BoxOffice ® Pro The Business of Movies JANUARY 2014

JUN 5 WARNER BROS./NEW LINE SAN ANDREAS
JUN 12 UNIVERSAL JURASSIC WORLD
JUN 19 DISNEY INSIDE OUT
JUN 19 FOX THE FANTASTIC FOUR
JUN 26 WARNER BROS. PAN
JUL 10 UNIVERSAL MINIONS
AUG 14 SONY / COLUMBIA THE SMURFS 3
OCT 9 DISNEY THE JUNGLE BOOK
NOV 6 FOX UNTITLED PEANUTS FILM
NOV 25 DISNEY THE GOOD DINOSAUR
DEC 18 DISNEY STAR WARS: EPISODE VII
DEC 23 FOX / DREAMWORKS ANIMATION KUNG FU PANDA 3
2016
FEB 12 UNIVERSAL UNTITLED ILLUMINATION ENTERTAINMENT 2016 PROJECT
MAR 4 DISNEY UNTITLED DISNEY ANIMATION FILM 1
MAR 11 UNIVERSAL WARCRAFT
MAR 18 FOX / DREAMWORKS ANIMATION MUMBAI MUSICAL
MAY 27 DISNEY ALICE IN WONDERLAND 2
JUN 17 DISNEY FINDING DORY
JUN 17 FOX / DREAMWORKS ANIMATION HOW TO TRAIN YOUR DRAGON 3
JUL 1 SONY / COLUMBIA ANGRY BIRDS
JUL 15 FOX ANUBIS
NOV 4 FOX / DREAMWORKS ANIMATION TROLLS
NOV 23 DISNEY UNTITLED DISNEY ANIMATION FILM 2
2017
APR 7 FOX FERDINAND
JUN 16 DISNEY UNTITLED PIXAR ANIMATION FILM 1
NOV 22 DISNEY UNTITLED PIXAR ANIMATION FILM 2
2018
MAR 9 DISNEY UNTITLED DISNEY ANIMATION FILM 3
JUN 15 DISNEY UNTITLED PIXAR ANIMATION FILM 3
NOV 21 DISNEY UNTITLED DISNEY ANIMATION FILM 4
JANUARY 2014 BoxOffice ® Pro The Business of Movies 5

EXHIBITION
BRIEFS
The cast of Merrily We
Roll Along, which will
be screened in theaters
nationwide now through
February 23.
FROM STAGE TO SCREEN
n SpectiCast will present the encore presentation
of Stephen Sondheim’s acclaimed revival
of Merrily We Roll Along from London’s West
End to American audiences nationwide now
through Sunday, February 23, 2014. Set over
three decades in the entertainment business,
Merrily We Roll Along charts the relationship
between three close friends, Franklin, Mary,
and Charley. Triple Olivier Award–winner Maria
Friedman makes her directorial debut with this
full-scale production. Traveling backward in
time, this story features some of Stephen Sondheim’s
most well-known songs including “Good
Thing Going,” “Not a Day Goes By,” and “Old
Friends.” Merrily We Roll Along was captured
during the production’s final performances at the
West End’s Harold Pinter Theatre.
SpectiCast is one of the fastest-growing
all-digital distribution companies in the world,
distributing film, cultural arts events, and
alternative-content programs to over 1,600
theatrical and nontheatrical venues in 24
countries on six continents. It markets and
distributes 2D and 3D programs using the
industry’s most advanced technologies. They
distribute programs from some of the world’s
most prestigious cultural arts organizations
including the Paris Opera, the Salzburg Festival,
the Paris Opera Ballet, the Mariinsky Theatre,
and the Philadelphia Orchestra. Their growing
slate of alternative-content and event cinema
includes classic and modern music events from
best-selling artists including Paul McCartney,
the Rolling Stones, Led Zeppelin, Pat Metheny,
Andre Rieu, and Jimi Hendrix, as well as worldclass
theater events including Great Expectations
from London’s Vaudeville Theatre, Stephen
Sondheim’s Company, and The Phantom of the
Opera from the Royal Albert Hall. SpectiCast
also distributes specialty film programs including
its “SpooktiCast” horror genre program,
the Women’s Edge Film Series, the Laugh Out
Loud Film Festival, and many other similar
programs. SpectiCast is based in Philadelphia.
MIX TAPE
n Located on the outskirts of Paris, Dubbing
Brothers is a postproduction center for adapting
major films into foreign languages. Its recently
renovated Dolby Atmos mixing stage is now
equipped with a Meyer Sound system, which
has supported the dubbing and remixing of
films including Escape Plan, Saving Mr. Banks,
and the Dolby Atmos mix of The Hobbit: The
Desolation of Smaug.
“When we decided to update our main 7.1
mixing room to Atmos, we wanted monitoring
of the highest quality,” says Mathieu Taieb, sales
director for Dubbing Brothers. “We knew other
major postproduction houses were using Meyer
Sound for Atmos, so we arranged a session to
listen to a Meyer Sound system. We were very
impressed with what we heard. The sound was
dynamic and precise, warm, and never aggressive.
Both bass and high frequencies exhibited
very high resolution.”
Supplied by Paris-based cinema audio
specialist 44.1, the loudspeaker system was
designed to Dolby Atmos specifications. It
includes three Acheron 80 screen channel
loudspeakers, four X-800C cinema subwoofers
in the front, two X-400C cinema subwoofers
in the rear, and four HMS-12 and 34 HMS-10
cinema surround loudspeakers.
“I enjoy mixing on the system immensely,”
says Taieb. “You can work all day on a
movie with very high dynamic levels, and
not feel tired or mugged by the sound. I’m
continually impressed with the precision and
clarity.”
Designed and supervised by Paul Henri
Wagner of 44.1, the complete technical
renovation of the room includes new wiring,
6 BoxOffice ® Pro The Business of Movies JANUARY 2014

EXHIBITION BRIEFS
a 244-channel/48-fader Avid System 5 mixing
console, and two Pro Tools HDX systems.
Founded in 1989 and headquartered in
Saint-Denis, just outside Paris, Dubbing Brothers
has satellite offices in the United States,
Germany, Italy, and Belgium.
SCREENING ROOM
n Harkness Screens has announced that it has
begun making its new passive 3D screen surface
Clarus 170 at its Asian facilities in India and
China.
Designed for use in large-format auditoria
(using two projectors) or in smaller to midsize
theaters where 3D systems using polarized light
are deployed, the Clarus 170 3D surface also
enhances conventional 2D presentation, enabling
DCI compliance with optimized theater
geometry.
“Clarus 170 has already proved an enormous
success,” says Richard Mitchell, worldwide
marketing manager of Harkness Screens. “To
date we’ve installed a significant number of
screens in Europe and this number is growing
daily. The screen’s unique characteristics mean a
richer, deeper, more immersive 3D experience
for consumers.”
According to Mitchell, Clarus provides a wide
viewing angle and significantly increases overall
brightness uniformity across the screen, reducing
visual hot-spotting while maintaining suitable
light on screen for 2D and 3D projection.
“With Clarus 170 3D surface, exhibitors are
able to benefit from more even light distribution
across the screen without the need to
radically alter equipment specification such
as lamp size or lamp power, which lower-gain
3D screens might require. On top of this, the
surface improves color accuracy and contrast,
giving a viewing experience significantly closer
to traditional 2D white screen presentation,”
Mitchell adds.
Specialist aluminum flake–based coating
applied to the base material provides high gain
characteristics, strong signal-to-noise ratios,
generous viewing angles, and optimum color
temperature. Harkness’s seam-welding process
ensures that these screens have no visible seams
under projection conditions.
SMALL SPACE, BIG SOUND
n QSC Audio Products announces three new
loudspeakers for smaller cinemas. All three
models were on display at CineAsia at the Hong
Kong Convention and Exhibition Centre in
December.
The new models include two passive fullrange,
two-way screen channel loudspeakers and
a compact, narrow-profile subwoofer. Optimized
for rooms up to 35 feet (11 meters) from
the screen to the last row of seating, the new
SC-1120 two-way screen channel loudspeaker
features a 12-inch low-frequency driver and
a 1.75-inch voice coil high-frequency driver.
The new SC-1150 two-way screen channel
loudspeaker is designed for rooms up to 45 feet
(14 meters) in length, featuring a single 15-inch
low-frequency driver and a 1.75-inch voice
coil high-frequency driver. Both systems are
fully passive, requiring only a single amplifier
channel per loudspeaker, and both use QSC’s
90-degree axisymmetric waveguide for wide,
even coverage. The new SB-1180 subwoofer
features a single 18-inch extended-bandwidth
low-frequency driver. All three enclosures are
11.7 inches (297 mm) deep, minimizing space
requirements behind the screen.
“It’s a fact that small cinemas simply don’t
require the same output capabilities from their
loudspeakers that larger cinemas require,” says
Barry Ferrell, senior vice president and chief
strategy officer for QSC Audio Products. “But
until now, cinema operators have been forced
to compromise—either by spending too much
on a loudspeaker system that’s too large for
the room, or settling for a small, inexpensive
system that sacrifices both output and sound
quality. The new small-room systems from QSC
solve that dilemma for cost-conscious cinema
operators.”
WALL OF SOUND
n Dolby Laboratories and Grupo Cinemex
have announced that Cinemex will install the
Dolby Atmos cinema sound platform in 20
theaters.
“Dolby Atmos is a major differentiator for
Cinemex audiences. It provides greater definition
and dimension to movies with its unique
object-based approach to sound,” says Rolando
Maggi, infrastructure director, Grupo Cinemex.
“With this achievement, we reinforce our mission
to be the best in entertaining people by offering
state-of the-art technology and exceptional
facilities, as well as providing our clients with
new and innovative concepts for a convenient
and enjoyable moviegoing experience.”
The addition of Dolby Atmos is one part
of the CinemeXtremo concept, which the
company says offers a more realistic and extreme
experience with its giant screens, 100 percent
digital-cinema-projection capabilities, and
ergonomic seats. The Cinemex expansion will
also feature Christie Vive Audio, the world’s first
audio system to be powered by Christie’s innovative
wall-and ceiling-surround speakers, with
their unique ribbon-driver technology.
“Dolby’s introduction of the world’s
first object-based cinema sound
platform marks a giant step forward
in the evolution of movie storytelling,”
says Doug Darrow, senior
vice president, cinema, Dolby Laboratories.
“We are proud to have
pioneered an approach to sound
that delivers a sense of being in the
moment alongside your favorite
film characters.”
ON THE MOVE
n Chuck Goldwater (below) has been promoted
to executive vice president of Digital Cinema
Destinations Corp. Goldwater has been a member
of Digiplex’s board of directors since early
2012 and was appointed senior vice president of
the company in January 2013.
Goldwater’s previous posts include seven
years at Cinedigm as president of its Media
Services Group. Prior to his tenure at Cinedigm
he was chief executive officer of Digital
Cinema Initiatives, LLC (DCI), a joint venture
of the seven leading Hollywood studios that
established technical specifications and initial
business planning for the worldwide implementation
of digital cinema. Goldwater has
also held positions at USA Cinemas, National
Amusements, and Loews Theatres, and he
served as president and CEO of Mann Theatres
and president at Clearview Cinemas. In 2012 he
was inducted into the ShowEast Hall of Fame.
Digiplex Chairman and CEO Bud Mayo
says, “Since joining Digiplex’s board less than
two years ago and our executive team in early
2013, Chuck has been instrumental in helping
guide our organization through its early years
of rapid growth and operational success. Given
his tremendous wealth of cinema-industry
experience, Chuck has been a key asset to our
corporate management, as well as to our teams
at the local theater level. With the company’s
goal of ongoing expansion plans, we expect to
continue relying on Chuck’s exhibition-industry
expertise and his unique base of knowledge, especially
on the digital-cinema-deployment and
alternative-programming fronts,” Mayo adds.
Chuck Goldwater
Executive Vice President
Digital Cinema Destinations Corp.
8 BoxOffice ® Pro The Business of Movies JANUARY 2014

EXECUTIVE
SUITE
A “Do-Nothing Congress”:
GOOD FOR EXHIBITION
NOW—BUT A DANGER IN
THE LONG TERM
by John Fithian,
President and CEO, NATO
n On January 3, 1975, I stood with my father
on the floor of the United States House of Representatives
as he was sworn in to office for the
first time. A former university history professor,
he taught me to respect our nation’s Congress
as a great legislative body and a pillar of a free
democracy. He also insisted that we respect the
president and the office he held. Despite their
affiliation with different political parties, my
Democratic father and a Republican president,
Gerald R. Ford, became friends and worked
together on several important policy initiatives.
It was a difficult period in our nation’s history.
The Watergate scandal and the resignation
of President Nixon in August 1974 further
soured the mood of a country already torn by
the debate over Vietnam. Some politicians took
advantage of that mood to emphasize partisan
goals and divisions. Most, however, got to work
doing the nation’s business. Despite the fact
that one party held the presidency and the other
party controlled Congress, 205 public bills were
enacted into law in 1975, and another 383 bills
became law in 1976.
In one manner or another, I have been a student
of our government ever since that day in
1975. In high school I spent many hours sitting
in the family gallery of the House of Representatives,
fascinated by the debate. I majored
in government in college, studied legislative
process in law school, and went on to work at
the most influential lobbying firm in Washington,
D.C. C-SPAN is as important to me as are
CNN and ESPN.
I do not come lightly, therefore, to a somber
assessment of our current government in
Washington. But it depresses me to note that
the Congress of 2013–2014 so far has been,
and will likely continue to be, the most partisan
and least productive of my lifetime. And this
113th Congress comes on the heels of the 112th
Congress (2011–2012), which had already set
the lowest bar for legislative productivity since
World War II.
Consider the legislative record of the past
three years. In 2011, 90 bills became law. The
first year of any two-year Congress typically produces
fewer final measures than the second (or
even) year does. Legislation often takes many
months to wind through the process of introduction,
hearing discussion, committee debate
and vote, floor consideration, reconciliation of
the two bodies, and signature by the president.
Nonetheless, 90 laws is a dismal record. The
average number of bills passed during odd years
from 1947 through 2011 was 242 bills per year,
and in only one year other than 2011 was the
number of bills passed less than 100. In the
odd year of 2013, the first year of the 113th
Congress, the number of enacted bills stands
at 56, with but two weeks to go in the session
at the time this column was written. In other
words, 2013 looks to be the least productive
first session of Congress in modern history.
Nor is it likely that 2014 will make up for
2013, if the previous Congress is any indication.
In 2012, the second session of the 112th Congress,
193 bills became law. That number seems
impressive compared to 2011 or 2013, but not
when compared with other second sessions in
other even years. In every even year since 1948
other than 2012, more than 200 bills have
passed, and the average over that span is 397. In
other words, the 112th Congress was the least
productive since the Second World War, and the
113th Congress looks like it will be even worse.
What has the current Congress accomplished?
Well, the Violence Against Women Act
was renewed after some lengthy debate, but that
legislation has been very bipartisan and an easy
sell in previous years. Legislation was passed to
keep the government’s helium reserves open.
And legislators did finally come to an agreement
on how to fund the government, but only after
more than two weeks of embarrassing shutdown
during the month of October. Among the
actions taken in one chamber but not the other,
the House of Representatives has voted more
than 40 times to repeal the Affordable Care Act,
even though that repeal effort stands absolutely
no chance of passing the Senate.
What has the current Congress failed to do?
Just about everything else. Important immigration
reform remains stalled, despite bipartisan
support from left-leaning human rights groups
and right-leaning big businesses. Minor gun
proposals went nowhere even after several
high-profile acts of gun violence ripped through
the country’s psyche and despite the fact that
the leading proposal (expanded background
checks) had the support of 85 percent of the
nation. A time-sensitive farm bill, which typically
finds support from both parties, seems stuck
in the partisan morass over a debate about food
stamps. And bigger, more important initiatives,
such as long-overdue reforms of the tax code
and the nation’s entitlement programs, stand a
10 BoxOffice ® Pro The Business of Movies JANUARY 2014

snowball’s chance in hell of getting off the starting blocks.
Why has this happened? Well, everyone deserves some blame. The
House Republicans lack any sense of unity, as factional politics driven
by the relatively small Tea Party Caucus prevent the party’s more centrist
leadership from compromising on anything. I believe that House Speaker
John Boehner is a good man who could, under normal circumstances,
find common ground with the Senate Democratic leadership and President
Obama. But the historic and inflexible grassroots movement of the
Tea Party, combined with the radicalizing effects of redistricting, has made
that impossible. Speaker Boehner has been embarrassed several times with
losses on the floor of the House.
The Democrats haven’t helped. President Obama hasn’t blocked Congress
with the veto, which he has only employed twice, but on a broader
scale he has failed to translate his electoral mandate into an effective partnership
with Congress. Though he has tried to woo Republicans lately,
those efforts have come too late. The divide between the parties widened
early in the president’s first term when the Democrats lost patience for
a bipartisan reform of health care and pushed through a partisan result
instead. And as the Tea Party has pulled the Republicans in Congress to
the right, liberal interest groups have responded by pulling the Democrats
to the left. And this divide leaves the reduced number of moderates in
Congress in serious danger of losing re-election.
The good news for exhibitors, of course, is that a “do-nothing” Congress
has done nothing to hurt our industry. Proposals for new gun laws,
as mentioned earlier, could easily serve as a legislative vehicle for restrictions
on violent entertainment. Indeed, the White House specifically
cautioned the MPAA, NATO, and other entertainment leaders about the
likely nexus between the two. But with no real movement on gun legislation,
our industry has not been subjected to damaging legislation either.
Proposals to raise the federal minimum wage have gone nowhere in
Congress yet, despite action in state legislatures and on ballot initiatives.
And despite a national outcry about the rising health impact of obesity,
restrictive proposals on food and beverages have shown no traction in
Congress, even while the states, cities, and federal agencies have moved
forward.
Indeed NATO’s main concern is the policymaking of the administrative,
not the legislative, branch of the government. Menu labeling rules are
imminent from the Food and Drug Administration, while disabilities-access
rules related to captioning and description requirements are pending
action at the Department of Justice. In many ways, the lobbying of
agencies presents greater challenges than attempts to influence Congress,
where grass roots have greater sway.
On balance it is easier to represent an industry like exhibition when
the Congress does very little, because we play defense more often than offense.
In the long term, however, a dysfunctional Congress will be bad for
democracy, and bad for the nation’s economy. The value of the American
dollar, for example, will not remain dominant in global currency markets
if the Congress continues to threaten the full faith and credit of the
government every time the debt limit comes into play. Questions about
government shutdowns threaten economic contracts on a wide scale. And
consumers spend less when they doubt the ability of the government to
carry through on its promises.
Beyond those pains of inaction, there is important work the Congress
must do to protect our economy. The tax code is broken and so are federal
entitlement programs. Yet the Republicans really don’t want to mess with
relatively low taxes by global standards, and the Democrats refuse to
consider any real reforms to their cherished entitlements. Without hard
work to produce serious legislative reform on those two subjects, the
country will not escape sustained budget deficits, as the changing nature
of business and the aging of the population will run the country into the
ground. Simply put, a broken Congress may make it easier for defensive
lobbying groups on discrete issues, but it can cause much greater damage
in the long run.
Let’s hope for restored sanity in Washington in our lifetimes.
JANUARY 2014 BoxOffice ® Pro The Business of Movies 11

BOX OFFICE
REPORT
THE GLOBAL
TOP 25
BoxOffice takes a look at the
25 biggest films of 2013.
By Daniel Loria
1 IRON MAN 3
Disney
Budget: $275M
Global: $1.214B
Overseas: $805.7M
Domestic: $409M
The biggest blockbuster of the year was
the only film of 2013 to cross the $1 billion
mark. The third installment in the Iron Man
franchise posted a considerable improvement
over its predecessors, Iron Man
($585 million worldwide) and Iron Man 2
($622 million worldwide). The box office
bump follows the massive success of
Marvel’s The Avengers, the 2012 juggernaut
that collected $1.514 billion from the
global box office. Iron Man 3 soared above
the competition with a $121.2 million tally
from China, its most important overseas
market. There seems to be no stopping
Robert Downey Jr. & Co. with these superhero
movies, especially considering that
the $409.1 million the film collected from
North America only represents a third of
its global total.
Top Five Overseas Territories:
China
South Korea
United Kingdom
Mexico
Brazil
2 DESPICABLE ME 2
Universal
Budget: $140M
Global: $918.3M
Overseas: $551.3M
Domestic: $366.9M
$121.2M
$64.0M
$57.0M
$48.5M
$48.3M
The Minions took over the world in 2013.
The animated sequel became the most
profitable film of all time for Universal
and its second-highest release in history
behind Jurassic Park’s $960 million. The
film nearly doubled the $543 million global
total of the original and is set to surpass
Shrek 2 to become the fourth-biggest
animated film of all time. Universal might
have expected a hit ahead of the film’s release,
but no one imagined that the fledgling
franchise would easily defeat competing
films with built-in pre-awareness or
loftier box office credentials. Despicable
Me 2 will have a shot at the $1 billion mark
with a January release in China.
Top Five Overseas Territories:
United Kingdom
Mexico
Germany
France
Brazil
3 FAST & FURIOUS 6
Universal
Budget: $220M
Global: $788M
Overseas: $549.3M
Domestic: $238.6M
$72.1M
$47.7M
$38.2M
$36.4M
$35.6M
Fast 6 sped out of the gate by becoming
Universal’s biggest U.S., overseas, and
global opener of all time. The film hardly
slowed down from its hot start and went
on to hit $788 million worldwide, a franchise
record. Fast 6 is one of only three
films to have crossed the $500 million
mark overseas in 2013.
Top Five Overseas Territories:
China
United Kingdom
Mexico
Russia
Germany
4 MONSTERS UNIVERSITY
Disney
Budget: $270M
Global: $738.8M
Overseas: $470.4M
Domestic: $268.4M
$65.6M
$38.3M
$36.0M
$33.9M
$30.0M
It took Disney Pixar over a decade to
follow up the success of Monsters, Inc.
Audiences didn’t forget about Mike and
Sulley in the 12 years between Monsters,
Inc. and Monsters University, as the Pixar
prequel became Disney’s second-biggest
hit of the year behind Iron Man 3. Monsters
University wasn’t a runaway hit in China,
but an unexpected $89.2 million run in
Japan helped launch the film to big numbers
overseas. Argentina, not known as a
traditionally powerful territory, contributed
a strong $23.6 million to the film’s box
office total.
Top Five Overseas Territories:
Japan
United Kingdom
Mexico
China
Argentina
$89.2M
$46.7M
$37.2M
$33.7M
$23.6M
5 THE HUNGER GAMES: CATCHING FIRE
Lionsgate
Budget: $185M
Global: $673.4M
Overseas: $336.7M
Domestic: $336.7M
The best-selling young-adult novels enjoyed
a blockbuster transition to the big
screen in last year’s The Hunger Games.
The first film of the newly minted franchise
grossed $686.5 million worldwide, a figure
that the sequel is close to surpassing. The
Hunger Games: Catching Fire is still in
release around the world and could possibly
overtake Monsters University for the
number four spot by year’s end.
Top Five Overseas Territories:
United Kingdom
Germany
China
Australia
Russia
6 MAN OF STEEL
Warner Bros.
Budget: $300M
Global: $662.8M
Overseas: $371.8M
Domestic: $291.0M
$42.9M
$30.7M
$27.1M
$25.7M
$22.0M
Superman’s return to the big screen
was a significant improvement over the
franchise’s previous iteration, Superman
Returns, which only grossed $391 million
worldwide. The key factor in the improvement
was the overseas market, where Man
of Steel nearly doubled the cume of its
predecessor. China led the charge outside
of North America with a $63.4 million contribution
to the Caped Crusader’s latest
cinematic effort. Man of Steel’s box office
results were optimistic enough to revalue
the DC brand. The studio is currently
developing a new film featuring Superman,
Batman, and Wonder Woman.
Top Five Overseas Territories:
China
United Kingdom
Australia
Mexico
France
7 GRAVITY
Warner Bros.
Budget: $145M
Global: $631.5M
Overseas: $380.0M
Domestic: $251.5M
$63.4M
$46.5M
$22.5M
$21.3M
$20.3M
12 BoxOffice ® Pro The Business of Movies JANUARY 2014

One of the year’s most pleasant box office
surprises came with this critically lauded
sci-fi epic from Mexican director Alfonso
Cuarón. Gravity reinforces a new blockbuster
formula that was pioneered by Ang
Lee’s Life of Pi ($611.7 million worldwide),
offering audiences a visual spectacle from
a celebrated auteur that maximizes the
potential of IMAX and 3D. Gravity has
already outgrossed Life of Pi around the
world and is likely to finish its global run
above $650 million.
crossed the $400 million mark overseas in
its first outing. Will a sequel produce the
same blockbuster results of Despicable
Me 2?
Top Five Overseas Territories:
China
United Kingdom
Russia
Mexico
Australia
$63.6M
$41.8M
$28.5M
$27.4M
$25.0M
home and abroad for Disney, opening the
possibility for an even-greater return if
the sequel can boost its overseas performance.
Top Five Overseas Territories:
Russia
China
United Kingdom
Japan
Australia
$27.3M
$25.9M
$23.1M
$18.6M
$15.8M
Top Five Overseas Territories:
China
France
United Kingdom
South Korea
Russia
$64.6M
$46.6M
$39.1M
$28.8M
$21.2M
10 WORLD WAR Z
Paramount
Budget: $260M
Global: $539.5M
12 STAR TREK INTO DARKNESS
Paramount
Budget: $250M
Global: $466.9M
8 THOR: THE DARK WORLD
Disney
Budget: $235M
Global: $610.3M
Overseas: $416.7M
Domestic: $193.6M
Marvel’s The Avengers helped push Iron
Man 3 beyond the $1 billion mark, and
the influence of 2012’s top grosser can
also be seen in the box office bump for
Thor: The Dark World. The original Thor
grossed $446 million worldwide, a figure
that Thor: The Dark World surpassed in
a matter of weeks. The sequel breezed
past the $400 million mark overseas and
will be hoping to reach the $500 million
milestone by the end of the month.
Overseas audiences became the catalyst
of this box office surge after the Thor
sequel surpassed the lifetime cume of
most major markets within the first three
weeks of release.
Top Five Overseas Territories:
China
Russia
United Kingdom
Brazil
Mexico
9 THE CROODS
Fox
Budget: $195M
Global: $589.8M
Overseas: $402.6M
Domestic: $187.1M
$51.3M
$36.2M
$31.4M
$27.2M
$23.5M
A new animated franchise was born with
the release of The Croods. The prehistoric
animated feature might have gotten away
with some Ice Age nostalgia from overseas
viewers, but The Croods was able to stand
on its own and deliver a $589.8 million
global cume—the highest of the year for a
nonfranchise animated feature. The Croods
Overseas: $337.2M
Domestic: $202.3M
Many industry insiders speculated that
World War Z would be the box office
fiasco of the year following a turbulent
production, escalating budget, and
costly reshoots stemming from structural
changes to the film’s third act. A Vanity
Fair profile documenting the troubled
project all but buried the film in a
wave of negative press before the film’s
release, and Paramount and exhibitors
braced for what could have been a costly
flop. The result? One of the ten highest-grossing
films at the global box office
with $539.5 million to its name—even
without a Chinese release. Executives
breathed a sigh of relief and exhibitors
weren’t disappointed as Brad Pitt saved
the world from flesh-eating monsters,
stopping only to enjoy a conspicuously
placed can of Pepsi near the end of the
film. The scariest parts of World War Z
might have occurred behind the scenes,
but don’t be surprised to see a (scaleddown)
sequel in the coming years after
the film’s big box office turnout around
the world.
Top Five Overseas Territories:
South Korea
Russia
Mexico
United Kingdom
France
$33.7M
$24.7M
$23.3M
$22.2M
$21.1M
11 OZ: THE GREAT AND POWERFUL
Disney
Budget: $280M
Global: $493.2M
Overseas: $258.3M
Domestic: $234.9M
That Wizard of Oz property is still extremely
valuable for Disney, and the studio
should be commended for rolling out the
right type of vehicle to reboot the classic
film into a modern franchise. Oz: The Great
and Powerful was a balanced success at
Overseas: $238.2M
Domestic: $228.7M
Paramount made it a priority to improve
upon the $127.2 million grossed overseas
by the previous installment of the
Star Trek franchise. The sequel’s release
dates around the world were spread out
throughout the summer as the studio positioned
the film strategically according
to each region’s release windows. The
result was an 87 percent improvement in
the overseas tally with a $238.2 million
cume outside of North America for Star
Trek Into Darkness. The franchise took
a hit when J.J. Abrams jumped ship to
helm Disney’s upcoming Star Wars films,
but Star Trek Into Darkness showed there
is still long-term potential for the Paramount
property.
Top Five Overseas Territories:
China
United Kingdom
Germany
Australia
South Korea
13 THE WOLVERINE
Fox
Budget: $170M
Global: $417M
Overseas: $284.4M
Domestic: $132.5M
$56.9M
$39.5M
$20.7M
$15.8M
$11.4M
Hugh Jackman returned to the role that
made him a star in the sequel to the superhero
spin-off X-Men Origins: Wolverine.
The first spin-off failed to win over fans of
the franchise despite grossing $373 million
worldwide. The Wolverine was unable
to capture significant numbers in North
America, however, and the $132.5 million
gross hindered the sequel’s potential for a
half-million global cume. The X-Men franchise
will go back to focusing on ensemble
pictures with X-Men: Days of Future Past
on May 23, 2014, and X-Men: Apocalypse
on May 27, 2016.
JANUARY 2014 BoxOffice ® Pro The Business of Movies 13

BOX OFFICE REPORT
Top Five Overseas Territories:
China
Russia
Brazil
United Kingdom
France
14 PACIFIC RIM
Warner Bros.
Budget: $230M
Global: $407.6M
Overseas: $305.8M
Domestic: $101.8M
$40.5M
$22.2M
$21.7M
$21.0M
$17.5M
A disappointment in North America,
Pacific Rim was single-handedly saved
overseas by China. Guillermo del Toro’s
high-concept tentpole grossed $119.9
million in China, over $10 million more than
its North American cume and more than a
quarter of the film’s global total. Asia alone
represented nearly half of the film’s overseas
total. A blockbuster like Pacific Rim
is a perfect example of how the overseas
box office, led by China’s surging market,
can turn a flop into a hit by year’s end.
Though not yet greenlit, director Guillermo
del Toro is writing a sequel.
Top Five Overseas Territories:
China
Russia
South Korea
Mexico
Japan
15 G.I. JOE: RETALIATION
Warner Bros.
Budget: $190M
Global: $372.5M
Overseas: $250M
Domestic: $122.5M
$119.1M
$20.6M
$18.1M
$16.0M
$15.1M
Originally slated for 2012, G.I. Joe:
Retaliation was pushed to 2013 in order
to accommodate reshoots and a 3D
conversion. The decision proved to be
fortuitous outside of North America, as
a spring 2013 release sidestepped the
previous year’s packed summer slate
and led to a $100 million improvement
above its predecessor’s overseas total.
Additional star power from new cast
additions Dwayne “The Rock” Johnson
and Bruce Willis helped the sequel reach
a bigger audience overseas. A third film
is in the works with Jon M. Chu planning
a return to the director’s chair.
Top Five Overseas Territories:
China
Russia
Mexico
South Korea
United Kingdom
$53.8M
$15.0M
$14.1M
$12.9M
$11.4M
16 THE HANGOVER PART III
Warner Bros.
Budget: $155M
Global: $350.5M
Overseas: $238.3M
Domestic: $112.2M
The first Hangover sequel was critically
panned upon release in 2011 despite
drawing enough crowds to amass a
$581.4 million global cume. The sequel’s
poor reception affected business for the
final entry in The Hangover trilogy; The
Hangover Part III fell $230 million short
of its predecessor’s mark. The $350 million
global cume came in large part from
strong support overseas after the film
only made 44 percent of the business
generated by The Hangover Part II in
North America. Despite the setbacks, The
Hangover Part III finished the year as the
number one comedy in the world, even
though it scored a lowly 19 percent at
review aggregator Rotten Tomatoes.
Top Five Overseas Territories:
Germany
United Kingdom
Australia
Russia
Brazil
17 THE GREAT GATSBY
Warner Bros.
Budget: $160M
Global: $348.8M
Overseas: $204M
Domestic: $144.8M
$31.0M
$29.3M
$19.7M
$17.3M
$16.5M
Baz Luhrmann recovered from Australia
with his 3D adaptation of F. Scott Fitzgerald’s
celebrated novel. The Australian
director’s home country showed the
most enthusiasm for the film, leading the
overseas markets with a $25.8 million
tally. (The government of Australia contributed
financially to the making of the
film with tax subsidies.) The story hit a
chord in Russia where, aided by Leonardo
DiCaprio’s star power, The Great
Gatsby earned $17.6 million. The Great
Gatsby illustrates the potential of a wellknown
literary adaptation under the helm
of an established director and the talent
such a project can attract. In an industry
dominated by special effects bonanzas,
Luhrmann’s Gatsby suggests that dramas
can work in 3D and retain their box office
viability.
Top Five Overseas Territories:
Australia
United Kingdom
Russia
Germany
France
$25.8M
$23.9M
$17.6M
$15.7M
$13.5M
18 NOW YOU SEE ME
Lionsgate
Budget: $105M
Global: $348.4M
Overseas: $230.6M
Domestic: $117.7M
One of the biggest box office surprises of
the year began its run by humiliating M.
Night Shyamalan’s After Earth in a head-tohead
face-off in North America. Now You
See Me would continue to thrive around the
world, carving its own niche in a summer
full of higher-profile and better-publicized
releases. The film was one of the biggest
hits of the year in France, where it earned
$25.6 million. China and Russia each contributed
grosses above $20 million to the
film’s $230.6 million overseas tally.
Top Five Overseas Territories:
France
China
Russia
South Korea
United Kingdom
19 THE SMURFS 2
Sony
Budget: $170M
Global: $347.5M
Overseas: $276.5M
Domestic: $71M
$25.6M
$22.9M
$21.2M
$17.0M
$16.7M
The Smurfs posted a $563 million global
outing in 2011, with over $400 million of
that figure coming from overseas sales.
The sequel is therefore best analyzed
when looking at its overseas numbers
rather than the paltry $71 million it grossed
in North America—about half of its predecessor’s
total in the market. The Smurfs 2
couldn’t replicate the success of the original,
however, ending its overseas run with
a $276.5 million total. The film still proved
to be profitable in what ultimately became
a difficult summer for Sony.
Top Five Overseas Territories:
Germany
China
France
United Kingdom
Brazil
20 THE CONJURING
Warner Bros.
Budget: $50M
Global: $316.6M
Overseas: $179.3M
Domestic: $137.3M
$23.1M
$21.8M
$19.7M
$18.8M
$14.5M
14 BoxOffice ® Pro The Business of Movies JANUARY 2014

It’s always a surprise when a $50 million
film does this well. The Conjuring became
the low-budget gem of the year after
crossing the $300 million mark at the
global box office. The film became the
highest-grossing film of all time in Mexico,
its biggest overseas market with $19 million.
Director James Wan has built himself
a successful reputation as this generation’s
horror auteur after developing similarly
successful franchises with the Saw and
Insidious films. Universal is hoping to have
another profitable Wan release after handing
him the keys to Fast & Furious 7.
Top Five Overseas Territories:
Mexico
United Kingdom
South Korea
Russia
France
21 A GOOD DAY TO DIE HARD
Fox
Budget: $135M
Global: $305.9M
Overseas: $238.6M
Domestic: $67.3M
$19.0M
$16.0M
$15.2M
$10.0M
$9.9M
The latest installment in the Die Hard
franchise barely made an impact in North
America. A Good Day to Die Hard posted
the lowest performance for the John
McClane franchise in North America, only
making half the money of its predecessor,
Live Free or Die Hard. The film’s overseas
performance is a different story altogether.
Bruce Willis is as popular as ever outside
of North America in the role that made
him a star. A Good Day to Die Hard made
77 percent of its $305.9 million global
cume overseas, with China’s $31.6 million
contribution leading the charge. A Good
Day to Die Hard is far from being the box
office flop many analysts predicted after
its lackluster North American debut.
Top Five Overseas Territories:
China
Japan
United Kingdom
France
Germany
22 OBLIVION
Universal
Budget: $165M
Global: $286.4M
Overseas: $197.2M
Domestic: $89.1M
$31.6M
$21.6M
$16.6M
$15.5M
$15.5M
Tom Cruise’s return to sci-fi heralded
flashbacks of the critical and financial
success of Steven Spielberg’s Minority
Report. The 2002 film had wowed
critics and audiences alike on its way to a
$358.3 million global cume. Expectations
were high when TRON: Legacy director
Joseph Kosinski signed to direct Cruise
in Oblivion, but the film never fulfilled its
true blockbuster potential. A $286.1 million
global cume is nevertheless a moderate
success for Universal, considering the film
underperformed in North America with a
mere $89.1 million. Cruise’s star has faded
stateside since his last hit, Mission: Impossible—Ghost
Protocol. The actor’s previous
release, Jack Reacher, also failed to reach
the $100 million mark in North America.
Name alone won’t be enough to bring
audiences to the next Tom Cruise flick, a
crucial factor as the marketing ramps up
for 2014’s Edge of Tomorrow.
Top Five Overseas Territories:
China
Russia
United Kingdom
Japan
France
23 ELYSIUM
Sony
Budget: $155M
Global: $286.1M
Overseas: $193M
Domestic: $93M
$23.7M
$18.9M
$16.3M
$13.3M
$11.3M
Neill Blomkamp’s District 9 impressed in
2009 with a $208.1 million global take
from a moderate $63 million budget. The
director was given a shot at a big-budget
summer tentpole with Sony’s Elysium. Matt
Damon and Jodie Foster provided the necessary
star power, but the film wasn’t able
to jump the $100 million hurdle in North
America. The film’s overseas performance
was on par with Oblivion, and the $286.1
million global cume represented a comfortable
profit for Sony’s difficult summer.
Top Five Overseas Territories:
China
Russia
United Kingdom
France
Australia
24 TURBO
Universal
Budget: $165M
Global: $283.4M
Overseas: $200.4M
Domestic: $83M
$25.6M
$15.8M
$14.0M
$13.6M
$10.8M
The animated slate for 2013 proved to be
very competitive with a number of established
franchises and hopeful newcomers
vying for an audience. Turbo made the cut
for inclusion into the year’s top 25 after
crossing the $200 million mark overseas. A
late opening in France gave the film little
competition in its genre and allowed Turbo
to amass $22.1 million in box office.
Top Five Overseas Territories:
France
United Kingdom
China
Russia
Australia
25 WE’RE THE MILLERS
Warner Bros.
Budget: $70M
Global: $269.1M
Overseas: $118.8M
Domestic: $150.3M
$22.1M
$18.2M
$18.1M
$13.9M
$12.1M
We’re the Millers was one of the few new
comedies to have thrived both at home
and abroad. The ensemble comedy delivered
raunchy laughs around the world to
the tune of $269.1 million. The film played
particularly well in Russia, where an $18
million cume led the rest of the overseas
markets.
Top Five Overseas Territories:
Russia
United Kingdom
Germany
Australia
Italy
$18.0M
$13.3M
$12.4M
$8.9M
$5.8M
BREAKDOWN OF THE TOP 25
WORLDWIDE HITS OF 2013
China
United Kingdom
Russia
Mexico
France
South Korea
Australia
Germany
Brazil
Japan
Argentina
Italy
TOTAL
$930.4M
$716.1M
$384.4M
$314.0M
$273.1M
$201.1M
$182.1M
$171.6M
$163.8M
$157.8M
$23.6M
$5.8M
$3,523.8B
The numbers on this report represent grosses as of
December 9, 2013. The budget numbers provided in
this story are a combination of production-budget
figures and estimated domestic P&A costs.
JANUARY 2014 BoxOffice ® Pro The Business of Movies 15

FESTIVAL
CIRCUIT
Joseph Gordon-Levitt
and Scarlett Johansson
starred in the Sundance
hit Don Jon
As preparations mount for the
latest edition of the Sundance
Film Festival, BoxOffice looks
back at its economic impact
SUNDANCE
BY THE NUMBERS
by Daniel Loria
THE HITS
n The highest-grossing film from Sundance
2013 was only a moderate success for distributor
Relativity. Don Jon, Joseph Gordon-Levitt’s
directorial debut, screened in the festival’s
Premieres section as one of the most highly
anticipated films in Park City. Relativity bought
distribution rights for the film at around $4 million,
reportedly committing an additional $20
million in marketing to accommodate a wider
release for the indie.
An R-rated romantic comedy about porn
addiction, Don Jon was never going to be an
easy sell to mainstream audiences, even with the
star power of Joseph Gordon-Levitt and Scarlett
Johansson. The $24.3 million haul can’t be
considered disappointing for a film that comes
out of Sundance, but it doesn’t reflect the film’s
potential. Relativity had to be expecting more
from Don Jon but will be happy to walk away
from establishing a working relationship with a
talented star without losing any money.
If Don Jon can be criticized for not being
profitable enough, the opposite has to be said
about the second-highest grossing film from
Sundance 2013. Mud competed for the Palme
d’Or at the 2012 Cannes Film Festival but
walked away without the top honor and, more
problematically, without securing distribution in
North America. Lionsgate and Roadside Attractions
eventually bought the film in August 2012,
ahead of its selection as one of the Spotlight
screenings of Sundance 2013.
Positive festival reviews helped Mud collect a
$2.2 million bow from 363 locations in its limited-release
debut. Word of mouth spread, slowly
but surely, as the film expanded to more theaters
across North America. Lionsgate and Roadside
positioned Mud as a theatrical/VOD hybrid,
following the blueprint success that the strategy
had brought them in their previous releases,
Margin Call and Arbitrage. A $21.5 million
theatrical haul is therefore a great number when
compared with the $7.9 million grossed by Arbitrage
and Margin Call’s $5.3 million final tally.
Celine and Jesse returned for a third time in
Richard Linklater’s Before Midnight. The couple
graced screens at Sundance’s Premieres section
and buzz quickly began to spread, calling it the
strongest in Linklater’s trilogy. Before Midnight
succeeded theatrically as well, grossing a series-best
$8.1 million for Sony Pictures Classics.
Fox Searchlight also acquired a hit after
paying slightly under $10 million for the rights
to The Way, Way Back. The comedy garnered
strong buzz as a Sundance premiere and went on
to post a $525K bow from only 19 theaters in
its theatrical debut. The Way, Way Back doubled
Searchlight’s investment at the box office, recording
a $21.5 million gross.
The revelation of Sundance 2013 was the
film then known simply as Fruitvale. The drama
inspired a bidding war among the top distributors
in attendance at Sundance, only to have the
Weinstein Company emerge as the winner after
a reported $2.5 million bid. Fruitvale left Sundance
with the Grand Jury Prize and was retitled
Fruitvale Station for a summer release. The film
became an art-house hit thanks to the festival
buzz and strong word of mouth, collecting $16
million from its theatrical run.
The Spectacular Now joined Fruitvale as the
only other film from the main competition to
make significant business at the box office. New
distribution outfit A24 continued its busy acquisition
streak at Sundance 2013, scooping up the
rights to the romantic comedy and scheduling it
for a late-summer release. The Spectacular Now
became a moderate hit in limited release with a
$6.8 million gross.
THE DOCUMENTARIES
n Sundance is known to feature some of
the strongest documentaries of the year, and
2013 was no exception. Documentaries have
traditionally been difficult to market theatrically,
with a very small number of them hitting
six-digit figures, let alone millions. The strength
of the 2013 documentary crop at Sundance was
reflected by more than a handful of standouts at
the box office.
The Weinstein Company’s RADiUS label
picked up two hits in Twenty Feet from Stardom
and Inequality for All. The discrepancy in box
office among documentary releases tends to
be highlighted by the rare films that make
it into wide release. This year’s top-grossing
documentary, One Direction: This is Us, led the
category with $28.8 million. Second place went
16 BoxOffice ® Pro The Business of Movies JANUARY 2014

to Sundance favorite Twenty Feet from Stardom,
a fascinating look into the world of back-up
singers, which posted a strong $4.7 million
take from limited release. Inequality for All, the
second RADiUS-TWC acquisition from the
festival, took in a surprising $1.1 million—not
bad for a documentary that focuses on the views
of former labor secretary and UC Berkeley
professor Robert Reich.
Blackfish caused a stir at the festival and was
quickly nabbed for distribution. CNN Films
and Magnolia teamed up for the rights to the
documentary that explores the dangers of putting
killer whales in captivity. The documentary
was released over the summer with a shortened
theatrical window in order to accommodate a
broadcast premiere on the cable network. Blackfish
took $2 million from its theatrical run.
The Gatekeepers and Stories We Tell both
screened as Spotlight selections at Park City with
North American distribution already in place.
The Gatekeepers benefitted from a 2012 Academy
Award nomination in its $2.4 million theatrical
run. Stories We Tell, Sarah Polley’s personal family
documentary, grossed $1.6 million.
Film
Domestic gross
Don Jon $24,309,029
Mud $21,590,086
The Way, Way Back $21,502,690
Jobs $16,131,410
Fruitvale Station $16,098,998
Before Midnight $8,114,627
The Spectacular Now $6,852,971
Twenty Feet from Stardom $4,779,037
In a World... $2,963,902
The Gatekeepers $2,415,727
The East $2,274,649
Austenland $2,140,812
Blackfish $2,073,582
Fill the Void $1,775,316
Stoker $1,703,125
Stories We Tell $1,600,145
The Kings of Summer $1,315,500
Inequality for All $1,179,741
Kill Your Darlings $827,141
Muscle Shoals $640,635
The Inevitable Defeat of Mister and Pete $494,608
Upstream Color $450,618
Sound City $421,187
Ain't Them Bodies Saints $391,611
Dirty Wars $371,245
Lovelace $356,582
Adore $318,982
Linsanity $293,287
The Summit $230,969
Prince Avalanche $205,139
THE FLOPS
n Jobs was one of the most highly anticipated
films to hit Sundance 2013. The biopic
starring Ashton Kutcher didn’t live up to
expectations as the closing-night film in the
festival’s Premieres section. Mixed reviews
quickly seeped in and the film never recovered
from the negative buzz. Apple products might
rule the market, but a $16.1 million cume for
the Steve Jobs biopic is very underwhelming.
If Jobs was a disappointment, Kill Your
Darlings has to be considered a total flop.
The film centers around a crucial time in the
early lives of important figures of the Beat
movement. Kill Your Darlings featured a
lead performance by Hogwarts alum Daniel
Radcliffe, but even he couldn’t muster a spell
to turn a profit for the period piece. The film
crashed out of theaters without hitting the $1
million mark and settled for an $827K from
limited release.
Lovelace was one of the hot properties to
screen in the Premieres section, and RADi-
US-TWC didn’t wait long to add it to its
slate. The film attracted an all-star cast led by
Amanda Seyfried and featuring supporting
performances from Hank Azaria, Adam Brody,
Bobby Cannavale, James Franco, Chloë Sevigny,
Sharon Stone, and Juno Temple. Poor reviews,
however, hampered expectations for the
biopic about adult entertainment icon Linda
Lovelace. Like Kill Your Darlings, Lovelace was
based on true events but couldn’t find a way
to engage audiences. Lovelace finished its commercial
run with a disastrous $356K total.
It’s always hard for a bad indie to make
good money. It is therefore understandable
that the films mentioned above struggled to
find an audience upon their theatrical release.
The same cannot be said, however, about
David Lowery’s Ain’t Them Bodies Saints, one
of the most acclaimed films coming out of
competition at Sundance 2013. IFC took the
rights amid high hopes for the Texas-set drama
starring Rooney Mara and Casey Affleck.
Most of the festival buzz had evaporated by
its mid-August release, however, and Ain’t
Them Bodies Saints never found the support it
deserved. The film finished its theatrical run
with a disappointing $391K gross.
THE 2013 SUNDANCE SCORECARD
Film
Domestic gross
Crystal Fairy $192,441
Afternoon Delight $174,496
Escape from Tomorrow $171,962
Cutie and the Boxer $170,449
We Steal Secrets: The Story of WikiLeaks $166,243
Mother of George $160,337
American Promise $108,735
Computer Chess $101,718
Blue Caprice $92,336
We Are What We Are $81,381
Narco Cultura $80,407
After Tiller $70,614
Pandora's Promise $66,680
C.O.G. $55,301
The Square $52,954
Concussion $42,606
God Loves Uganda $41,598
Sightseers $41,039
Touchy Feely $36,128
Big Sur $35,072
Running from Crazy $33,300
I Used to Be Darker $22,214
V/H/S/2 $21,833
Fire in the Blood $18,278
The Look of Love $16,119
Il Futuro $14,001
Charlie Countryman $11,650
Hell Baby $8,785
A Teacher $8,348
SOURCE: BOXOFFICE.COM
JANUARY 2014 BoxOffice ® Pro The Business of Movies 17

OF EXHIBITION
Exhibitors ranked by domestic screen
count as of December 12, 2013. Data
supplied by NATO and the individual
circuits. The figures do not include
acquisitions that were not finalized at
press time. Giants of Exhibition will be
updated each month at BoxOffice.com.
Corrections and adjustments should be
sent to ken@boxoffice.com
1
REGAL
ENTERTAINMENT
GROUP
LAST YEAR SCREENS SITES
1 7,382 579
7132 Regal Lane
Knoxville, TN 37918
Tel: 865-922-1123
Fax: 865-922-3188
www.regmovies.com
EXECUTIVE ROSTER
Amy E. Miles, CEO
Gregory W. Dunn, Pres. & COO
Peter B. Brandow, Exec. VP, Sec. & Gen. Csl.
David Ownby, Exec. VP, CFO & Treasurer
Corey Coggin, Sr. VP/Finance
Ted Cooper, Sr. VP/Film
Todd Boruff, Sr. VP/Real Estate
Rob Del Moro, Sr. VP & CPO
Dave Doyle, Sr. VP & CIO
Bob Engel, Sr. VP/Film Finance
Ronald Kooch, Sr. VP/Const.
Ray Nutt, Sr. VP/Bus. Rels.
Neal Pinsker, Sr. VP/Ops.
Randy Smith, Chief Admin. Off. & Csl.
Ken Thewes, Sr. VP & CMO
YEAR FOUNDED 1989
SCREENS LAST YEAR 6,607
SITES LAST YEAR 521
THEATER EMPLOYEES 23,672
CORPORATE EMPLOYEES 511
LOCATIONS 42 states & DC, Guam, Saipan,
American Samoa: AK, AL, AR, AZ, CA, CO, CT,
DE, FL, GA, HI, ID, IL, IN, KS, KY, LA, MA, MD,
ME, MI, MN, MO, MS, MT, NC, NE, NH, NJ,
NM, NV, NY, OH, OK, OR, PA, SC, TN, TX, VA,
WA, WV
2 AMC
ENTERTAINMENT
LAST YEAR SCREENS SITES
2 4,988 344
920 Main St.Kansas City, MO 64105
Tel: 816-221-4000
Fax: 816-480-4617
www.amcentertainment.com
EXECUTIVE ROSTER
Gerardo “Gerry” I. Lopez, CEO & Pres.
Craig R. Ramsey, Exec. VP & CFO
John D. McDonald, Exec. VP/Ops.
Mark A. McDonald, Exec. VP/Dvlp.
Elizabeth Frank, Exec. VP & Chief Content &
Programming Off.
Robert J. Lenihan, Pres./Programming
Christina Sternberg, Sr. VP/Corp. Strategy
Kevin M. Connor, Sr. VP, Gen. Csl. & Sec.
Keith P. Wiedenkeller, Sr. VP & Chief People
Off.
Stephen Colanero, Chief Mktg. Off.
Michael Czinege, CIO
YEAR FOUNDED 1920
SCREENS LAST YEAR 4,804
SITES LAST YEAR 332
THEATER EMPLOYEES 16,600
CORPORATE EMPLOYEES 400
LOCATIONS 33 States & DC: AL, AR, AZ, CA, CO,
CT, FL, GA, IA, IL, IN, KS, KY, LA, MA, MD, MI,
MN, MO, NC, NE, NJ, NV, NY, OH, OK, PA, SC,
TX, UT, VA, WA, WI
3
CINEMARK USA
LAST YEAR SCREENS SITES
3 4,400 330
3900 Dallas Pkwy., Ste. 500
Plano, TX 75093
Tel: 972-665-1000
Fax: 972-665-1004
www.cinemark.com
EXECUTIVE ROSTER
Lee Roy Mitchell, Chairman
Tim Warner, CEO & Pres.
Tandy Mitchell, Exec. VP & Asst. Sec.
Valmir Fernandes, Pres./Cinemark Intl.
Robert Copple, Exec. CFO & Asst. Sec.
Mike Cavalier, Sr. VP, Gen. Counsel & Sec.
Tom Owens, Sr. VP/Real Estate
Rob Carmony, Sr. VP/New Technologies
Walter Hebert, Sr. VP/Purchasing
Don Harton, VP/Construction
James Meredith, VP/Mktg. & Comm.
Steve Zuehlke, VP/Ops.
Steve Bunnell, VP/Film Licensing
YEAR FOUNDED 1984
WORLDWIDE SCREENS 5,453
WORLDWIDE SITES 468
WORLDWIDE SCREENS LAST YEAR 5,096
WORLDWIDE SITES LAST YEAR 448
THEATER EMPLOYEES (U.S.) 8,100
CORPORATE EMPLOYEES 250
LOCATIONS 39 States: AK, AR, AZ, CA, CO, DE,
FL, GA, IA, IL, IN, KS, KY, LA, MA, MD, MI,
MN, MO, MS, MT, NC, NJ, NM, NV, NY, OH,
OK, OR, PA, SC, SD, TN, TX, UT, VA, WA, WV,
WI; Argentina; Brazil; Chile; Colombia; Costa
Rica; Ecuador; El Salvador; Guatemala; Honduras;
Mexico; Nicaragua; Panama; Peru; Taiwan
4 CARMIKE
CINEMAS
LAST YEAR SCREENS SITES
4 2,418 247
1301 First Ave.
Columbus, GA 31901
Tel: 706-576-3400
Fax: 706-576-3433
www.carmike.com
EXECUTIVE ROSTER
S. David Passman III, Pres. & CEO
18 BoxOffice ® Pro The Business of Movies JANUARY 2014

Fred W. Van Noy, Sr. VP/Ops. & COO
Richard B. Hare, Sr. VP/Fin. & CFO
Daniel E. Ellis, Sr. VP, Gen. Counsel & Sec.
Rob Lehman, Sr. VP/Beverage & Food
Jeffrey A. Cole, Asst. VP/Controller
YEAR FOUNDED 1982
SCREENS LAST YEAR 2,242
SITES LAST YEAR 232
LOCATIONS 35 states: AL, AR, CO, DE, FL, GA,
IA, ID, IL, IN, KS, KY, MI, MN, MO, MT, NC,
ND, NE, NM, NY, OH, OK, OR, PA, SC, SD, TN,
TX, UT, VA, WA, WI, WV, WY
5 CINEPLEX
ENTERTAINMENT
LAST YEAR SCREENS SITES
5 1,635 161
1303 Yonge St.
Toronto, ON M4T 2Y9
CANADA
Tel: 416-323-6600
Fax: 416-323-6683
www.cineplex.com
EXECUTIVE ROSTER
Ellis Jacob, Pres. & CEO
Dan McGrath, COO
Gord Nelson, CFO
Jeff Kent, CTO
Michael McCartney, Exec. VP/Film
Programming
Michael Kennedy, Exec. VP/Filmed Ent.
Salah Bachir, Pres./Cineplex Media
Susan Mandryk, Sr. VP/Cust. Strategies
Heather Briant, Sr. VP/HR
George Sautter, Sr. VP/Merch. & Strategic
Planning
Anne Fitzgerald, Chief Legal Officer
Thomas Santram, VP/Legal
Pat Marshall, VP/Comm. & IR
Bill Tishler, VP/Design & Const.
Brad LaDouceur, VP/Alt. Programming
Susan Campbell, VP/Finance
Monica Duhatschek, VP/Planning & Bus. Dvlp.
Rick Klama, VP/Interactive Media
Paul Nonis, Sr. VP/Natl. Ops.
Daniel Seguin, VP/Ops. of Eastern Canada &
GM/Quebec
Kevin Watts, VP/Ops.
Ian Shaw, VP/Purchasing
Fab Stanghieri, Sr. VP/Real Estate &
Construction
Richard Wood, VP/Lease Administration
Robert Brown, VP/Cineplex Media
Scott Hughes, VP/Infrastructure & POS
Decio Silva, VP/Software Solutions
Jason Fulsom, VP/Film
John Tsirlis, VP/Sales, Cineplex Media
Sarah Lewthwaite, VP/Mktg.
Darren Solomon, VP/Entertainment Content
Scott Behnke, VP/Risk Mgmt.
Steve Harris, VP & GM/Cineplex Digital
Solutions
Lori Legault, Sr. VP/Sales, Cineplex Media
Malcolm Clark, VP/Digital Commerce
YEAR FOUNDED 2003
SCREENS LAST YEAR 1,437
SITES LAST YEAR 133
EMPLOYEES 10,000
LOCATIONS 6 provinces: Alberta, British Columbia,
Manitoba, Ontario, Quebec, Saskatchewan
6 MARCUS
THEATRES
LAST YEAR SCREENS SITES
7 685 55
100 E. Wisconsin Ave.
Milwaukee, WI 53202
Tel: 414-905-1000
Fax: 414-905-2189
www.marcustheatres.com
EXECUTIVE ROSTER
Steve H. Marcus, Chairman/The Marcus
Corporation
Gregory S. Marcus, Pres. & CEO/The Marcus
Corporation
Rolando B. Rodriguez Pres & CEO/Marcus
Theatres Corporation
Mark Gramz, Exec. VP
Jeff Tomachek, Exec. VP
Samuel “Sonny” Gourley, Sr. VP/Film
Rick Neals, VP/Film
Bob Menefee, VP/Concessions
Kim Lueck, Chief Info. Tech. Off.
YEAR FOUNDED 1935
SCREENS LAST YEAR 687
SITES LAST YEAR 55
EMPLOYEES 2,800
LOCATIONS 7 states: IL, IA, MN, ND, NE, OH, WI
7 HARKINS
THEATRES
LAST YEAR SCREENS SITES
11 440 31
7511 E. Mcdonald Dr.
Scottsdale, AZ 85250
Tel: 480-627-7777
Fax: 480-443-0950
www.harkinstheatres.com
EXECUTIVE ROSTER
Dan Harkins, Owner & CEO
Mike Bowers, Pres. & COO
Greta Newell, CFO
Racheal Wilson, Sr. VP
Tyler Cooper, VP
Kirk Griffin, Dir./Engineering
Barry Bruno, Head Film Buyer
Bryan Laurel, Dir./Mktg.
Gina Thompson, Dir./HR
Aron Barr, Dir./IT
Fred DiNapoli, Dir./Facilities
Richard Lustiger, Legal Counsel
YEAR FOUNDED 1933
SCREENS LAST YEAR 428
SITES LAST YEAR 30
THEATER EMPLOYEES 1,800
CORPORATE EMPLOYEES 68
LOCATIONS 5 states: AZ, CA, CO, OK, TX
Bryan Laurel, BryanLaurel@harkins.com
8 SOUTHERN
THEATRES
LAST YEAR SCREENS SITES
15 433 36
305 Barrone St., Ste. 900
New Orleans, LA 70112
Tel: 504-297-1133
Fax: 504-297-1138
www.thegrandtheatre.com
EXECUTIVE ROSTER
George Solomon, CEO
Ronald Krueger II, COO
James Wood, CFO
Douglas Whitford, Film Buyer
YEAR FOUNDED 2002
SCREENS LAST YEAR 301
SITES LAST YEAR 21
THEATER EMPLOYEES 1,100
CORPORATE EMPLOYEES 28
LOCATIONS 9 states: AL, FL, GA, KY, LA, MS, NC,
SC, TX
9 NATIONAL
AMUSEMENTS
LAST YEAR SCREENS SITES
9 423 32
846 University Ave.
Norwood, MA 02062
Tel: 781-461-1600
Fax: 781-322-0218
www.nationalamusements.com
www.showcasecinemas.com
EXECUTIVE ROSTER
Shari E. Redstone, Pres.
Thaddeus Jankowski, Sr. VP & Gen. Csl.
George Levitt, Sr. VP/Film Booking
Richard Sherman, Sr. VP/Fin. & Admin.
John Bilsborough, Sr. VP/Ops. Intl.
Amber Stepper, VP/Mktg. & Adv.
Bill LeClair, VP/Concessions
Joe Mollo, VP/MIS
William J. Moscarelli, VP/Real Estate
Elaine Purdy, VP/U.S. Mktg.
Mark Walukevich, VP/Film Intl.
Steve Horton, VP/Ops. Domestic
Duncan Short, VP/Ops. Intl.
Patricia Reeser, VP & Deputy Gen. Csl.
Shawn Sullivan, VP/Legal & Bus. Affairs
John Zawalich, VP/Sales & Bus. Dvlp.
Mike Kszystyniak, VP/Fin.
YEAR FOUNDED 1936
WORLDWIDE SCREENS 960
JANUARY 2014 BoxOffice ® Pro The Business of Movies 19

GIANTS OF EXHIBITION
WORLDWIDE SITES 77
SCREENS LAST YEAR 437
SITES LAST YEAR 32
THEATER EMPLOYEES 4,800 (U.S. 2,800; Intl.
2,000)
CORPORATE EMPLOYEES more than 150
LOCATIONS 6 states: CT, MA, NJ, NY, OH, RI;
Argentina; Brazil; England; Scotland; Wales
10
BOW TIE
CINEMAS
LAST YEAR SCREENS SITES
32 388 59
641 Danbury Rd.
Ridgefield, CT 06877
Tel: 203-659-2600
Fax: 203-659-2601
www.bowtiecinemas.com
EXECUTIVE ROSTER
Charles B. Moss, Owner
Ben Moss, Owner
Joseph Masher, COO
Ike Rivera, VP Operations
Robert Schmiedel, VP Controller
Jenifer Pellegrino, VP Human Resources
John Connelly, VP Information Technologies
Nesa Hassanein, VP Real Estate
Steve Ventor, Dir. Ops. – New York
Ted Lazor, Dir. Ops. – New Jersey
Tonya Priest, Reg. Mgr. – Connecticut
Dan Herrle, Reg. Mgr. – Mid Atlantic
Hank Lightstone, President, Film Group
Denis Foley, Senior Film Buyer
John Molson, Senior Film Buyer
Tatiana Alafouzo, Film Analyst
YEAR FOUNDED 1900
SCREENS LAST YEAR 177
SITES LAST YEAR 21
THEATER EMPLOYEES 1300
CORPORATE EMPLOYEES 25
LOCATIONS 6 states: CO, CT, MD, NJ, NY, VA
11 LANDMARK
CINEMAS
CANADA
LAST YEAR SCREENS SITES
46 359 54
14505 Bannister Rd. SE, Ste. 100
Calgary, AB T2X 3J3
CANADA
Tel: 403-262-4255
Fax: 403-266-1529
www.landmarkcinemas.com
EXECUTIVE ROSTER
Brian F. McIntosh, Pres.
Neil H. Campbell, COO
Damien Cheng, CFO
Kevin Norman, VP/Film Ent.
Nathan Cooney, VP Operations
Fran Holy, VP Marketing & Communications
Sherry Chappell, VP Administration
James Mason, Dir., Food Services
Mike Charbonneau, Dir. Creative Services &
Interactive
Alan Lui, Dir., Distributor Relations
Don Langkaas Manager, Advertising & Special
Programs
Drew Campbell, Dir. Guest Strategy & Services
YEAR FOUNDED 1965
SCREENS LAST YEAR 125
SITES LAST YEAR 31
THEATER EMPLOYEES 1500
CORPORATE EMPLOYEES 50
LOCATIONS 6 provinces: Alberta, British Columbia,
Manitoba, Saskatchewan, Ontario, Yukon
12 MALCO
THEATRES INC.
LAST YEAR SCREENS SITES
12 348 32
5851 Ridgeway Center Pkwy.
Memphis, TN 38120
Tel: 901-761-3480
Fax: 901-681-2044
www.malco.com
EXECUTIVE ROSTER
Stephen Lightman, Chair, Pres. & CEO
Robert Levy, Executive VP
James Tashie, Executive VP
David Tashie, Sr. VP Ops. & Construction
Robert Harrington, VP CFO
Larry Etter, Sr. VP Food Services
Jeff Kaufman, Sr. VP Film & Film Marketing
James Lloyd, VP
Mike Thomson, VP
Wes Lunsford, VP Digital Ops.
Don Burchett, VP Western Area Region
Donald Terry, VP Memphis Area Region
Alan Denton, VP Corporate Comm. & Human
Resources
Karen Scott, Dir. of Mktg.
Mallory Lightman, Mktg. & Design Coord.
Jeff Martin, Film Dept. Assist.
Nathan McDaniel, Eastern Area Regional Mgr.
Kiran Hanumaiah, Dir. of Info. Tech.
Jimmy Beckford, Dir. of Digital Ops.
Scott Barden, Regional Dir. of Digital Ops.
John Tashie, Website Admin.
YEAR FOUNDED 1915
SCREENS LAST YEAR 323
SITES LAST YEAR 30
LOCATIONS 5 states: AR, KY, MO, MS, TN
13 STARPLEX
CINEMAS INC.
LAST YEAR SCREENS SITES
22 344 33
12750 Merit Dr., Suite 800
Dallas, TX 75251
Tel: 214-692-6494, 877-884-6494
Fax: 214-692-8982
www.starplexcinemas.com
EXECUTIVE ROSTER
Steve Holmes, CEO & Pres.
Tammy Flores, Film Buyer
A.J. Roquevert, Film Buyer
Elle Beith, Dir./HR
YEAR FOUNDED 1995
SCREENS LAST YEAR 235
SITES LAST YEAR 22
THEATER EMPLOYEES 787
CORPORATE EMPLOYEES 36
LOCATIONS 11 states: CA, OH, IL, IN, NJ, OK,
TX, WA, KS, MO, NE
14 GEORGIA
THEATRE
COMPANY
LAST YEAR SCREENS SITES
13 326 32
50 Cinema Ln.
St. Simons Island, GA 31522
Tel: 912-634-5192
Fax: 912-634-5195
www.georgiatheatrecompany.com
EXECUTIVE ROSTER
William J. Stembler, CEO & Pres.
Jeff Mobley, COO
Bo Chambliss, Exec. VP & Gen. Csl.
C.F. Kip Smiley, VP/Film
Dennis Merton, VP/Finance
Joan Mannheim, Treasurer
YEAR FOUNDED 1991
SCREENS LAST YEAR 310
SITES LAST YEAR 31
THEATER EMPLOYEES 600
CORPORATE EMPLOYEES 9
LOCATIONS 4 states: GA, FL, SC, VA
15 FRANK
THEATRES
LAST YEAR SCREENS SITES
16 282 25
1003 W. Indiantown Rd., Ste. 210
Jupiter, Florida 33458
Tel: 561-776-4747
Fax: 561-776-2340
www.franktheatres.com
EXECUTIVE ROSTER
Al Frank, Emeritus
Bruce Frank, Pres. & CEO
Rob Reynolds, COO & CFO
20 BoxOffice ® Pro The Business of Movies JANUARY 2014

GIANTS OF EXHIBITION
Joyce Frank, Sr. VP
Deborah Frank, Sr. VP
Larry Collins, Exec. VP/Film
YEAR FOUNDED 1921
SCREENS LAST YEAR 282
SITES LAST YEAR 25
THEATER EMPLOYEES 800
CORPORATE EMPLOYEES 15
LOCATIONS 7 states: FL, GA, NJ, NC, PA, SC, WV
16 LANDMARK
THEATRES
LAST YEAR SCREENS SITES
24 278 58
2222 S. Barrington Ave.
Los Angeles, CA 90064
Tel: 310-473-6701
Fax: 310-312-2364
www.landmarktheatres.com
EXECUTIVE ROSTER
Ted Mundorff, CEO & Pres.
Schuyler Hansen, CFO
Jason Sachs, CAO
Mike McClellan, SVP & Head Film Buyer
Michael Fant, SVP/Real Estate & Development
Chuck Delagrange, VP/Theater Ops.
Bryan Linnington, VP/Tech.
Marilyn Joslyn, Dir./Creative & Mktg.
YEAR FOUNDED 1974
SCREENS LAST YEAR 227
SITES LAST YEAR 50
THEATER EMPLOYEES 1,192
CORPORATE EMPLOYEES 70
LOCATIONS 17 states & DC: AZ, CA, CO, GA, IL,
IN, MA, MD, MI, MN, MO, NY, OK, PA, TX,
WA, WI
17 GOODRICH
QUALITY
THEATRES
LAST YEAR SCREENS SITES
17 277 30
4417 Broadmoor SE
Grand Rapids, MI 49512
Tel: 616-698-7733
Fax: 616-698-7220
www.gqti.com
EXECUTIVE ROSTER
Robert E. Goodrich, Pres.
Ross Pettinga, CFO
Martin Betz, COO
Wanda Holst, Film Buyer & Office Mgr.
Kelly Nash, Mktg. Mgr. & Creative Dir.
Brian Nuffer, Director of Concessions
Darren Pitcher, CIO
YEAR FOUNDED 1930
SCREENS LAST YEAR 277
SITES LAST YEAR 30
THEATER EMPLOYEES 1,150
CORPORATE EMPLOYEES 35
LOCATIONS 4 states: IL, IN, MI, MO
18 PREMIERE
CINEMA CORP.
LAST YEAR SCREENS SITES
18 254 22
109 W. Fourth St.
Big Spring, TX 79720
Tel: 432-267-6450
Fax: 432-267-9609
www.pccmovies.com
EXECUTIVE ROSTER
Gary Moore, Pres. & CEO
Joel Davis, VP & COO
Martin Watson, Special Ops.
Debra Calobreves, CFO & Treasurer
Tim Patton, Booking
Rick Slaughter, Booking
Michelle Tubb, HR
Larry Delaney, CTO
Rich Klorres, Dir./Bldg. Srvcs.
Kristi Davis, Internet Mktg.
Brian Tietlebaum, Webmaster
Vince Bienek, Dir./IT
YEAR FOUNDED 1985
SCREENS LAST YEAR 252
SITES LAST YEAR 22
LOCATIONS 4 states: AL, FL, TX, NM
19
DIGITAL CINEMA
DESTINATIONS
CORP. (DBA DIGIPLEX)
LAST YEAR SCREENS SITES
33 253 26
250 E. Broad St.
Westfield, NJ 07090
Tel: 908-396-1360
Fax: 908-396-1361
www.digiplexdest.com
EXECUTIVE ROSTER
A. Dale “Bud” Mayo, Chairman & CEO
Chuck Goldwater, Exec. VP
Brian Pflug, CFO
Jeff Butkovsky, CTO
Warren Colodner, Gen. Counsel
John Halecky, Chief Mktg. Officer
Dean Gentile, VP/Ops.
Doreen Sayegh, VP/Alt. Programming
Brett Marks, Dir./Development
Jill Solomon, Dir./In-Theater Marketing
Jody Grayson, Dir./Admin.
Tim Keefner, Dir./Field Ops.
YEAR FOUNDED 2010
SCREENS LAST YEAR 162
SITES LAST YEAR 19
THEATER EMPLOYEES 500+
CORPORATE EMPLOYEES 18
LOCATIONS 9 states: AZ, CA, CT, FL, MD, NH,
NJ, OH, PA
20
B&B THEATRES
LAST YEAR SCREENS SITES
22 237 33
P.O. Box 129
Liberty, MO 64069
Tel: 816-407-7469
www.bbtheatres.com
EXECUTIVE ROSTER
Robert E. Bagby, Pres. & Owner
Elmer Bills, Chairman & Owner
Bobbie Bagby, VP/Mktg.
Michael Hagan, VP/Finance
Dan VanOrden, Circuit GM
Dennis McIntire, Dir./Ste. Planning
Brittanie Bagby, Dir./Business Affairs
Jesse Baker, Dir./Design and Brand Mgmt.
Brock Bagby, Director of Programming & Bus.
Dev.
Jerry Dittmer, Financial Analyst
Tyler Rice, Circuit Operations Mgr.
Brad Bills, Film Buyer
YEAR FOUNDED 1924
SCREENS LAST YEAR 233
SITES LAST YEAR 32
THEATER EMPLOYEES 1,100
CORPORATE EMPLOYEES 23
LOCATIONS 5 states: FL, KS, MO, OK, TX
21 READING
CINEMAS USA
LAST YEAR SCREENS SITES
21 236 22
6100 Center Dr., Ste. 900
Los Angeles, CA 90045
Tel: 213-235-2240
Fax: 213-235-2229
www.readingrdi.com
EXECUTIVE ROSTER
James J. Cotter, Chairman & CEO
Margaret Cotter, Pres.
Robert F. Smerling, Pres./Domestic Cinemas
YEAR FOUNDED 2002
TOTAL SCREENS 236
TOTAL SITES 22
LOCATIONS 6 states: CA, HI, NJ, NY, TX, VA;
Australia and New Zealand
22
COBB THEATRES
LAST YEAR SCREENS SITES
19 235 20
2000B South Bridge Pkwy., Ste. 100
Birmingham, AL 35209
Tel: 205-802-7766
Fax: 205-802-7771
www.cobbtheatres.com
22 BoxOffice ® Pro The Business of Movies JANUARY 2014

EXECUTIVE ROSTER
Robert M. Cobb, Pres. & CEO
Jeremy P. Welman, COO
Ricky Thomas, CFO
Jeff Cobb, VP/Real Estate
Freddie Dobbs, VP/Construction
Loretta Thomas, VP/Purchasing
Guy Austin, Dir./Theater Ops.
Fred Meyers, Dir./Cinebistro Ops.
Jennifer Gossett, Dir./HR
Eddie Messick, Dir./IT Ops.
YEAR FOUNDED 2000
SCREENS LAST YEAR 253
SITES LAST YEAR 21
THEATER EMPLOYEES 1,200
CORPORATE EMPLOYEES 18
LOCATIONS 5 states: AL, CO, FL, GA, VA
23 WEHRENBERG
THEATRES
LAST YEAR SCREENS SITES
26 210 15
12800 Manchester Rd.
St. Louis, MO 63131
Tel: 314-822-4520
Fax: 314-822-8032
www.wehrenberg.com
EXECUTIVE ROSTER
Ronald P. Krueger, Chairman & CEO
OMNITERM-7.5x5 Dec10.pdf 1 13-12-10 10:55 AM
William E. Menke, Exec. VP & COO
Jeff Brands, CFO
Robert A. Weiss, VP/Film
Kelly Hoskins, VP/Mktg.
Brett Havlik, Dir./Concessions
YEAR FOUNDED 1906
SCREENS LAST YEAR 210
SITES LAST YEAR 15
THEATER EMPLOYEES 1,000
CORPORATE EMPLOYEES 40
LOCATIONS 4 states: IA, IL, MN, MO
24 REGENCY
THEATRES INC.
LAST YEAR SCREENS SITES
25 196 29
26901 Agoura Rd., Ste. 260
Calabasas, CA 91301
Tel: 818-224-3825
Fax: 818-224-2173
www.regencymovies.com
EXECUTIVE ROSTER
Lyndon Golin, Pres.
Andrew Golin, VP
Monica Golin, CFO
Jim Ferguson, Controller
Sally Panteleon, Box Office & Purchasing
Specialist
Angie Haziza, Mktg. Mgr.
Heidi Garcia, Mktg. & Ops. Admin. Mgr.
Terry Otis, Dir. of Concessions
Veronica Moreno, Director of Ops.
Dwight Morgan, Ops.
Andrew Gualtieri, Ops.
Larry Porricelli, Ops.
YEAR FOUNDED 1996
SCREENS LAST YEAR 197
SITES LAST YEAR 30
LOCATIONS 2 states: CA, NV
TIE
25
LARRY H. MILLER
MEGAPLEX
THEATRES
LAST YEAR SCREENS SITES
30 178 17
301 W. South Temple
Salt Lake City, UT 84101
Tel: 801-304-4505
Fax: 801-325-2768
www.megaplextheatres.com
EXECUTIVE ROSTER
Blake Andersen, Sr. VP
Greg Miller, CEO
YEAR FOUNDED 1999
SCREENS LAST YEAR 178
SITES LAST YEAR 17
EMPLOYEES 1,400
LOCATIONS 2 states: NV, UT
JANUARY 2014 BoxOffice ® Pro The Business of Movies 23

GIANTS OF EXHIBITION
TIE
25 DICKINSON
THEATRES
LAST YEAR SCREENS SITES
30 178 16
6801 W. 107th St.
Overland Park, KS 66212
Tel: 913-432-2334
Fax: 913-432-9507
www.dtmovies.com
EXECUTIVE ROSTER
Ron Horton, Pres. & CEO
Ed Carl, COO & Head Film Buyer
Bruce Whittman, CFO
Tom Woolery, VP/Ops.
Kevin White, VP/Purch., Maint. & Conc.
YEAR FOUNDED 1920
SCREENS LAST YEAR 210
SITES LAST YEAR 18
THEATER EMPLOYEES 500
CORPORATE EMPLOYEES 12
LOCATIONS 7 states: AZ, AR, KS, MO, NE, OK, TX
27 MARQUEE
CINEMAS
LAST YEAR SCREENS SITES
28 173 18
552 Ragland Rd.
Beckley, WV 25801
Tel: 304-255-4036
Fax: 304-252-0526
www.marqueecinemas.com
EXECUTIVE ROSTER
Curtis E. McCall, Chairman, Pres. & CEO
James M. Cox, VP & Construction/Dvlp.
Cindy Ramsden, CFO
Harry L. Newman, Dir./Ops.
Robin P. Shumate, Dir./Mktg.
Rob Thomspon, Ops.
John Mitchell, Ops.
YEAR FOUNDED 1979
SCREENS LAST YEAR 184
SITES LAST YEAR 19
THEATER EMPLOYEES 500
CORPORATE EMPLOYEES 10
LOCATIONS 9 states: CT, FL, KY, NJ, NY, NC, PA,
VA, WV
28 PACIFIC
THEATRES/
ARCLIGHT CINEMAS
LAST YEAR SCREENS SITES
29 171 14
120 N. Robertson Blvd., 3rd Fl.
Los Angeles, CA 90048
Tel: 310-657-8420
Fax: 310-657-6736
www.pacifictheatres.com
www.arclightcinemas.com
EXECUTIVE ROSTER
Christopher Forman, CEO & Pres.
Nora Dashwood, Chief Branding Off.
YEAR FOUNDED 1946
SCREENS LAST YEAR 177
SITES LAST YEAR 13
LOCATIONS 1 state: CA
29
PHOENIX BIG
CINEMAS
MANAGEMENT
LAST YEAR SCREENS SITES
26 169 19
9111 Cross Park Dr., Ste. #E-275
Knoxville, TN 37923
Tel: 865-692-4061
Fax: 865-692-4065
www.phoenixbigcinemas.com
EXECUTIVE ROSTER
Phil Zacheretti, Pres. & CEO
Chris Gehring, VP/Ops.
Alexander Ellis, VP & Head Film Buyer
Cindy Taylor, VP/Finance
Karen Lane, VP/Mktg. & Adv.
Moya Myers, Dir./Purchasing
Denise Ferro, Dir./Food & Beverage
Vince Emmons, Dir./Capital Improvements
Christine West, Dir./HR & Compliance
YEAR FOUNDED 2001
SCREENS LAST YEAR 210
SITES LAST YEAR 26
THEATER EMPLOYEES 550
CORPORATE EMPLOYEES 22
LOCATIONS 14 states: CA, FL, GA, IL, KS, MD,
NC, OH, NJ, NY, NV, PA, TN, VA
30
STUDIO MOVIE
GRILL
LAST YEAR SCREENS SITES
UNRANKED 160 15
8350 North Central Expy., Ste. 400
Dallas, TX 75206
Tel: 972-388-7888, 866-766-8187
Fax: 214-751-3980
www.moviestudiogrill.com
EXECUTIVE ROSTER
Brian Schultz, CEO
YEAR FOUNDED 2000
LOCATIONS 7 states: AZ, GA, IL, IN, NC, OH, TX
31 CELEBRATION!
CINEMA
LAST YEAR SCREENS SITES
34 155 12
2121 Celebration Dr. NE
Grand Rapids, MI 49525
Tel: 616-447-4200
Fax: 616-447-4201
www.celebrationcinema.com
EXECUTIVE ROSTER
John D. Loeks, Chairman & CEO
J.D. Loeks, Pres. & COO
Nancy Hagan, Treas. & CFO
Michelle Felker, Sec.
Steve Forsythe, VP/People
Roger Lubs, VP/Facilities & Const.
Ron Van Timmeren, VP/Programming
Steve VanWagoner, VP/Mktg.
Kenneth Baas, VP & CTO
Kenyon Shane, VP/Ops. & Revenue Dvlp.
YEAR FOUNDED 1944
SCREENS LAST YEAR 154
SITES LAST YEAR 12
LOCATIONS 1 state: MI
svanwagoner@celebrationcinema.com
32
MJR THEATRES
LAST YEAR SCREENS SITES
40 153 10
41000 Woodward Ave., Ste. 135
East Bloomfield Hills, MI 48304
Tel: 248-548-8282
Fax: 248-548-4706
www.mjrtheatres.com
EXECUTIVE ROSTER
Michael Mihalich, Pres.
Tony Penchoff, Exec. Asst. to Pres.
Dennis Redmer, VP/Ops.
Candi Mihalich, VP & Film Buyer
Robin Hansen, Dir./ Mktg. & Adv.
YEAR FOUNDED 1980
SCREENS LAST YEAR 137
SITES LAST YEAR 9
THEATER EMPLOYEES 480
CORPORATE EMPLOYEES 13
LOCATIONS 1 state: MI
33 MUVICO
THEATRES
LAST YEAR SCREENS SITES
35 152 9
3101 N. Federal Hwy., 6th Fl.
Fort Lauderdale, FL 33306
Tel: 954-564-6550
Fax: 954-564-6553
www.muvico.com
EXECUTIVE ROSTER
Neil F. Bretan, Pres. & CEO
James E. Herd Jr., COO
Alan Rainbeau, VP/Finance
David Thollander, VP/Purchasing & Facilities
Mollie Raymond, VP/Controller
YEAR FOUNDED 1984
SCREENS LAST YEAR 152
SITES LAST YEAR 9
LOCATIONS 3 states: CA, FL, IL
24 BoxOffice ® Pro The Business of Movies JANUARY 2014

TIE
34 CINEMA
ENTERTAINMENT
CORP.
LAST YEAR SCREENS SITES
36 151 19
1621 W. Division St.
St. Cloud, MN 56302
Tel: 320-251-9131
Fax: 320-251-1003
www.cectheatres.com
EXECUTIVE ROSTER
Robert Ross, Pres.
Tony Tillemans, VP
Anthony Ross, VP/Finance
Dwight Gunderson, Dir./Film Buying & Mktg.
Greg Carter, Gen. Ops. Mgr.
Andrew Bergstrom, Concessions & Equip. Buyer
Craig Seidenkranz, Projection Tech.
YEAR FOUNDED 1961
SCREENS LAST YEAR 151
SITES LAST YEAR 19
THEATER EMPLOYEES 375
CORPORATE EMPLOYEES 13
LOCATIONS 4 states: IA, MN, NE, WI
TIE
34 COMING
ATTRACTIONS
THEATRES INC.
LAST YEAR SCREENS SITES
37 151 18
2200 Ashland St.
Ashland, OR 97520
Tel: 541-488-1021
Fax: 541-482-9290
www.catheatres.com
EXECUTIVE ROSTER
John C. Schweiger, Chairman & CEO
Al Lane, Senior VP & COO
Lee Fuchsmann, VP/Film
Desaree Hall, VP & Controller
James Sandberg, Director of Operations
Kim Neufeld, Dir./Marketing & Sales Promo.
Sarah Heiken, Dir./HR
Mark Edwards, Dir./Purchasing & Snack Bar
Maint.
Roy Probst, Dir./Facility Repair & Maint.
YEAR FOUNDED 1985
SCREENS LAST YEAR 151
SITES LAST YEAR 19
THEATER & CORPORATE EMPLOYEES 275
LOCATIONS 4 states: AK, CA, OR, WA
36 NEIGHBORHOOD
CINEMAS GROUP
(NCG)
LAST YEAR SCREENS SITES
40 147 15
314 E. Comstock
Owosso, MI 48867
Tel: 989-725-8755
Fax: 989-723-0359
www.ncgmovies.com
EXECUTIVE ROSTER
Jeff Geiger, President
Mark Henning, COO
Shelly Davis, CFO & Film Buyer
Gary Geiger, Exec. Officer
Steve Smith, Exec. Officer
Jason Brown, District Mgr.
Tim Dilts, District Mgr.
Carol Douglas, Dir./Concess.
YEAR FOUNDED 1985
SCREENS LAST YEAR 125
SITES LAST YEAR 13
THEATER EMPLOYEES 750
CORPORATE EMPLOYEES 11
LOCATIONS 4 states: GA, IN, MI, TN
37 UNITED
ENTERTAINMENT
CORP.
LAST YEAR SCREENS SITES
44 143 16
3601 18th St. S.
St. Cloud, MN 56301
Tel: 320-203-1003
Fax: 320-203-1229
www.uecmovies.com
EXECUTIVE ROSTER
Mike Ross, Pres. & CEO
John Shorba, VP/Ops.
Steve Ross, Theater Ops.
Mike Daniels, Dvlp. Mgr.
John Zemer, Prod. Mgr.
Carol Bowman, Controller
YEAR FOUNDED 1993
SCREENS LAST YEAR 124
SITES LAST YEAR 14
CORPORATE EMPLOYEES 400
LOCATIONS 10 states: CA, IN, MI, MN, MS, NC,
OH, PA, TN, UT
38
CINÉMA GUZZO
LAST YEAR SCREENS SITES
39 142 10
1055 Chemin du Coteau
Terrebonne, PQ J6W 5Y8
CANADA
Tel: 450-961-2945
Fax: 450-961-9349
www.cinemasguzzo.com
EXECUTIVE ROSTER
Angelo Guzzo, Chairman & Owner
Vincenzo Guzzo, Exec. VP, COO & Owner
Maria Guzzo, Sec. & VP/Community Affairs
Jose Bruzzese, Treas.
Mario Quattrociocche, Dir./Constr.
James Dambreville, Dir./Ops. & Mktg.
Vito Franco, Film Buyer
YEAR FOUNDED 1974
SCREENS LAST YEAR 142
SITES LAST YEAR 10
THEATER EMPLOYEES 625
CORPORATE EMPLOYEES 45
LOCATIONS 1 province: Quebec
39 SANTIKOS
LAST YEAR SCREENS SITES
42 129 9
18402 US Hwy. 281 N., Ste. 229
San Antonio, TX 78259
Tel: 210-496-1300
Fax: 210-496-2720
www.santikos.com
EXECUTIVE ROSTER
John Santikos, Owner & Operator
YEAR FOUNDED 1967
SCREENS LAST YEAR 129
SITES LAST YEAR 9
LOCATIONS 1 state: TX
40 GALAXY
THEATRES
LAST YEAR SCREENS SITES
45 126 13
15060 Ventura Blvd., Ste. 350
Sherman Oaks, CA 91403
Tel: 818-986-9000
www.galaxytheaters.com
EXECUTIVE ROSTER
Frank Rimkus, CEO
Rafe Cohen, COO
Lee Josselyn, VP/Film
YEAR FOUNDED 1998
SCREENS LAST YEAR 111
SITES LAST YEAR 11
THEATER EMPLOYEES 500
CORPORATE EMPLOYEES 19
LOCATIONS 4 states: CA, NV, TX, WA
41 YOUR
NEIGHBORHOOD
THEATRES
LAST YEAR SCREENS SITES
46 125 17
55 Cambridge Parkway
Cambridge, MA 02142
Tel: 617-499-2700
Fax: 617-225-0897
www.yourneighborhoodtheatre.com
EXECUTIVE ROSTER
Mark Benvenuto, President
Deborah Belisle, VP/Ops.
Brad Brown, Reg. Dir.
YEAR FOUNDED 1985
THEATER EMPLOYEES 275
CORPORATE EMPLOYEES 12
LOCATIONS CT, ME, MA, NH, NY, RI
JANUARY 2014 BoxOffice ® Pro The Business of Movies 25

GIANTS OF EXHIBITION
42 ALAMO
DRAFTHOUSE
CINEMAS
LAST YEAR SCREENS SITES
UNRANKED 113 12
13809 N. Highway 183
Austin, TX 78750
Tel: 512-219-7800
www.drafthouse.com
EXECUTIVE ROSTER
Tim League, Founder, CEO
Henri Mazza, CCO
Mike Sherrill, COO
Sarah Pitre, Programmer
Greg MacLennan, Programmer/Video Editor
YEAR FOUNDED 1997
LOCATIONS 7 states: TX, VA, CO, MI, MO, NY, CA
43 FLAGSHIP
CINEMAS
LAST YEAR SCREENS SITES
UNRANKED 112 14
55 Cambridge Parkway, Ste. 200
Cambridge, MA 02142
Tel: 508-998-4942
Fax: 508-998-4977
www.flagshipcinemas.com
EXECUTIVE ROSTER
John J. Crowley Jr., Pres.
Paul Wenger, VP
Andrew Poore, Dir./Ops.
Pauline Mickle, Asst. VP/Admin.
YEAR FOUNDED 1996
SCREENS LAST YEAR 103
SITES LAST YEAR 11
THEATER EMPLOYEES 300
CORPORATE EMPLOYEES 6
LOCATIONS 6 states: MA, ME, MD, FL, PA, VT
44
ALLEN THEATRES
LAST YEAR SCREENS SITES
48 107 16
133 Wyatt Dr. #3
Las Cruces, NM 88005
Tel: 575-524-7933
Fax: 575-527-0068
www.allentheatresinc.com
EXECUTIVE ROSTER
Larry F. Allen, Pres. & Co-Owner
Lane E. Allen, VP & Co-Owner
Russell Allen, VP/Ops.
Nathan Allen, VP/Finance
Heather Gandy, Mktg.
YEAR FOUNDED 1912
SCREENS LAST YEAR 105
SITES LAST YEAR 16
LOCATIONS 2 states: CO, NM
44 WESTATES
LAST YEAR SCREENS SITES
UNRANKED 107 22
1111 Brickyard Rd., Ste. 106
Salt Lake City, UT 84106
Tel: 801-487-6233
www.westatestheatres.com
EXECUTIVE ROSTER
Tony Jay Rudman, Pres.
Shonnie Tornow, VP
SCREENS LAST YEAR 107
SITES LAST YEAR 22
LOCATIONS 4 states: AZ, ID, NV, UT
46 CLASSIC
CINEMAS
TIE
LAST YEAR SCREENS SITES
49 104 13
603 Rogers St.
Downers Grove, IL 60515
Tel: 630-968-1600
Fax: 630-968-1626
www.classiccinemas.com
EXECUTIVE ROSTER
Willis Johnson, Pres.
Chris Johnson, VP/Ops.
Bill Budig, CIO
Lou Michael, Booking/Great Lakes Theatre
Service
Shirley Johnson, Corporate Secretary
YEAR FOUNDED 1978
SCREENS LAST YEAR 104
SITES LAST YEAR 13
THEATER EMPLOYEES 450
CORPORATE EMPLOYEES 20
LOCATIONS 1 state: IL
46
TIE
MULLER FAMILY
THEATRES
LAST YEAR SCREENS SITES
49 104 8
20653 Keokuk Ave.
Lakeville, MN
Tel: 952-469-2883
Fax: 952-985-5643
www.mullerfamilytheatres.com
EXECUTIVE ROSTER
Mike S. Muller, Pres. & Partner
Robert Muller, VP & Partner
Dale Haider, Dir./Ops.
YEAR FOUNDED 1978
SCREENS LAST YEAR 104
SITES LAST YEAR 8
THEATER EMPLOYEES 300
CORPORATE EMPLOYEES 6
LOCATIONS 1 state: MN
48 SR
ENTERTAINMENT
GROUP
LAST YEAR SCREENS SITES
UNRANKED 102 11
917 College Ave.
Santa Rosa, CA 95404
Tel: 707-523-1586
Fax: 707-523-1799
www.srentertainmentgrp.com
EXECUTIVE ROSTER
Dan Tocchini, Pres.
Amy Tocchini, Sec. & Treas.
Neil Pearlmutter, VP/Ops. & Tech.
YEAR FOUNDED 1983
SCREENS LAST YEAR 102
SITES LAST YEAR 11
THEATER EMPLOYEES 310
CORPORATE EMPLOYEES 12
LOCATIONS 1 state: CA
49
R.L. FRIDLEY
THEATRES
LAST YEAR SCREENS SITES
UNRANKED 100 22
1321 Walnut St.
Des Moines, IA 50309
Tel: 515-282-9287
Fax: 515-282-8310
www.fridleytheatres.com
EXECUTIVE ROSTER
Robert L. Fridley, Pres. & Treasurer
Brian R. Fridley, VP
YEAR FOUNDED 1974
SCREENS LAST YEAR 94
SITES LAST YEAR 22
THEATER EMPLOYEES 350
CORPORATE EMPLOYEES 9
LOCATIONS 2 states: IA, NE
50 KRIKORIAN
PREMIERE
THEATRES
LAST YEAR SCREENS SITES
UNRANKED 92 7
2275 W. 190th St., Ste. 201
Torrance, CA 90504
Tel: 310-856-1270
Fax: 310-856-1299
www.kptmovies.com
EXECUTIVE ROSTER
George Krikorian, Pres.
Todd Cummings, VP. & GM
YEAR FOUNDED 1984
SCREENS LAST YEAR 89
SITES LAST YEAR 7
THEATER EMPLOYEES 350
CORPORATE EMPLOYEES 9
LOCATIONS 1 state: CA
26 BoxOffice ® Pro The Business of Movies JANUARY 2014

BIG
PICTURE
Kathryn Newton starred as Alex in the
most recent edition of the franchise,
Paranormal Activity 4
Paramount unleashes
two new Paranormal Activity
sequels in 2014, but is the
record-breaking horror
franchise a ghost of
its former self?
by Shawn Robbins
Assistant Editor
BoxOffice.com
28 BoxOffice ® Pro The Business of Movies JANUARY 2014

Horror franchises tend to come in waves. The late 1970s
and ’80s saw the rise of Michael Myers, Jason Voorhees,
and Freddy Krueger. The late ’90s begat genre entries
even more teen-specific with Scream and its iconic
Ghostface, to be followed by a brief run of Japanese
horror remakes—popularized by The Ring and The Grudge. But unlike
the aforementioned staples of the late 20th century, their sequels failed to
scare up big business. Traditional scream fests were left by the wayside in
favor of “gore porn” like the Saw franchise, whose run carried the entire
horror genre’s torch for half a decade starting in 2004.
And then came director Oren Peli with Paranormal Activity, a shoestring-budgeted
($15,000 for production costs) minimalist supernatural
flick that he shot in his own house. A couple of years later, Steven Spielberg
screened the film himself and helped get Peli’s flick a distribution
deal through Paramount and DreamWorks, which used unconventional
methods to build word of mouth. The film debuted in 12 college towns
in September 2009, building the kind of grassroots buzz that studios
dream about for an unknown pic with zero star power.
That’s when the Internet started taking notice. Movie communities
heard rumblings of the little horror movie that was traumatizing (in a
good way) audiences as the film expanded into 33 theaters for its second
weekend and 160 for its third, when it earned a stunning $49,379 per
location. Those were numbers unseen by any horror flick since 1999.
That was when The Blair Witch Project haunted the nation with $56,002
and $63,811 location averages in its first two weekends.
Paramount knew it had a massive hit on its hands. By its 28th day of
release, Paranormal Activity had banked $40.5 million without playing in
more than 760 theaters. The film then saturated the nationwide market,
taking first place in its fifth weekend and adding locations through its
eighth week, the buzz now reaching beyond horror fans and into the
mainstream.
The movie accumulated $108 million domestically and another $85.4
million overseas—all against just $17 million in negative costs (virtually
all of which was spent on marketing).
Thus, a franchise was born.
One year later, Paranormal Activity 2 rode the still-surging wave of
the first film to a massive $40.7 million opening weekend. Paranormal
Activity 3 followed in 2011 with a record October bow of $52.6 million
in its first three days. Last year’s Gravity recently surpassed that mark with
$55.8 million.
The Paranormal Activity brand has since become known as one of the
most profitable franchises in cinema history. Paramount has wisely kept
production costs at $5 million or less for the three sequels, meaning total
costs between $27 million and $32 million after marketing. To date, each
film has made back its total budget by the end of opening weekend.
The series became an annual Halloween tradition (picking up where
Saw left off), but in 2012, the demand hit a wall. After the third film’s record
debut and $104 million domestic run, mainstream audiences decided
the series was no longer a major event for them. Paranormal Activity
4 posted a $29 million debut—far below expectations—and ultimately
topped out just under $54 million by the time it left theaters. Granted,
those numbers are still fantastic for Paramount’s bottom line, but North
American theater owners saw half as many people show up for the fourth
movie as its predecessors—meaning half the concessions sales, too.
On the brighter side of the fence, international audiences didn’t seem
to mind the consistency: Paranormal Activity 4 earned $88.5 million outside
of its home country, not much less than the $92.5 million and $97
million foreign grosses of the second and third films, respectively.
Where does the series go now?
Instead of launching a new entry for Halloween in 2013, Paramount
pushed the release of its spin-off, Paranormal Activity: The Marked Ones, to
January 3, 2014. The first weekend of the year isn’t known for producing hits
DECEMBER 2013 BoxOffice ® Pro The Business of Movies 29

BIG PICTURE
The orginal Paranormal Activity
grossed $107,918,810 domestically on a
production budget of just $15,000
as moviegoers are still catching up on holdovers
from the holidays. The recent exception to that
was 2012’s The Devil Inside (also from Paramount),
which rode a strong viral campaign to
an unexpected $33.7 million opening. Although
word of mouth via Twitter quickly killed its legs (it
earned $53.3 million stateside, nearly 32 percent
of which came from opening day), the film struck
financial gold in large part due to its appeal to
Latino audiences. The Marked Ones follows suit by
featuring an all-Latino cast.
Unfortunately, typical spin-off box office
behavior can probably be expected. The
sharply declining interest in 2012’s fourth film
occurred at a similar point in the franchise’s life
cycle as it did for Saw, whose final three movies
in the seven-film series dropped 36 percent or
more from the $87 million peak of Saw II.
Lacking any major connection to the first
four Paranormal Activity efforts (outside of a
supporting character from the second flick),
The Marked Ones is unlikely to win back
audiences. Online buzz metrics are at a series
low (as of November 30, 2013) and fans of
the franchise are more skeptical than ever—especially
with this being the first of two new
Paranormal movies to come in the new year. A
proper sequel, Paranormal Activity 5, is set to
debut on October 24, 2014.
Just over one month from release, we’re
forecasting a domestic opening under $20 million
and a final haul in the range of $30 million
for The Marked Ones. As release weekend
approaches, those numbers will continue to be
refined as necessary on BoxOffice.com.
Does Paramount have anything to worry
about? Financially, the answer is a resounding
no. The studio knows how to keep their cash
cow effectively priced, so another combined
cost of $30 million or less should mean the
spin-off proves to be worth their efforts in the
long run—especially if the movie can continue
retaining most of its international audience.
Still, that’s no solace for North American exhibitors
who are hoping for Hollywood to find
a new horror-based cash cow in the near future
before the Paranormal Activity franchise burns
off the rest of its hard-earned goodwill.
THE PARANORMAL ACTIVITY SCORECARD
DOMESTIC GROSS
PARANORMAL ACTIVITY $107,918,810
PARANORMAL ACTIVITY 2 $84,752,907
PARANORMAL ACTIVITY 3 $104,028,807
PARANORMAL ACTIVITY 4 $53,921,300
PARANORMAL ACTIVITY: THE MARKED ONES $31,000,000*
PARANORMAL ACTIVITY 5
RELEASE DATE: OCTOBER 24, 2014
SOURCE: BOXOFFICE.COM
*PROJECTED
30 BoxOffice ® Pro The Business of Movies JANUARY 2014

Interview by Daniel Loria
HOW DID YOU GET YOUR START IN THE BUSINESS?
I was born into it. My dad was born in 1922, and by 1930 he was
begging Fox Intermountain for the job. He ended up taking over
some theaters here in Sheridan in 1953. I was born in 1962, and it’s
been in my blood since I was born.
BILL CAMPBELL
President
Opheum Theatres
Sherdian, Wyoming
TELL ME ABOUT ORPHEUM THEATRES AND YOUR ROLE
IN THE COMPANY.
The Orpheum Theatre is the first we purchased in Sheridan in 1953.
It was just a small single-screen, 200-seat house. My father ran it in
Sheridan until Fox Intermountain had to get out of their lease, and
then he took over another single-screen called the WYO Theater; he
had that the year I was born. My first jobs were fixing seats and popping
popcorn at the WYO Theater. In 1976 he built a twin theater
called the Centennial, and we closed the WYO in 1983. We kept
adding screens to the Centennial and we are now a six-plex.
TELL ME A BIT ABOUT THE MARKET IN YOUR REGION
AND WHAT MAKES IT DIFFERENT THAN ANYWHERE
ELSE IN THE COUNTRY.
The nice thing is the lack of any competition close by. They call
[Sheridan] a big city around here and it’s 17,000 people. Billings,
Montana, is a-hundred-something-thousand people and it’s 120
miles away. Everything is hundreds of miles away, so competition
among independents isn’t as fierce as it is in some other markets in
more metropolitan regions.
Other than that, small-town theaters are almost more important as
an entertainment value than many of the large theaters in cities where
there are so many different venues trying to get [an audience] for
things like basketball games or ballet. Small towns don’t have that—
people just end up going to the local movie theater.
WHAT ADVICE WOULD YOU GIVE TO NEW INDEPEN-
DENT THEATER OWNERS?
You have to understand the market and how the industry works.
Starting with booking patterns, in small towns just because you open
a theater doesn’t mean you’re going to get product day-and-date with
everybody in the nation. Many people think that’s just going to happen
automatically by opening a screen. You need to know how the
process works. Knowing your population base and what to expect,
that’s the biggest challenge for independent theaters in small towns—
many times they simply don’t have the population base needed to run
a viable business.
YOU’VE BEEN AN EARLY CHAMPION OF DIGITIZATION.
NOW THAT THE TECHNOLOGY IS WIDESPREAD, WHAT
BENEFITS HAS THE TECHNOLOGY GIVEN INDEPENDENT
EXHIBITORS?
The easiest thing to see is the quality of the presentation. Many of the
theaters in towns like Sheridan would take prints off larger markets.
The prints would arrive scratched a lot of the time, not pristine
prints by any means. The fact that now everything looks scratch-free
and the soundtrack always sounds wonderful, you’re giving a better
product and a better presentation.
WHAT CHANGES WOULD YOU LIKE TO SEE THAT
WOULD MAKE IT EASIER FOR INDEPENDENT THEATERS
IN THE MARKET?
I suppose more flexibility, understanding that viewing patterns may
change; instead of having weekly contracts, maybe some screens will
have split weeks to bring in more product. Have more turns of different
product over the year instead of the long-term commitments we
are seeing.
WHAT ARE THE NEW CHALLENGES FACING INDEPEN-
DENT EXHIBITORS TODAY AND IN THE FUTURE?
[Release] windows are always going to be a concern. With independent
theaters, if you don’t take something on break there’s a chance
you’re not going to have room for it. Some of the smaller theaters
don’t get prints until six or eight weeks out, and if windows keep
tightening, the value of watching a movie in the theater goes down.
Retaining the windows is very, very important.
WHAT IS YOUR OPINION OF VOD? HAS IT BECOME AN
OBSTACLE TO PROGRAMMING SPECIALTY FARE LIKE
INDEPENDENT AND FOREIGN FILMS IN YOUR THE-
ATERS?
We try to do a film festival where we bring in, not necessarily
absolutely obscure independent movies, but even movies that just
won’t be able to play for three or four weeks in Sheridan but still have
some commercial value. If films open on VOD I hesitate bringing
them in, considering how many people are in my town anyway. It is
a challenge. The windows seem to work, but everyone wants to push
things because we are in a world of instant gratification. Everyone
wants to rush and burn through things quicker, but I’d like to see
the windows respected and VOD pushed late into theatrical run, not
day-and-date.
WE KEEP HEARING ABOUT CORD CUTTING IN THE
TELEVISION INDUSTRY. DO YOU SEE LIVE EVENTS LIKE
SPORTS OR THEATRICAL PERFORMANCES PLAYING A
SIGNIFICANT ROLE FOR EXHIBITORS IN THE FUTURE?
Alternative content has always been talked about as this big thing
that’s going to change the business. I hope for it but I haven’t seen it
yet. There is a huge potential for streaming live events with satellite,
but I haven’t seen it take off quite yet.
WHAT’S ON YOUR MIND HEADING INTO THE FUTURE?
I’m more worried, come a few years, when we see whether or not
the digital projection technology will have the longevity over 10
years. The machines we took out were rock solid, 50-year-old
machines, and I’m not sure we’ll get that again. My biggest concern
going ahead is what’s going to happen when we need to replace
projectors again.
32 BoxOffice ® Pro The Business of Movies JANUARY 2014

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FILM
FRANCHISE
Is it too late for Paramount to revive the
Jack Ryan franchise?
THE SUM OF ALL FILMS
by Daniel Loria
n There is a simple brilliance to the poster for The Hunt for Red October.
Sean Connery’s face, colored in a red hue, stares at you from a pitchblack
background, with the top of a submarine slightly to the left corner
of his mouth. It’s one of those posters that tells you all you need to know:
Sean Connery is in this movie; there is also a submarine in this movie; do
you like Sean Connery? How about Sean Connery on a submarine? I like
to imagine filmgoers in 1990 gladly buying their movie tickets based on
the poster alone. Who cares about plot when there’s a chance to see Sean
Connery on a submarine?
The Hunt for Red October grossed $122 million to become one of the
hottest films of 1990. Of course, it also helped that The Hunt for Red
October was adapted from a best-selling book by Tom Clancy. The author
went on to write a series of novels featuring Jack Ryan, an important
character in Red October, thus opening the potential for a feature-film
franchise. With a hit film already in its hands, Paramount saw an opportunity
to turn Jack Ryan into the American James Bond.
Harrison Ford, the studio’s first choice for Ryan in The Hunt for Red
October, replaced Alec Baldwin in the role for 1992’s Patriot Games. The
second film in the Jack Ryan series grossed $83.3 million domestically.
Ford would continue to portray Ryan two years later in Clear and Present
Danger. The third entry became the most successful in the franchise, with
a $122.1 million take. Harrison Ford’s face dominated the poster of his
two Jack Ryan films, just as Sean Connery’s had in the poster for the first
installment of the franchise. Star power had helped establish Jack Ryan as
a moneymaker for Paramount, but the studio wouldn’t roll out another
Ryan adventure for another eight years.
Ben Affleck became the new Jack Ryan with the 2002 reboot The Sum
of All Fears. Released less than a year after the attacks of 9/11, The Sum
of All Fears became one of the first films to
explore terrorist threats in a new era
of American life. The Sum of All
Fears grossed $118.9 million
domestically, not a poor
result but nowhere near the
blockbuster potential of a franchise coming off three established hits.
Ben Affleck’s career would go into a nosedive soon thereafter, with his
name appearing across glossy tabloid magazines and his next films taking
critical and commercial beatings. The Jack Ryan franchise never really
took after the ’90s, with The Sum of All Fears relegated to the status of a
moderate hit rather than transitioning the franchise into a new decade.
The absence of a new Jack Ryan film since 2002 has made the Tom
Clancy brand more recognizable in the video game industry than in
cinema. Hollywood missed out on a great opportunity in building a
Tom Clancy cinematic universe to go along with the highly successful
Rainbow Six, Ghost Recon, and Splinter Cell video games inspired by the
author’s works. Paramount will try its hand at rebooting the Jack Ryan
franchise once again with the upcoming release of Jack Ryan: Shadow
Recruit, but how much of the property’s pre-awareness remains after all
these years?
Universal’s Jason Bourne franchise proved that the spy genre will
welcome an American hero, but even that series stumbled in its latest
box office outing. The Bourne Legacy tried to push the Jason Bourne films
to new territories by retaining all the ingredients of the formula—with
the exception of two crucial factors: neither the franchise’s star nor its
original protagonist was featured. Jeremy Renner replaced Matt Damon
in a spin-off that Universal hoped would continue the box office success
of the original trilogy. Audiences weren’t buying it; Legacy became the
worst performing Bourne film in the series, coming in more than $100
million under its immediate predecessor, The Bourne Ultimatum, in
North America.
Whether anyone under the age of 30 can still recognize Jack Ryan is
another matter altogether. Films titled on anonymous-sounding names
like John Carter and Jack Reacher both flopped at the box office despite
being based on popular literary characters. The title Jack Ryan: Shadow
Recruit at least gives new viewers a vague idea of what the film might be
about. Moreover, Shadow Recruit is the first film in the series not to be
based on a Clancy novel. The new film also raises questions in terms of
star power. Chris Pine has taken over the title role, but his profile is significantly
lower than that of Baldwin, Ford, and Affleck. While Pine has
enjoyed success as the new Captain Kirk in Paramount’s Star Trek reboot,
the actor has never opened a film on his own shoulders.
The iconic poster for The Hunt for Red October is one of the most
recognizable one sheets of the ’90s. Filmgoers looking at the poster for
Jack Ryan: Shadow Recruit will see an image of Chris Pine crouched down
and holding a gun. Will they see all they need to know, or will they ask
the most troubling question possible: Jack who?
BoxOffice is currently projecting a $26 million four-day opening
for Jack Ryan: Shadow Recruit and a domestic total in the $70 million
range.
Chris Pine as
Jack Ryan with
Keira Knightley as
Cathy Ryan
THE JACK RYAN SCORECARD
THE HUNT FOR RED OCTOBER
Alec Baldwin
PATRIOT GAMES
Harrison Ford
CLEAR AND PRESENT DANGER
Harrison Ford
THE SUM OF ALL FEARS
Ben Affleck
JACK RYAN: SHADOW RECRUIT
Chris Pine
$122,012,815
$83,351,979
$122,187,590
$118,907,992
$70,000,000*
*PROJECTED
34 BoxOffice ® Pro The Business of Movies JANUARY 2014

COMING
IN JANUARY
WIDE
n Boasting a whopping 91 percent at Rotten
Tomatoes, Her stars Globe-nominee Joaquin
Phoenix as professional letter writer Theodore
Twombly who is lost and alone after a
long-term relationship ends. The new operating
system on his computer features a Siri-like
female voice named Samantha (voiced
by Scarlett Johansson) that has the ability to
so customize its responses to Twombly that
he finds himself falling in love with Her.
DISTRIBUTOR Warner Bros. CAST Joaquin Phoenix,
Scarlett Johansson, Amy Adams, Olivia
Wilde, Rooney Mara DIRECTOR/SCREENWRITER
Spike Jonze GENRE Comedy | Drama | Romance
| Sci-Fi RATING R for language, sexual
content and brief graphic nudity RUNNING TIME
120 min. RELEASE DATE January 10
WIDE
THE LEGEND OF HERCULES
n It’s been 15 years since director Renny
Harlin’s last major hit (1999’s Deep Blue Sea)
and this version of the Hercules story will
have some competition when Dwayne “The
Rock” Johnson dons the sandals this summer
in Hercules: The Thracian Wars. This modestly
budgeted film, shot in Bulgaria, stars Twilight’s
Kellan Lutz as the mythical hero who is the
son of Zeus and a mortal woman, Alcmene
(Roxanne McKee, Game of Thrones).
DISTRIBUTOR Summit CAST Kellan Lutz, Gaia
Weiss, Scott Adkins, Roxanne McKee, Liam
Garrigan DIRECTOR Renny Harlin SCREEN-
WRITERS Daniel Giat, Giulio Steve, Renny
Harlin, Sean Hood GENRE Action | Adventure
RATING TBD RUNNING TIME TBD RELEASE DATE
January 10
WIDE
LONE SURVIVOR
n The true story of a failed SEAL Team
10 mission in Afghanistan (Operation Red
Wings), Lone Survivor is based on the memoir
of Navy Cross recipient Marcus Luttrell (Mark
Wahlberg). In addition to spending a year with
Navy Seals, writer-director Peter Berg (Battleship)
invited the real Luttrell to live with him
and act as a consultant while he developed the
script. Taylor Kitsch (John Carter) plays Medal
of Honor recipient Michael P. Murphy.
DISTRIBUTOR Universal CAST Mark Wahlberg,
Taylor Kitsch, Emile Hirsch, Ben Foster, Eric
Bana, Alexander Ludwig DIRECTOR/SCREEN-
WRITER Peter Berg GENRE Comedy RATING
R for strong bloody war violence and pervasive
language RUNNING TIME TBD RELEASE
DATE January 10
WIDE
DEVIL’S DUE
n The found-footage horror genre has a new
entry with Devil’s Due, a film assembled from
“home movies.” Newlyweds Zach and Samantha
McCall (Zach Gilford, Allison Miller) learn
that they experienced a “lost night” during their
idyllic honeymoon. When Samantha discovers
she is expecting, Zach decides to record the pregnancy.
As Samantha’s behavior becomes erratic,
it soon becomes clear that something is in store
for them that they weren’t expecting. Could it be
the Antichrist?
DISTRIBUTOR Fox CAST Allison Miller, Zach
Gilford, Sam Anderson DIRECTORS Matt
Bettinelli-Olpin,Tyler Gillett SCREENWRITER
Lindsay Devlin GENRE Horror RATING R for
language and some bloody images RUNNING
TIME 89 min. RELEASE DATE January 17
36 BoxOffice ® Pro The Business of Movies JANUARY 2014

WIDE
JACK RYAN: SHADOW RECRUIT
n The fifth film to feature the Tom Clancy character, Jack Ryan: Shadow
Recruit is not based on any Clancy novel, but is instead an original story
that reboots the series and delivers a younger Jack Ryan who is more
newbie spy than seasoned CIA analyst. Star Trek’s Chris Pine is the
fourth actor to play the role (see story on page 34) and features the film’s
director, Kenneth Branagh, as nefarious Russian business man Viktor
Cherevin.
DISTRIBUTOR Paramount CAST Chris Pine, Kevin Costner, Kenneth
THE NUT JOB
n Liam Neeson (Taken) brings his very particular set of skills to the animation
world this year with two films, February’s The Lego Movie and this
month’s The Nut Job. In this Canadian feature, Neeson voices a raccoon
while star Will Arnett (Arrested Development) voices Surly, a squirrel set
on cobbling together a gang of critters to rob Maury’s Nut Store and thus
set himself up in high style for the winter.
DISTRIBUTOR Open Road CAST Will Arnett, Brendan Fraser, Gabriel
Iglesias, Liam Neeson, Katherine Heigl DIRECTOR Peter Lepeniotis
Branagh, Keira Knightley DIRECTOR Kenneth Branagh SCREENWRITERS SCREENWRITERS Peter Lepeniotis, Lorne Cameron, Daniel Woo GENRE
Adam Cozad, David Koepp GENRE Action | Drama | Thriller RATING Animation RATING PG for mild action and rude humor RUNNING TIME
TBD Harkness_Android_iPad_Ad_half RUNNING TIME TBD RELEASE DATE 7.25x4.75" January (Box_Office_USA):Layout 17
1 02/10/2013 TBD RELEASE 10:34 DATE January Page 1 17
WIDE
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JANUARY 2014 BoxOffice ® Pro The Business of Movies 37

COMING IN JANUARY
WIDE
RIDE ALONG
n Fast-talking security guard Ben (comedian Kevin Hart, Grudge Match)
joins his cop soon-to-be brother-in-law James (Ice Cube, 21 Jump Street)
on a 24-hour patrol of Atlanta in order to prove himself worthy of marrying
Angela, James’s sister. Hart and director Tim Story also have Think
Like a Man Too in the hopper for this summer.
DISTRIBUTOR Universal CAST Ice Cube, Kevin Hart, John Leguizamo,
Bruce McGill, Bryan Callen, Tika Sumpter DIRECTOR Tim Story
SCREENWRITERS Greg Coolidge, Jason Mantzoukas, Phil Hay, Matt
Manfredi GENRE Action | Comedy RATING PG-13 for sequences of violence,
sexual content, and brief strong language RUNNING TIME 100
min. RELEASE DATE January 17
LTD.
LIKE FATHER, LIKE SON
n Ryota Nonomiya (Masaharu Fukuyama) is a successful businessman
driven by money. When he learns that his biological son was switched
with another child after birth, he must make a life-changing decision
and choose his true son or the boy he raised as his own. Like Father, Like
Son (Soshite Chichi ni Naru) won the Jury Prize at the 2013 Cannes Film
Festival where it drew the attention of Steven Spielberg and Dreamworks,
which has acquired the U.S. remake rights.
DISTRIBUTOR Sundance Selects CAST Masaharu Fukuyama, Yoko Maki,
Jun Kunimura, Machiko Ono DIRECTOR Hirokazu Koreeda SCREEN-
WRITER Hirokazu Koreeda GENRE Drama RATING TBD RUNNING TIME 120
min. RELEASE DATE January 17
WIDE
I, FRANKENSTEIN
n Mary Shelley’s 1818 monstrous creation returns to the screen for the
umpteenth time in this adaptation of Kevin Grevioux’s recent graphic
novel. Aaron Eckhart (The Dark Knight) stars as Adam, the reanimated
assemblage of corpses stitched together by Victor Frankenstein. In this
retelling, the creature finds himself embroiled in a battle between warring
demons and gargoyles. Underworld veteran Bill Nighy costars as demon
leader Naberius.
DISTRIBUTOR Lionsgate CAST Aaron Eckhart, Bill Nighy, Yvonne Strahovski,
Miranda Otto, Socratis Otto DIRECTOR/SCREENWRITER Stuart
Beattie GENRE Action | Fantasy | Sci-Fi RATING PG-13 for sequences
of intense fantasy action and violence throughout RUNNING TIME 93
min. RELEASE DATE January 24
LTD.
GIMME SHELTER
n Inspired by true events, Gimme Shelter stars an almost unrecognizable
Vanessa Hudgens (High School Musical) as a pregnant teen with an abusive
mother (an aganist-type Rosario Dawson) who leaves home to find the father
she never knew, a Wall Street broker (Brendan Fraser). Circumstance
brings her under the care and guidance of a hospital chaplain (James Earl
Jones) and the operator of a homeless shelter (Anne Dowd).
DISTRIBUTOR Roadside Attractions CAST Vanessa Hudgens, Brendan
Fraser, Rosario Dawson, James Earl Jones DIRECTOR/SCREENWRIT-
ER Ron Krauss GENRE Drama RATING PG-13 for mature thematic
material involving mistreatment, some drug content, violence and
language—all concerning teens RUNNING TIME TBD RELEASE DATE
January 24
38 BoxOffice ® Pro The Business of Movies JANUARY 2014

WIDE
THAT AWKWARD MOMENT
n Zac Efron (Me and Orson Welles), Miles Teller (The Spectacular Now),
and Michael B. Jordan (Fruitvale Station) play three friends commited to
staying single when one of them (Jordan) breaks up with his girlfriend.
Try as they might, women pop into the picture posing the question
“when does a hookup turn into a relationship?” The red-band trailer
promises raunch galore with Viagra jokes aplenty.
DISTRIBUTOR Focus Features CAST Zac Efron, Michael B. Jordan,
Jessica Lucas, Imogen Poots, Miles Teller, Parker Block DIRECTOR/
SCREENWRITER Tom Gormican GENRE Comedy | Romance RATING R
for sexual content and language throughout RUNNING TIME 94 min.
RELEASE DATE January 31
WIDE
LABOR DAY
n Up in the Air director (and four-time Oscar nominee) Jason Reitman
adapted the Joyce Maynard novel about single mother Adele (Kate
Winslet) who encounters a bloodied man (Josh Brolin) while shopping
with her teenage son (Gattlin Griffith) and takes him into her home only
to learn that he is an escaped convict. With the police on the pursuit over
the 1987 Labor Day weekend, Adele slowly begins to fall for the mysterious
man. Tobey Maguire narrates as the now-adult son.
DISTRIBUTOR Paramount CAST Kate Winslet, Josh Brolin, Gattlin
Griffith, Tobey Maguire DIRECTOR/SCREENWRITER Jason Reitman
GENRE Drama RATING PG-13 for thematic material, brief violence, and
sexuality RUNNING TIME 111 min. RELEASE DATE January 31
JANUARY 2014 BoxOffice ® Pro The Business of Movies 39

BOOKING
GUIDE
compiled by Daniel Garris
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
DISNEY 818-560-1000 / Ask for Distribution
THE WIND RISES Fri, 2/21/14 LTD. Hideaki Anno, Mirai Shida Hayao Miyazaki PG-13 Ani/Dra Dolby Dig
NEED FOR SPEED Fri, 3/14/14 WIDE Aaron Paul, Dominic Cooper Scott Waugh NR Act Dolby Atmos/Quad
MUPPETS MOST WANTED Fri, 3/21/14 WIDE Ricky Gervais, Tina Fey James Bobin PG Adv/Com/Fam Dolby Dig
CAPTAIN AMERICA: THE WINTER
SOLDIER
BEARS
Fri, 4/4/14 WIDE
Fri, 4/18/14 WIDE
Chris Evans, Scarlett Johansson
Anthony Russo, Joe
Russo
Alastair Fothergill, Keith
Scholey
NR Act/Adv 3D
NR Doc Dolby Dig
MILLION DOLLAR ARM Fri, 5/16/14 WIDE Jon Hamm, Bill Paxton Craig Gillespie PG Dra/Sport
MALEFICENT Fri, 5/30/14 WIDE Angelina Jolie, Elle Fanning Robert Stromberg NR Adv/Fan 3D/Dolby Dig
PLANES: FIRE & RESCUE Fri, 7/18/14 WIDE Dane Cook Bobs Gannaway NR Ani/Adv/Fam 3D/Dolby Dig
GUARDIANS OF THE GALAXY Fri, 8/1/14 WIDE Chris Pratt, Zoe Saldana James Gunn NR Act/Adv/SF 3D
THE HUNDRED-FOOT JOURNEY Fri, 8/8/14 WIDE Helen Mirren, Manish Dayal Lasse Hallström NR Dra
ALEXANDER & THE TERRIBLE,
HORRIBLE, NO GOOD, VERY BAD DAY
Fri, 10/10/14 WIDE Ed Oxenbould, Steve Carell Miguel Arteta NR Com/Fam
BIG HERO 6 Fri, 11/7/14 WIDE Don Hall NR Ani/Act/Adv 3D
MCFARLAND Fri, 11/21/14 WIDE Kevin Costner, Maria Bello Niki Caro NR Dra/Sport
INTO THE WOODS Thu, 12/25/14 WIDE Meryl Streep, Johnny Depp Rob Marshall NR Mus/Fan
FOCUS FEATURES Mingun Kim / 818-777-3071
THAT AWKWARD MOMENT Fri, 1/31/14 WIDE Zac Efron, Miles Teller Tom Gormican R Rom/Com Dolby Dig
BAD WORDS Fri, 3/14/14 LTD. Jason Bateman, Kathryn Hahn Jason Bateman R Com
THE BOXTROLLS Fri, 9/26/14 WIDE Ben Kingsley, Isaac Hempstead Wright
Graham Annable,
Anthony Stacchi
NR Ani/Adv/Fam 3D/Dolby Dig
FOX 310-369-1000 / 212-556-2400
DEVIL’S DUE Fri, 1/17/14 WIDE Zach Gilford, Allison Miller
Matt Bettinelli-Olpin,
Tyler Gillett
R Hor/Thr
SON OF GOD Fri, 2/28/14 WIDE Diogo Morgado, Roma Downey Christopher Spencer PG-13 Dra
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40 BoxOffice ® Pro The Business of Movies NOVEMBER 2013

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
MR. PEABODY & SHERMAN Fri, 3/7/14 WIDE Ty Burrell, Max Charles Rob Minkoff NR Ani/Com/Fam 3D/Dolby Atmos
RIO 2 Fri, 4/11/14 WIDE Anne Hathaway, Jesse Eisenberg Carlos Saldanha NR Ani/Adv/Fam 3D/Dolby Atmos
THE OTHER WOMAN Fri, 4/25/14 WIDE Cameron Diaz, Leslie Mann Nick Cassavetes NR Com Dolby Dig
X-MEN: DAYS OF FUTURE PAST Fri, 5/23/14 WIDE Hugh Jackman, James McAvoy Bryan Singer NR Act/Adv 3D/Dolby Atmos
THE FAULT IN OUR STARS Fri, 6/6/14 WIDE Shailene Woodley, Ansel Elgort Josh Boone NR Dra/Rom
HOW TO TRAIN YOUR DRAGON 2 Fri, 6/13/14 WIDE Jay Baruchel, Gerard Butler Dean DeBlois NR Ani/Adv/Fam 3D
DAWN OF THE PLANET OF THE APES Fri, 7/11/14 WIDE Andy Serkis, Gary Oldman Matt Reeves NR Act/SF 3D/Dolby Atmos
THE MAZE RUNNER Fri, 9/19/14 WIDE Dylan O’Brien, Will Poulter Wes Ball NR SF/Thr
GONE GIRL Fri, 10/3/14 WIDE Ben Affleck, Rosamund Pike David Fincher NR Dra/Thr
BOOK OF LIFE Fri, 10/17/14 WIDE Channing Tatum, Zoe Saldana Jorge R. Gutierrez NR Ani
UNTITLED VINCE VAUGHN MOVIE Fri, 10/24/14 WIDE Vince Vaughn, Tom Wilkinson Ken Scott NR Com
HOME Wed, 11/26/14 WIDE Jim Parsons, Rihanna Tim Johnson NR Ani/Adv/SF 3D
EXODUS Fri, 12/12/14 WIDE Christian Bale, Joel Edgerton Ridley Scott NR Dra
NIGHT AT THE MUSEUM 3 Thu, 12/25/14 WIDE Ben Stiller, Robin Williams Shawn Levy NR Adv/Com/Fam
FRANKENSTEIN Fri, 1/16/15 WIDE Daniel Radcliffe, James McAvoy Paul McGuigan NR Hor/SF
FOX SEARCHLIGHT 212-556-2400
THE GRAND BUDAPEST HOTEL Fri, 3/7/14 LTD. Ralph Fiennes, Tony Revolori Wes Anderson R Com/Dra
DOM HEMINGWAY Fri, 4/4/14 LTD. Jude Law, Richard E. Grant Richard Shepard R Com/Cri/Dra
BELLE Fri, 5/2/14 LTD. Gugu Mbatha-Raw, Tom Wilkinson Amma Asante PG Dra Dolby Dig
LIONSGATE / 310-309-8400
THE LEGEND OF HERCULES Fri, 1/10/14 WIDE Kellan Lutz, Gaia Weiss Renny Harlin PG-13 Act/Adv 3D
I, FRANKENSTEIN Fri, 1/24/14 WIDE Aaron Eckhart, Bill Nighy Stuart Beattie PG-13 Act/Hor/Thr
3D/IMAX/Dolby
Atmos/Quad
ENEMIES CLOSER
Fri, 1/24/14 LTD.
Jean-Claude Van Damme, Tom Everett
Scott
Peter Hyams R Act/Thr
NURSE 3D Fri, 2/7/14 LTD. Paz de la Huerta, Katrina Bowden Doug Aarniokoski NR Hor/Thr 3D
REPENTANCE Fri, 2/28/14 LTD. Forest Whitaker, Anthony Mackie Philippe Caland R Thr
THE SINGLE MOMS CLUB Fri, 3/14/14 WIDE Tyler Perry, Nia Long Tyler Perry NR Com/Dra
DIVERGENT Fri, 3/21/14 WIDE Shailene Woodley, Theo James Neil Burger NR Adv/Dra/SF IMAX/Dolby Dig
JANUARY 2014 BoxOffice ® Pro The Business of Movies 41

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
CESAR CHAVEZ Fri, 3/28/14 MOD. Michael Peña, America Ferrera Diego Luna PG-13 Dra
DRAFT DAY Fri, 4/11/14 WIDE Kevin Costner, Jennifer Garner Ivan Reitman R Dra/Sport
THE QUIET ONES Fri, 4/25/14 WIDE Jared Harris, Sam Claflin John Pogue PG-13 Hor
THE EXPENDABLES 3 Fri, 8/15/14 WIDE Sylvester Stallone, Jason Statham Patrick Hughes NR Act/Adv
JESSABELLE Fri, 8/29/14 WIDE Sarah Snook, Mark Webber Kevin Greutert NR Hor/Thr
ADDICTED Fri, 9/5/14 WIDE Sharon Leal, Boris Kodjoe Bille Woodruff NR Dra
THE HUNGER GAMES:
MOCKINGJAY - PART 1
Fri, 11/21/14 WIDE Jennifer Lawrence, Josh Hutcherson Francis Lawrence NR Act/Adv/SF IMAX
NORM OF THE NORTH Fri, 1/16/15 WIDE Rob Schneider, Ken Jeong Anthony Bell NR Ani/Com/Fam 3D
OPEN ROAD FILMS 310-696-7504
THE NUT JOB Fri, 1/17/14 WIDE Will Arnett, Brendan Fraser Peter Lepeniotis PG Ani/Com/Fam 3D/Dolby Dig
A HAUNTED HOUSE 2 Fri, 3/28/14 WIDE Marlon Wayans, Jaime Pressly Michael Tiddes NR Com/Hor
SABOTAGE
Fri, 4/11/14 WIDE
Arnold Schwarzenegger, Sam
Worthington
David Ayer NR Act/Cri/Thr Dolby Dig
CHEF Fri, 5/9/14 WIDE Jon Favreau, Sofía Vergara Jon Favreau NR Com
PARAMOUNT 323-956-5000
PARANORMAL ACTIVITY: THE
MARKED ONES
Fri, 1/3/14 WIDE Andrew Jacobs, Catherine Toribio Christopher Landon NR Hor
JACK RYAN: SHADOW RECRUIT Fri, 1/17/14 WIDE Chris Pine, Keira Knightley Kenneth Branagh NR Act/Thr IMAX/Quad
LABOR DAY Fri, 1/31/14 WIDE Kate Winslet, Josh Brolin Jason Reitman PG-13 Dra Dolby Dig
WELCOME TO YESTERDAY Fri, 2/28/14 WIDE Jonny Weston, Sofia Black-D’Elia Dean Israelite NR SF/Thr
NOAH Fri, 3/28/14 WIDE Russell Crowe, Jennifer Connelly Darren Aronofsky NR Adv/Dra
TRANSFORMERS:
AGE OF EXTINCTION
Fri, 6/27/14 WIDE Mark Wahlberg, Nicola Peltz Michael Bay NR Act/Adv/SF
3D/IMAX/Dolby
Atmos
HERCULES Fri, 7/25/14 WIDE Dwayne Johnson, Rufus Sewell Brett Ratner NR Act/Adv Quad
TEENAGE MUTANT NINJA TURTLES Fri, 8/8/14 WIDE Megan Fox, William Fichtner Jonathan Liebesman NR Act/Adv
PARANORMAL ACTIVITY 5 Fri, 10/24/14 WIDE Gregory Plotkin R Hor
INTERSTELLAR
Fri, 11/7/14 WIDE
Matthew McConaughey, Anne
Hathaway
Christopher Nolan NR SF IMAX
42 BoxOffice ® Pro The Business of Movies JANUARY 2014

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
RELATIVITY Mara Buxbaum / 323-822-4800 / relativity@id-pr.com
3 DAYS TO KILL Fri, 2/21/14 WIDE Kevin Costner, Hailee Steinfeld McG NR Act/Thr
EARTH TO ECHO Fri, 4/25/14 WIDE Teo Halm, Astro Dave Green PG Adv/Fam
JANE GOT A GUN Fri, 8/29/14 WIDE Natalie Portman, Ewan McGregor Gavin O’Connor NR Wes/Act
THE BEST OF ME Fri, 10/17/14 WIDE Michelle Monaghan Michael Hoffman NR Dra/Rom
BLACKBIRD Fri, 11/14/14 WIDE Gugu Mbatha-Raw, Nate Parker Gina Prince-Bythewood NR Dra
SONY 212-833-8500
THE MONUMENTS MEN Fri, 2/7/14 WIDE George Clooney, Matt Damon George Clooney NR Adv/Com/Dra Quad
ROBOCOP Wed, 2/12/14 WIDE Joel Kinnaman, Gary Oldman José Padilha PG-13 Act/Cri/SF IMAX/Quad
ABOUT LAST NIGHT Fri, 2/14/14 WIDE Kevin Hart, Michael Ealy Steve Pink NR Com/Dra/Rom
POMPEII Fri, 2/21/14 WIDE Kit Harington, Emily Browning Paul W.S. Anderson NR Act/Adv/Dra 3D/Quad
HEAVEN IS FOR REAL Wed, 4/16/14 WIDE Greg Kinnear, Kelly Reilly Randall Wallace PG Dra/Fam
THE AMAZING SPIDER-MAN 2 Fri, 5/2/14 WIDE Andrew Garfield, Emma Stone Marc Webb NR Act/Adv 3D
22 JUMP STREET Fri, 6/13/14 WIDE Channing Tatum, Jonah Hill Phil Lord, Chris Miller NR Act/Com
THINK LIKE A MAN TOO Fri, 6/20/14 WIDE Kevin Hart, Michael Ealy Tim Story NR Rom/Com
BEWARE THE NIGHT Wed, 7/2/14 WIDE Eric Bana, Olivia Munn Scott Derrickson NR Hor/Thr
SEX TAPE Fri, 7/25/14 WIDE Cameron Diaz, Jason Segel Jake Kasdan NR Com
WHEN THE GAME STANDS TALL Fri, 8/22/14 WIDE Jim Caviezel, Laura Dern Thomas Carter NR Dra/Sport
NO GOOD DEED Fri, 9/12/14 WIDE Idris Elba, Taraji P. Henson Sam Miller NR Dra/Thr
THE EQUALIZER Fri, 9/26/14 WIDE Denzel Washington, Chloë Grace Moretz Antoine Fuqua NR Act/Thr
THE INTERVIEW Fri, 10/10/14 WIDE Seth Rogen, James Franco
Seth Rogen, Evan
Goldberg
NR Com
FURY Fri, 11/14/14 WIDE Brad Pitt, Shia LaBeouf David Ayer NR Act/Dra/War
ANNIE Fri, 12/19/14 WIDE Quvenzhané Wallis, Jamie Foxx Will Gluck NR Mus/Fam
KITCHEN SINK Fri, 1/9/15 WIDE Nicholas Braun, Mackenzie Davis Robbie Pickering NR Com/Hor
SONY PICTURES CLASSICS Tom Prassis / 212-833-4981
TIM’S VERMEER Fri, 1/31/14 EXCL NY/LA Tim Jenison, Penn Jillette Teller PG-13 Doc
THE LUNCHBOX Fri, 2/28/14 EXCL NY/LA Irrfan Khan, Nimrat Kaur Ritesh Batra NR Dra/Rom
JANUARY 2014 BoxOffice ® Pro The Business of Movies 43

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
JODOROWSKY’S DUNE Fri, 3/7/14 EXCL NY/LA Alejandro Jodorowsky Frank Pavich NR Doc
ONLY LOVERS LEFT ALIVE Fri, 4/11/14 EXCL NY/LA Tom Hiddleston, Tilda Swinton Jim Jarmusch NR Dra/Rom Dolby Dig
FOR NO GOOD REASON Fri, 4/25/14 EXCL NY/LA Johnny Depp, Ralph Steadman Charlie Paul R Doc
UNIVERSAL 818-777-1000
LONE SURVIVOR Fri, 1/10/14 WIDE Mark Wahlberg, Taylor Kitsch Peter Berg R Act/Thr Quad
RIDE ALONG Fri, 1/17/14 WIDE Ice Cube, Kevin Hart Tim Story PG-13 Act/Com Quad
ENDLESS LOVE Fri, 2/14/14 WIDE Alex Pettyfer, Gabriella Wilde Shana Feste NR Dra/Rom Quad
NON-STOP Fri, 2/28/14 WIDE Liam Neeson, Julianne Moore Jaume Collet-Serra PG-13 Act/Thr Quad
STRETCH Fri, 3/21/14 WIDE Patrick Wilson, Ed Helms Joe Carnahan R Act/Com
NEIGHBORS Fri, 5/9/14 WIDE Seth Rogen, Zac Efron Nicholas Stoller R Com Quad
A MILLION WAYS TO DIE IN THE WEST Fri, 5/30/14 WIDE Seth MacFarlane, Charlize Theron Seth MacFarlane NR Com/Wes
THE PURGE 2 Fri, 6/20/14 WIDE Frank Grillo James DeMonaco NR Hor/Thr
FAST & FURIOUS 7 Fri, 7/11/14 WIDE Vin Diesel, Dwayne Johnson James Wan NR Act/Cri
GET ON UP Fri, 8/1/14 WIDE Chadwick Boseman, Octavia Spencer Tate Taylor NR Dra
LUCY Fri, 8/8/14 WIDE Scarlett Johansson, Morgan Freeman Luc Besson NR Act/Thr
THE LOFT Fri, 8/29/14 WIDE Karl Urban, James Marsden Erik Van Looy R Thr
SEARCH PARTY Fri, 9/12/14 WIDE Thomas Middleditch, T.J. Miller Scot Armstrong NR Com
DRACULA UNTOLD Fri, 10/17/14 WIDE Luke Evans, Dominic Cooper Gary Shore NR Act/Hor
DUMB AND DUMBER TO Fri, 11/14/14 WIDE Jim Carrey, Jeff Daniels
Bobby Farrelly, Peter
Farrelly
NR Com
UNBROKEN Fri, 12/25/14 WIDE Jack O’Connell, Domhnall Gleeson Angelina Jolie NR Dra/War
WARNER BROS. 818-977-1850
HER Fri, 1/10/14 WIDE Joaquin Phoenix, Amy Adams Spike Jonze R Rom/Com/SF Quad
THE LEGO MOVIE Fri, 2/7/14 WIDE Chris Pratt, Will Ferrell Phil Lord, Chris Miller PG Ani/Adv/Fam 3D/Quad
WINTER’S TALE Fri, 2/14/14 WIDE Colin Farrell, Jessica Brown Findlay Akiva Goldsman PG-13 Dra/Fan/Rom Quad
300: RISE OF AN EMPIRE Fri, 3/7/14 WIDE Sullivan Stapleton, Eva Green Noam Murro R Act
3D/IMAX/Dolby
Atmos/Quad
44 BoxOffice ® Pro The Business of Movies JANUARY 2014

BOOKING GUIDE
TITLE RELEASE DATE STARS DIRECTOR(S) RATING GENRE SPECS
VERONICA MARS Fri, 3/14/14 LTD. Kristen Bell, Jason Dohring Rob Thomas NR Com/Cri
ISLAND OF LEMURS: MADAGASCAR Fri, 4/4/14 LTD. Morgan Freeman David Douglas G Doc 3D/IMAX
TRANSCENDENCE Fri, 4/18/14 WIDE Johnny Depp, Paul Bettany Wally Pfister NR Act/SF
GODZILLA Fri, 5/16/14 WIDE Aaron Taylor-Johnson, Ken Watanabe Gareth Edwards NR Act/Adv/SF
BLENDED Fri, 5/23/14 WIDE Adam Sandler, Drew Barrymore Frank Coraci NR Rom/Com
3D/IMAX/Dolby
Atmos
EDGE OF TOMORROW Fri, 6/6/14 WIDE Tom Cruise, Emily Blunt Doug Liman NR Act/SF 3D/IMAX/Quad
JERSEY BOYS Fri, 6/20/14 WIDE John Lloyd Young, Christopher Walken Clint Eastwood NR Mus/Dra
TAMMY Wed, 7/2/14 WIDE Melissa McCarthy, Susan Sarandon Ben Falcone NR Com
JUPITER ASCENDING Fri, 7/18/14 WIDE Channing Tatum, Mila Kunis
Andy Wachowski, Lana
Wachowski
NR Act/Adv/SF 3D
INTO THE STORM Fri, 8/8/14 WIDE Richard Armitage, Sarah Wayne Callies Steven Quale NR Act/Thr
THIS IS WHERE I LEAVE YOU Fri, 9/12/14 WIDE Jason Bateman, Tina Fey Shawn Levy R Com/Dra
DOLPHIN TALE 2 Fri, 9/19/14 WIDE Nathan Gamble, Harry Connick Jr. Charles Martin Smith NR Dra/Fam
THE JUDGE Fri, 10/10/14 WIDE Robert Downey Jr., Robert Duvall David Dobkin NR Dra
HORRIBLE BOSSES 2 Wed, 11/26/14 WIDE Jason Bateman, Jason Sudeikis Sean Anders NR Com
THE HOBBIT:
THERE AND BACK AGAIN
Wed, 12/17/14 WIDE Ian McKellen, Martin Freeman Peter Jackson NR Act/Adv/Fan 3D/IMAX
WEINSTEIN CO./DIMENSION 646-862-3400
ONE CHANCE Fri, 2/7/14 LTD. James Corden, Alexandra Roach David Frankel PG-13 Mus/Com Dolby Dig
VAMPIRE ACADEMY Fri, 2/14/14 WIDE Zoey Deutch, Lucy Fry Mark Waters NR Fan/Rom Dolby Dig
GRACE OF MONACO Fri, 3/14/14 WIDE Nicole Kidman, Tim Roth Olivier Dahan NR Dra Dolby Dig
ST. VINCENT Fri, 4/11/14 WIDE Bill Murray, Naomi Watts Theodore Melfi NR Com
THE GIVER Fri, 8/15/14 WIDE Jeff Bridges, Meryl Streep Phillip Noyce NR Dra/Fan
SIN CITY: A DAME TO KILL FOR Fri, 8/22/14 WIDE Josh Brolin, Eva Green
Frank Miller, Robert
Rodriguez
NR Act/Cri/Thr 3D
PADDINGTON Fri, 12/12/14 WIDE Nicole Kidman, Colin Firth Paul King NR Ani/Com/Fam
NOVEMBER 2013 BoxOffice ® Pro The Business of Movies 57

AD INDEX
CARDINAL SOUND & MOTION
PICTURE SYSTEMS
6330 Howard Ln.
Elkridge, MD 21075
cardinal@cardinalsound.com
www.cardinalsound.com
PG 48
CHRISTIE DIGITAL SYSTEMS
10550 Camden Dr.
Cypress, CA 90630
www.christiedigital.com
INSIDE FRONT COVER
DOLBY LABORATORIES
100 Potrero Ave.
San Francisco, CA 94103
Christie Ventura / 415-558-2200
cah@dolby.com
www.dolby.com
INSIDE BACK COVER
DOLPHIN SEATING
313 Remuda St.
Clovis, NM 88101
575-762-6468
www.dolphinseating.com
PG 29
ENPAR AUDIO
Stetson Snell
505-807-2154
505-615-2913
stetsonsnell@enparaudio.com
PG 40
HARKNESS SCREENS
Unit A, Norton Rd.
Stevenage, Herts
SG1 2BB UK
+44 1438 725200
www.harkness-screens.com
PG 37, 39
IRWIN SEATING COMPANY
3251 Fruit Ridge NW
Grand Rapids, MI 49544
866-464-7946
www.irwinseating.com
PG 35
KLIPSCH
3502 Woodview Trace, Ste. 200
Indianapolis, IN 46268
317-860-8100
www.klipsch.com
PG 27
MAROEVICH, O’SHEA &
COUGHLAN
44 Montgomery St., 17th Fl.
San Francisco, CA 94104
Steve Elkins
800-951-0600
selkins@maroevich.com
www.mocins.com
PG 3
MOBILIARIO S.A. DE C.V.
Calle del Sol # 3
Col. San Rafael Chamapa
Naucalpan, Estado de México
México CP 53660
877-8472-127
www.mobiliarioseating.com
PG 9
ODELL’S
8543 White Fir St. #D-1
Reno, NV 89523
odells@popntop.com
www.popntop.com
PG 46
OMNITERM
2785 Skymark Avenue, Unit 11
Mississauga, Ontario
Canada, L4W 4Y3
866-629-4757
www.omniterm.com
PG 23
PACKAGING CONCEPTS INC.
9832 Evergreen Industrial Dr.
St. Louis, MO 63123
John Irace / 314-329-9700
www.packagingconceptsinc.com
PG 41
PLUSRITE
2000 S. Grove Ave. Building B
Ontario, CA 91761
909-930-6868
www.plusriteusa.com
PG 31
PROCTOR COMPANIES
10497 Centennial Rd.
Littleton, Colorado 80127
303-973-8989
www.proctorco.com
PG 43
QSC AUDIO PRODUCTS, LLC
1675 MacArthur Blvd.
Costa Mesa, CA 92626
800-854-4079
www.qsc.com
PG 1
RETRIEVER SOFTWARE
7040 Avenida Encinas
Ste. 104-363
Carlsbad, CA 92011
760-929-2101
www.retrieversoftware.com
PG 44
SCRABBLE VENTURES
10550 Camden Dr.
Cypress, CA 90630
855-503-7322
www.scrabbleventures.com
PG 7
SCREENVISION
1411 Broadway 33rd Fl.
New York, NY 10018
Darryl Schaffer
212-497-0480
www.screenvision.com
BACK COVER
SENSIBLE CINEMA SOFTWARE
7216 Sutton Pl.
Fairview, TN 37062
Rusty Gordon
615-799-6366
rusty@sensiblecinema.com
www.sensiblecinema.com
PG 48
USHIO AMERICA, INC.
5440 Cerritos Ave.
Cypress, CA 90630
800-838-7446
www.ushio.com
READY THEATRE SYSTEMS
4 Hartford Blvd.
Hartford, MI 49057
Mary Snyder
865-212-9703x114
sales@rts-solutions.com
www.rts-solutions.com.com
PG 42
REALD
100 North Crescent Dr., Ste. 200
Beverly Hills, CA 90210
310-385-4000
realdglasses@reald.com
www.reald.com
PG 4-5
PG 11
WEST WORLD MEDIA
63 Copps Hill Rd.
Ridgefield, CT USA 06877
203-438-8389
PG 21
WHITE CASTLE
555 West Goodale St.
Columbus, OH 43215
614-559-2453
carrollt@whitecastle.com
www.whitecastle.com
PG 45
ON BLU·RAY January 7, 2014
Justin Timberlake and Ben
Affleck star in this highstakes
crime thriller. The lure
of easy money is the riskiest
bet of all. When Princeton
grad student Richie Furst
(Timberlake) believes he’s
been swindled by an online
poke site, he heads to Costa
Rica to confront gambling
tycoon Ivan Block (Affleck),
the man he thinks is responsible.
Rated R.
46 BoxOffice ® Pro The Business of Movies JANUARY 2014

BUYING & SELLING
MARQUEE LETTERS. Buying and selling. New
and Used marquee letters all types. We buy old.
We sell new. All styles. Trade in your old letters
and get new letters. Turn those old letters into
cash. Your source for new Pronto, Zip-Change,
Snap Lok, Slotted. mike@pilut.com 800-545-
8956
DRIVE-IN CONSTRUCTION
DRIVE-IN SCREEN TOWERS since 1945. Selby
Products Inc., P.O. Box 267, Richfield, OH
44286. Phone: 330-659-6631.
EQUIPMENT WANTED
ASTER AUDITORIUM SEATING & AUDIO. We
offer the best pricing on good used projection
and sound equipment. Large quantities available.
Please visit our website, www.asterseating.com,
or call 888-409-1414.
AMERICAN ENTERTAINMENT PRODUCTS
LLC is buying projectors, processors, amplifiers,
speakers, seating, platters. If you are closing,
remodeling or have excess equipment in
your warehouse and want to turn equipment
into cash, please call 866-653-2834 or email
aep30@comcast.net. Need to move quickly to
close a location and dismantle equipment? We
come to you with trucks, crew and equipment,
no job too small or too large. Call today for a
quotation: 866-653-2834. Vintage equipment
wanted also! Old speakers like Western Electric
and Altec, horns, cabinets, woofers, etc.,
and any tube audio equipment. Call or email:
aep30@comcast.net.
COLLECTOR WANTS TO BUY: We pay top
money for any 1920-1980 theater equipment.
We’ll buy all theater-related equipment, working
or dead. We remove and pick up anywhere
in the U.S. or Canada. Amplifiers, speakers,
horns, drivers, woofers, tubes, transformers;
Western Electric, RCA, Altec, JBL, Jensen,
Simplex and more. We’ll remove installed
equipment if it’s in a closing location. We buy
projection and equipment too. Call today: 773-
FOR SALE
STARLITE TWIN DRIVE-IN, WICHI-
TA, KS. Mar-Oct 2013 gross near $1.2
million excluding sales tax. Barco 4-K
digitals in 988 s/f booth/storage/
workroom. 26,000 Facebook Likes,
12,000 on weekly email list. 800 and
500 car lots provide unused capacity
most weekend nights. 24+ acres includes
2-acre undeveloped prime corner
and 2 acres undeveloped on 4-lane
connector to nearby Spirit (Boeing)
AeroSystems. Built in 1974, 7,720
s/f brick building has two full-service
lanes (4 registers), large restrooms in
A-1 condition, two large storerooms
downstairs, one upstairs, two offices,
nine-camera internet accessible security
system. All building areas have ample
refrigerated a/c and gas heat. All
6,732 s/f of main floor is “accessible”.
Large sprinklered lawn with manicured
landscaping, ideal for playground or
mini-golf. Three air-conditioned brick
box offices (6 lanes), metal scope-ratio
screens in excellent condition.
All original features fully maintained:
Speakers on all poles, checked weekly;
also FM stereo. All poles have color-coded
lights for parking control by
vehicle height. Perimeter lights (exit
arrows) every 75 feet around both
single-ramped, weed-free gravel lots.
Numbered center-aisle lights. No ambient
light problem. Hundreds of feet
of colored entrance driveway lights
welcome patrons to this large, unique,
pristine theatre. Long-term local management
flexible for future. Two types
of photos at www.starlitefun.com. Offers
over $900,000 considered. Jim
Goble 303-333-6625
339-9035; cinema-tech.com; email ILG821@aol.
com.
FOR SALE
TWO USED BARCO 20C DIGITAL PROJEC-
TORS WITH GDC SERVERS. Located in Roswell,
NM. Purchased new and installed July
2012. This 10 plex cinema opened September
2012 with 2 Digital and ten 35 Film projectors,
2 digital and 2 35 Film were installed side by
side. Cinema converted February 2013 to 10
Sony 515 digital projector VPF deal. The Barco’s
for sale are still installed side by side with
Sony’s. They can be run showing movies showing
that they work perfectly. Also for sale installed
with these Barco’s are 2 Master Image
3-D units, they also work very well. Each Barco-GDC-Master
Image set cost $79,000.00
New. Please call Stetson Snell cell 505-615-2913
to to make an offer or to arrange to see the
equipment operating. Sellers are MOTIVATED
to sell, they understand this is now used equipment,
all offers will be considered. Don’t miss
out on this opportunity to purchase “working
like new” these 2 used sets.
BARCO 3D/DIGITAL EQUIPMENT FOR SALE:
Purchase for $55K. Equipment list provided
upon request. Contact seller at mschwartz@
pennprolaw.com.
WE CLEAN THEATERS
EXCLUSIVELY!
From coast to coast for 35 YEARS.
Let us give you our references.
www.maintenancecooperative.com
or call 770-503-1102
PREFERRED SEATING COMPANY, your
source for new, used and refurbished theater
and stadium seating. Buying and selling
used seating is our specialty. Call tollfree
866-922-0226 or visit our website www.
preferred-seating.com.
12 PLEX THEATER FOR SALE with stadium
seating. 6 acres of Land. Selling at below land
value. $2,000,000. Located in Huntsville AL, at
the University Mall. Please call 407-948-6751.
TWO CHRISTIE DIGITAL PROJECTORS
CP2000SB, Two Dolby DSS100, Two Dolby
Show Player, Two Christie Series 1 ACT & Four
Dolby Filter Wheel and Projector Assembly. All
in very good condition. Call 360-993-0010.
HELP WANTED
THEATRE MANAGEMENT POSITIONS AVAIL-
ABLE Pacific Northwest Theatre Company.
Previous management experience required.
Work weekends, evenings and holidays. Send
resume and salary history to movietheatrejobs@gmail.com
SERVICES
DULL FLAT PICTURE? RESTORE YOUR XE-
NON REFLECTORS! Ultraflat repolishes and
recoats xenon reflectors. Many reflectors available
for immediate exchange. (ORC, Strong,
Christie, Xetron, others!) Ultraflat, 20306 Sherman
Way, Winnetka, CA 91306; 818-884-0184.
ALLSTATE SEATING specializes in refurbishing,
complete painting, molded foam, tailor-made
seat covers, installations and removals. Please
call for pricing and spare parts for all types of
theater seating. Boston, Mass.; 617-770-1112;
fax: 617-770-1140.
CONSOLIDATED THEATRE SERVICES, LLC
has a wide variety of theatre sound equipment
available at competitive prices. Our extensive
inventory includes amplifiers, processors,
speakers and sound racks from makers such
as JBL, Dolby, Ashly, Klipsch, Crown and more.
You are welcome to call us at 305-908-1613 for
further information.
THEATER SPACE FOR LEASE
AN 8,400 SQ. FT. SPACE containing two movie
theaters is available for lease in Frankfort,
KY, at a very reasonable lease rate. It would
be perfect for the new concept of eating in the
theater. The theaters are located in the middle
of a major shopping center. The center owners
would prefer an operating movie theater rather
than convert the space into retail use. Contact
Alexa at 859-221-9921 or email her at alexarkelley@gmail.com
for more information.
48 BoxOffice ® Pro The Business of Movies JANUARY 2014

AVAILABLE
NOW!