‘Everything, Everywhere, All at Once’ Crosses $20 Million and Boosts Independent Cinema – Deadline

For a long time, it was not uncommon for distribution bosses to overshadow each other’s success, but in the case of A24 Everything everywhere all at once, there’s nothing but joy emanating from Hollywood for the New York-based independent studio’s success with Dan Kwan and Daniel Scheinert’s martial arts fantasy film.

At a time when every studio executive in town is wondering what works on the big screen — outside of superhero movies — as the pandemic wanes and specialty cinema is slow to rebound, comes Everything everywhere all at once for Karate cut that slump and clear $20.5 million on a version of the platform.

Yes, a platform version – remember? With NYC and LA the last box office capitals to reopen in early 2021, and specialty theater audiences hesitant to return, most independent distributors have avoided the pre-pandemic platform rollout, which involves making debuting in both major US box office markets and gradually increasing a theatrical release. footprint, market DMA by DMA, good reviews and fervent buzz. Instead, most specialty distributors, including Searchlight and Focus Features, have largely opted to go the extra mile with their art-and-test fare in order to get the photos into their home props as soon as possible and do banking.

out the door, Everything everywhere all at once, after a hugely explosive and well-received world premiere as the opener of SXSW, debuted on March 25 across 10 theaters at $501,000 for an average of $50,000 per theater, ranking as the best limited debut and the best theatrical average so far in 2022, and the second-best theatrical average of the pandemic for a limited release after MGM/UAR’s Licorice Pizza ($86.2,000). The interior gross of Everything everywhere all at once already surpassed Paul Thomas Anderson’s Academy Award-nominated Best Picture award Licorice Pizza ($17.3 million) and another notable pandemic arthouse release, Wes Anderson’s The French Dispatch ($16.1 million).

The film which stars Crouching Tiger Hidden Dragon star Michelle Yeoh, genre legend Jamie Lee Curtis, rising actress Stephanie Hsu and representatives of the comeback of The Goonies and Indiana Jones and the Temple of Doom star Ke Huy Quan has more momentum than A24’s 2015 spring cult hit Ex-Machina (which ended its run at $25.4 million) and will likely be the studio’s fourth highest-grossing film at the domestic box office after Uncut Gems ($50M), lady bird ($49M) and Hereditary ($44 million), picking up the Best Picture Oscar winner Moonlight ($28 million).

SXSW Review: The Daniels’ “Everything, Everywhere, All At Once”

Now what makes Everything everywhere all at once a bonfire in arthouse is that it squarely targets the demo that fueled the box office rebound during the pandemic, 18-34 year olds. In its broad hiatus, PostTrak audience exits from April 8-10 show nearly 70% of that demographic showed up. So if you’re wondering how to restock specialty theaters or what works when it comes to independent cinema, make more films that appeal to 18-34 year olds. And frankly, it’s a young audience on which A24 has been betting for 10 years with films like Spring Breakers, Hereditary, Midsommar and others.

Meanwhile, for art houses across the country, to paraphrase a Massachusetts theater manager, All “it’s like Batman.As the picture transitioned to strong play in the AMC circuit, with the Burbank 30 being the biggest gross with over $268,000 through last Sunday in the country, and Lincoln Square in New York third with $244,000. , All also has a presence at the Alamo Drafthouse in Brooklyn (#2 location in the photo with $265,000), as well as Alamo New Mission in San Francisco, Alamo South Lamar in Austin, The Landmark in Los Angeles (where the photo is the No. 1 movie in theaters in its fourth week), Scotiabank’s Cineplex in Vancouver, Alamo Drafthouse LA, Williamsburg Cinemas in Brooklyn, Nitehawk Cinema in Brooklyn, Coolidge Corner in Boston and Cinepolis Chelsea. Juicing ticket sales for the AGBO produced, the Daniels film co-financed by Layline had some Imax engagements (there was an event on March 30), which we hear will be more in these large format auditoriums next week.

How does A24 do? Note that they’re not ones to buy up a lot of national TV ads (that’s what Focus Feature is doing this weekend for New Regency’s $70 million Viking epic). The man from the north). The distributor places its advertising dollars largely in digital and social media, the fruits of which can be seen in the checkout and PostTrak outlets. Among those who learned All27% said they were encouraged to see it based on the trailer in the cinema, 26% on YouTube, 22% watched a trailer online while only 11% caught a TV spot.

The Daniels’ ‘Everything Everywhere All At Once’ Cast Are Having The Time Of Their Lives – SXSW Studio

A24 held grassroots word-of-mouth screenings, Alamo Drafthouse screenings with Daniels Q&A, and there was a big San Francisco premiere at The Castro with a full screening of 1,400 viewers and rejections.

It all piled up through word of mouth with PostTrak saying 46% went to Everything everywhere all at once because they heard it was good, 31% came with someone who wanted to see it, while 31% also said they bought tickets because of Yeoh and Curtis. Five stars all the way for everything men over 25 (40%) giving it 88%, women over 25 (26%) the same rating, men under 25 (22%) giving it 90% and women over under 25 (13%) a mark of 85%. The diversity demos are 46% Caucasian, 21% Asian, 17% Hispanic and Latino, and 12% Black. In short, the best way to build an audience: Use the cinema and use the halls.

All wrapped filming just before the onset of the pandemic in early March 2020, with post-production taking place thereafter. A24 has wisely held on to this gem, which will be pushed extensively for awards season later this year; Yeoh still not recognized by the Oscars. The UK opens May 13 with an EST release starting mid-May. Don’t expect a big siphon from the window of the house, for those who watched All: 32% said they would see it again at the cinema. It wouldn’t be a shock to see this movie, still in the top 10, and the multiverse’s second choice (okay, not Marvel) for many after Doctor Strange in the Multiverse of Madness opens May 6.

Joe Garel, Vice President of Cinema at Cinepolis, said: “The film is doing fantastic business for audiences looking for something different to see. It is an arthouse film that has crossed borders and become commercial. It’s a victory for independent cinema and it shows that there is an audience to see different films. I hope we see more products like this hitting theaters, which will further entice audiences to come back strong.