‘Sinners’ Box Office Success could place it in Hollywood’s Horror Hall of Fame

Ryan Coogler’s “Sinners” is at a pace to at least $ 330 million in global ticket sales for Warner Bros. To collect against the end of the run, different cash register analysts said a trek that it would place in Hollywood’s Horror Hall of Fame.

Ticket sales at that level, for example, would be on the same footing with that for Jordan Peele’s Oscar-winning “Come out“Who yielded $ 256 million worldwide in 2017, or $ 337 million when they were adapted for inflation. Under original horror films,” Sinners “would be the largest since 2018, when” A Quiet Place “, directed by John Krasinski, saved $ 440 million in today’s dollars.

In terms of franchise-starting horror films, ‘sinners’ would rank higher than the original ‘Halloween’ by John Carpenter, which generated $ 47 million in 1978, or an adapted $ 241 million. “Sinners” would be in line with Wes Craven’s first “Scream” ($ 358 million) and far above James Wan’s “Saw” ($ 180 million) and the “paranormal activity” of ears Peli ($ 293 million).

Mr. Coogler has not followed ‘sinners’, one naughty Southern vampire fantasy Set in the 1930s, as part of a series. “I wanted the film to feel a full meal: your starters, starters, starters and desserts – I wanted everything there,” He told the magazine Ebony. “I wanted it to be a holistic and ready.”

But ‘sinners’ could easily start one like Mr. Coogler changed his mind, giving him an enormous power in Hollywood in general and at Warner Bros. In particular.

“What everyone makes an impression is how deep the film is to connect the public and bring it back to repeatedly viewing and expanding the public,” David A. Gross, a film adviser who publishes a newsletter On Box Office numbers, said Friday.

“The film will be worth a fortune when streaming,” he added. “Sinners” will appear exclusively on Max, the streaming service affiliated with Warner Bros.

Warner Bros. refused to comment. The internal estimates of the studio show that “Sinners” ends between $ 300 million and $ 330 million.

“Sinners” was one Direct success When it arrived in theaters in mid -April. Warner Bros. Initially estimated that it had gathered $ 46 million in the United States and Canada during the first weekend, which later revealed the figure to $ 48 million.

Yet it was not immediately clear when or if ‘sinners’ would earn money for Warner Bros., those who spend at least $ 150 million to make the film and bring it to the market. As the creative power behind the franchises “Black Panther” and “Creed”, Mr. Coogler, 38, was a highly sought after filmmaker. To win the rights – offering several studios on the project – Warner Bros. To give Mr. Coogler a reduction in gross ticket sales (before a studio deducts costs).

And theaters keep around 50 percent of the gross.

Several analysts said on April 20 that for Warner Bros. To earn money, ‘sinners’ would have to attract substantial crowds in the coming weeks. The ability to do this was a question: most films have a hard time nowadays attracting constant attention from consumers, even if they have great reviews.

“The trajectory for this film was not predicted by anyone,” said Paul Nararabedian, a senior media analyst at Comscore, who collects cash register data, in an e -mail. (The fans of Mr. Coogler would probably beg to differ.)

Mr. NaraBedian noted that domestic ticket sales for ‘sinners’ had only fallen 5 percent from the first weekend to the second, one of the smallest such decreases for a film for a film that arrived to more than $ 35 million. Only “Avatar” (2009) from James Cameron scores better, with a decrease of 2 percent.

In his zeal to work with Mr. Coogler, Warner Bros. Also in order to renounce his property of ‘sinners’ after 25 years. Mr. Coogler, who wrote, directed and produced the film, would have it.

Some rival film companies were shocked That Warner Bros. would give a movie away even after 25 years. However, other studios have occasionally concluded similar deals for other filmmakers, including Quentin Tarantino, who insured ‘ownership in the nineties’ in the 1990s while making films for Miramax.

Mike de Luca, a chief executive of the Warner Bros. Motion Picture Group, called Industrie Consternation on the ownership aspect of the deal “ignorant and laughable”In an interview with the Hollywood Reporter, published on April 22.

Mr. Coogler “made a pretty effective matter for this film, especially with the themes of black ownership,” Mr. De Luca told that trading publication. “To be honest, we are proud of giving it to Ryan.”