The Boxoffice Company’s Post

Here's another exciting feature on BOOST! 🌟 Introducing... Searchable Location Dropdown Menus! 🔎 This one will be particularly handy if you have quite a few locations! If you have 8 theaters or more, your customers will be able to search locations by name instead of scrolling through the list. This way, it's easier than ever for your audiences to find the exact showtime that they're looking for! Are you excited to see this feature on your sites? Let us know in the comments! #newfeature #productupdate #boxofficecompany #cinemaowners Michelle Villegas Kathy Vlesmas Ernie Mekhail Laura McNally

This article asks an interesting question and maybe it is a glass-half-full situation. Yes, exhibitors leaning on landlords to lower rents is part of the explanation - as WSJ recently pointed out, it is hard to re-purpose cinemas into anything else. But my suspicion is that lowering seating numbers with the introduction of recliners, doubling down on premium and introducing wider location-based entertainment options (climbing walls!) also has something to do with this. No doubt this and more being discussed at CinemaCon https://lnkd.in/e2yCEMpX

🎟️🎥 Alamo Drafthouse Cinema x Sony Pictures Entertainment 👉 #Sony’s Acquisition of #AlamoDrafthouse: The Imperative for Experiential Movie-Going The acquisition of Alamo Drafthouse by Sony marks a significant shift in the movie theater industry. To appreciate this move, we need to look at Alamo Drafthouse’s unique history and approach. Founded in 1997 by Tim and Karrie League in Austin, Texas, Alamo Drafthouse quickly gained a reputation for its unique combination of dining and cinema. Known for its strict no-talking policy and themed events, the theater chain became a haven for film enthusiasts seeking an immersive movie-going experience. Alamo Drafthouse’s emphasis on luxury seating, gourmet food, and high-quality audiovisuals set it apart, creating an experience that streaming services can’t replicate. This focus on experience has become increasingly crucial as theaters compete to attract audiences in a digital age. Sony’s acquisition of Alamo Drafthouse highlights the industry’s shift towards enhancing the cinema experience. By integrating Alamo’s innovative approach with Sony’s resources, we can expect more exclusive screenings and themed events, drawing more consumers back to theaters. In this new era, the key to success lies in making movie-going an unforgettable event, a strategy that Alamo Drafthouse has mastered. Alamo Drafthouse Cinema Sony

The Economist : “The box office has a bad case of long #covid. Worldwide takings last year were a quarter below their pre-pandemic peak. Americans, who went to the cinema more than five times each in 2000, last year went fewer than three times. As streaming services keep audiences glued to the small screen, theatre chains including #Cineworld, the world’s second-largest, have entered administration. Yet the biggest of the big screens are thriving. #imax, whose screens are as large as 38 metres (125 feet) wide with denture-rattling sound systems, had worldwide box-office takings of $1.1bn last year and its biggest-ever haul in America and Canada. On February 27th IMAX reported that its annual revenue was up by a quarter, and it expects to install up to 150 new screens in 2024” #cinema #leisurepropertyESS https://lnkd.in/euU66uVi

BUYER BEWARE! Remember: you always get the best ticket pricing and the best service when you buy your tickets directly from us! We do not allocate tickets or authorize any other non-Paramount Theatre ticket sellers, services, brokers, or agents to sell our tickets. The only way to buy verified Paramount Theatre tickets is by purchasing at paramountaurora.com. Make sure to check the URL you’re buying tickets from as other sites may pop up when doing a search on the internet. Tickets can also be purchased over the phone at 630-896-6666 or in person during box office hours at 23 E. Galena Blvd. Aurora IL 60506. Paramount Theatre does not have any affiliation with any third party ticket sellers. The only way to guarantee you have a verified ticket is to purchase directly through us. Duplicate, counterfeit, or otherwise altered tickets may not be honored for admission to any performance. Majority of the time, if you buy from a third-party site, you will be overpaying for your ticket. Our most expensive ticket for the 2024/2025 Broadway season is $85 per ticket (excluding fees). For the best value, always purchase directly from the venue.

Upbeat Cinemark Credit Rating: "Cinemark‘s credit rating has been raised by S&P Global, a small sign of optimism that exhibitors [but not all] can weather the impact of Hollywood strikes and pandemic-altered moviegoing habits...The impact of the actors’ and writers’ strikes will largely be limited to 2024,” S&P said in a note. The delays or cancellations of film productions have hurt theater owners and created “material disruption” to this year, the agency continued, meaning that Cinemark and other exhibitors “will be directly affected by reduced box office attendance.” In line with other forecasts, S&P said total domestic box office should fall about 10% this year, to between $8 billion and $8.25 billion. “While disruption to the release slate could spill into 2025,” S&P added, “we expect films pushed into 2025 from 2024 will help negate substantial disruption.” Market Benchmark. #cinema #leisurepropertyESS THE LEISURE PROPERTY FORUM https://lnkd.in/eqSJyeah

Part 2 of cinema site-sizes: Central and eastern Europe has the highest concentration of single screen sizes at 56%, a structural legacy of the past, followed by Western Europe, which is partly down to cultural policy of supporting cinemas. Conversely, Latin America and Caribbean has the lowest rate at 16.9% as most cinemas are newer and larger. At the larger end, 11.1% of cinemas have 15 screens and more in North America compared to only 0.4% in Asia/Oceania.

As promised, here’s a deeper look into the Owner Interface of my Movie Ticket Booking Website—CineBooking. 🎥🎟️ The Owner Interface offers theater owners complete control over managing their theaters and shows. Some of the key features include: • Theater Management: Add new theaters, including seating arrangements, in just a few clicks. • Show Scheduling: Owners can add new shows, ensuring smooth scheduling with built-in time conflict prevention. • Seat Reservation: Allows owners to reserve seats for specific shows, streamlining the booking process. These features make it seamless for theater owners to manage operations and enhance the overall user experience. Stay tuned for my next post, where I’ll be sharing more about the Admin Interface and its powerful features! 🔗 GitHub Repository: https://lnkd.in/gWtevc4i 🔗 Live Project (CineBooking): https://lnkd.in/gaii7ciG

Q: Why is it unusual for movie studios to own movie theaters? Sony Pictures Entertainment acquired the eclectic dine-in theater chain Alamo Drafthouse Cinema, an unusual example of a studio owner buying a theater chain. But why isn’t it more common? We asked reporter Robbie Whelan. A: “For starters, from the late 1940s until 2020, most big movie studios were prohibited under federal law from owning theater chains. A law from Hollywood’s Golden Age was meant to reduce the control that the original major studios like Warner Bros., 20th Century Fox and Paramount Pictures maintained over the industry by owning both the means of production and distribution of movies. That law didn’t apply to Sony, a relatively new entrant in the world of film distribution. These days, however, there’s a simpler explanation for why studios haven’t shown much interest in owning theaters: Theatrical exhibition is a business in decline. Most theaters were shut down during the pandemic, when the anti-consolidation law was overturned, and most big media companies pivoted hard over the last five years to the direct-to-consumer model, investing billions in building their own streaming services, which have since majorly eaten into the profits of theaters. Sony, which is sometimes referred to as an ‘arms dealer’ of content that is then distributed by other companies, has mostly resisted the trend of investing in streaming, preferring instead to license its content to established streaming services like Netflix. Buying Alamo makes a bit more sense for Sony compared to others, because Sony doesn’t own one of the major streaming platforms that might cannibalize the sales of tickets to its movies at the box office.”

Europe is getting creative in a effort to lure audiences back to movie theaters in a context where moviegoing is down 15-20% from pre-pandemic years. The Cineville subscription based model, first launched in Belgium and the Netherlands, is about to launch in Germany, and probably also in Sweden. It’s an interesting concept but I would say that the problem of European cinema is the lack of development and coproduction of more escapist, high-concept events and pan-european tentpole movies based on IP. This being said, it doesn’t mean all movies need to be big budget blockbusters. Blumhouse is the perfect illustration of how you can succeed if you invest in smart, distinctive cost-efficient genre film experiences. Also, there’s definitely more potential to be explored in closer partnerships between global streamers and local theatrical distributors and exhibitors. At the end of the day though, distinctiveness and entertainment value are key components. #european #cinema #highconcept #tentpole #unique #entertainment #distinctive