Box Office: ‘Close Encounters of the Third Kind’ Re-Release Opens With $95,000

Close Encounters of the Third Kind
Columbia/Kobal/REX/Shutterstock

The re-release of Steven Spielberg’s “Close Encounters of the Third Kind” has opened with $95,000 on Thursday night at 809 North American sites.

“Close Encounters,” which initially launched in 1977, is expanding Friday to 901 venues, including 400 premium large format locations. The 4K restoration of the sci-fi classic — pegged to its 40th anniversary — starring Richard Dreyfuss, carries modest expectations with forecasts of less than $1 million for the four-day Labor Day weekend, during which overall business is expected to be the slowest in more than a decade.

The original “Close Encounters” was a critical and commercial success, earning $303.8 million worldwide and nine Academy Award nominations (and two wins).

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Tulip Fever

Box Office: With No Wide Releases, Record-Low Summer Looks to End With a Whimper

The Weinstein Company’s “Tulip Fever” is also opening Friday at 765 locations, with forecasts of less than $2 million. The historical drama, set in 17th century Netherlands, was filmed three years ago and stars Alicia Vikander, Dane DeHaan, Judi Dench, and Cara Delevingne.

The Labor Day weekend is going to cap a thoroughly disappointing summer for the domestic box office, with business sagging throughout August. Lionsgate’s third weekend of  “The Hitman’s Bodyguard” and New Line’s fourth frame of “Annabelle: Creation” should once again top the charts.

“Hitman” won the previous weekend, with just over $10 million, and has taken in about $44 million in its first two weeks. “Annabelle: Creation” has been the best performer of the late summer, with more than $81 million.

As of Aug. 30, the domestic summer  box office had fallen 14.3% to $3.73 billion, pulling down the year-to-date number by 6.1% to $7.49 billion, according to comScore.

“A laboriously slow box office weekend is on tap with a holiday weekend that is poised to be no picnic for Hollywood as a lack of a single new wide release title has left a monumental void in a marketplace that has been lacking momentum for the entire month of August (a month that is down 35% vs. last year),” said Paul Dergarabedian, senior media analyst with comScore.

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  1. scram says:

    Saw CETK finally on the big screen for the first time. It was amazing, and emotional for me.

  2. Timely Comment says:

    It’s worth seeing CE3K in a large theater with 16 speakers just to hear John Williams’ score (some composed BEFORE the visuals to guide their pacing) surrounding you with the visuals. Screw the Box Office take— the 40th Anniversary cut is just COLUMBIA/SONY printing dollars of an IP that they already have— but Millennials and interested film newbies can see Spielberg when he was still Directorially edgy enough to have a man leave his family to be in outer space instead with aliens… and before he settled to become a sappy and reliable Hollywood content-provider.

    (Even back then, had never understood why the CE3K greys went to the basement and chimney instead of first trying the front door of that house… why they interstellary travelled to flip their Mothership upside down THEN rightside-up for the humans… why there were 3 different types of them going out that door…. why they LIKED bright lights though they were saucer-eyed… or just plain WHY we’re they naked?? Oh well, I guess it looked good on film. /SF nerd)

    Williams’ ‘avant-garde’ Russian motifs coupled with the standard smaltzy strings later slathered on Spielberg’s E.T. in this film is musically GORGEOUS.

    • Maxin=m says:

      Sappy? Have you even seen Spielberg’s films. A.I.,Munich, Tintin, Lincoln… everything?

      • Timely Comment says:

        Sappy— the suburban manipulations of E.T… the cute “romance” of ALWAYS… the arrested adolescence of HOOK… the unneeded framing of SAVING PRIVATE RYAN… the Pinocchio-ing of A.I to go with the conclusion…. the unnecessary, familial reason for JURASSIC PARK III… the unnecessary, alien/kid drama of INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULLS (but that might have been Lucas’ script)… the genuflection of childhood totems in TINTIN and THE BFG… etc, etc.

        Perhaps a better word to describe these is “smaltzy”. AND soundtrack abetted by Williams in his melodramatic string mode, too…

        Spielberg’s OTHER cinematic triumphs have these to counter them. Have YOU also seen these movies?

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