×

‘The Nut Job 2,’ ‘The Dark Tower’ Top Studios’ TV Ad Spending

In this week’s edition of the Variety Movie Commercial Tracker, powered by the TV advertising attention analytics company iSpot.tv, Open Road Films claims the top spot in spending for the second week in a row with “The Nut Job 2: Nutty by Nature.”

Ads placed for the animated film had an estimated media value of $6.46 million through Sunday for 2,329 national ad airings across 39 networks. (Spend figures are based on estimates generated from July 31 through Aug. 6. Estimates may be updated after the chart is posted as new information becomes available.) Open Road Films continues to target a young (and young-at-heart) audience by prioritizing budget across networks including Nick, Cartoon Network and Adult Swim, and shows including Teen Titans Go!, SpongeBob SquarePants and The Loud House.

Just behind “The Nut Job 2” in second place: Columbia Pictures’ “The Dark Tower,” which saw 1,520 national ad airings across 38 networks, with an estimated media value of $5.97 million.

TV ad placements for Annapurna Pictures’ “Detroit” (EMV: $5.06 million), Aviron Pictures’ “Kidnap” ($4.53 million) and Warner Bros.’ “Annabelle: Creation” ($3.69 million) round out the chart.

Top Movie Commercials by Weekly TV Spend

Data provided by iSpot.tv

$6.46M – The Nut Job 2: Nutty by Nature


The Nut Job 2: Nutty by Nature
Impressions: 383,038,415
Attention Score: 93.16
National Airings: 2,329
Networks: 39
Most Spend On: Nick, Cartoon Network
Creative Versions: 13
Est. Lifetime TV Spend: $19.7M
Studio: Open Road Films
Started Airing: 01/16/17

$5.97M – The Dark Tower


The Dark Tower
Impressions: 353,542,269
Attention Score: 91.00
National Airings: 1,520
Networks: 38
Most Spend On: ESPN, NBC
Creative Versions: 24
Est. Lifetime TV Spend: $23.84M
Studio: Columbia Pictures
Started Airing: 05/03/17

$5.06M – Detroit


Detroit
Impressions: 295,681,279
Attention Score: 87.40
National Airings: 1,589
Networks: 42
Most Spend On: NBC, ESPN
Creative Versions: 18
Est. Lifetime TV Spend: $21.63M
Studio: Annapurna Pictures
Started Airing: 06/09/17

$4.53M – Kidnap


Kidnap
Impressions: 318,139,757
Attention Score: 89.82
National Airings: 1,529
Networks: 26
Most Spend On: NBC, ABC
Creative Versions: 18
Est. Lifetime TV Spend: $11.63M
Studio: Aviron Pictures
Started Airing: 07/18/17

$3.69M – Annabelle: Creation


Annabelle: Creation
Impressions: 227,125,047
Attention Score: 93.845
National Airings: 1,020
Networks: 43
Most Spend On: Comedy Central, ABC
Creative Versions: 24
Est. Lifetime TV Spend: $10.08M
Studio: Warner Bros.
Started Airing: 06/25/17

1 Movie titles with a minimum spend of $100,000 for airings detected between 07/31/2017 and 08/06/2017.

* TV Impressions – Total TV ad impressions delivered for the brand or spot.

* Attention Score – Measures the propensity of consumers to interrupt an ad play on TV. The higher the score, the more complete views. Actions that interrupt an ad play include changing the channel, pulling up the guide, fast-forwarding or turning off the TV.

Variety has partnered with iSpot.tv, the real-time TV ad measurement company with attention analytics from 10 million smart TV screens, to bring you this weekly look at what studios are spending to market their movies on TV. Learn more about the iSpot.tv platform and methodology.

 

More Film

  • 'Curse of La Llorona' Box Office

    Box Office: 'Curse of La Llorona' Conjures $2.8 Million on Thursday Night

    “The Curse of La Llorona,” the latest entry in Warner Bros. and New Line’s “Conjuring” universe, conjured $2.75 million from Thursday preview showings, while “Breakthrough,” a faith-based offering from Fox-Disney, brought in $1.5 million from its second day of screenings. “La Llorona’s” haul tops recent horror counterparts “Pet Sematary” and “Escape Room,” which each took [...]

  • Chinese Films Make the Cannes Lineup,

    Cannes: Chinese Films Make the Lineup, but Will They Make It to France?

    Cannes has chosen two mainland Chinese titles for its official selection: Diao Yinan’s “Wild Goose Lake,” in competition, and Zu Feng’s “Summer of Changsha,” for Un Certain Regard. Both films appear to have received the necessary official approvals from Chinese authorities to premiere overseas. But their journey to the Cote d’Azur is by no means [...]

  • Festival director Thierry Fremaux speaks to

    Cannes: Thierry Fremaux on the Lineup's Record Number of Female Directors, American Cinema and Political Films

    The Cannes Film Festival has unveiled a lineup for its 72nd edition that includes some high-profile Hollywood titles, genre movies and films from 13 female directors. The official selection has been applauded by many for mixing established auteurs like Pedro Almodovar (“Pain and Glory”), Terrence Malick (“A Hidden Life”) and Xavier Dolan (“Matthias and Maxime”) [...]

  • RUDOLF NUREYEV 1961

    Film Review: 'Nureyev'

    It would be absurd to say that Rudolf Nureyev lived, or danced, in anyone’s shadow. He was a man who leapt and twirled and flew onstage, all muscle but light as a feather, with a freedom and force that reconfigured the human spirit. There’s no denying, though, that over the last few decades, and especially [...]

  • Die Kinder Der Toten review

    Film Review: 'Die Kinder Der Toten'

    The hills are alive (or rather, undead), with the sound of music (also mastication and the moaning of zombies) in Kelly Copper and Pavol Liska’s experimental, dialogue-free, home-movie-style riff on Elfriede Jelinek’s “Die Kinder Der Toten” (The Children of the Dead). A seminal text in Jelinek’s native Austria, the 1995 book has never been translated [...]

  • Idol review

    Film Review: 'Idol'

    How many twists can a plot undergo before it snaps? This, more than any of the many political, moral and personal conundrums that snake through “Idol,” seems to be the question writer-director Lee Su-jin is most interested in posing with his extravagantly incomprehensible sophomore feature. A seedy political thriller by way of grisly revenge movie [...]

  • The Last to See Them review

    Film Review: 'The Last to See Them'

    Truman Capote’s “In Cold Blood” stretches long as a late-evening shadow over Italian director Sara Summa’s feature debut “The Last to See Them.” The Italian title, “Gli Ultimi Viderli Vivere” which translates literally to “The Last to See Them Alive,” is also the heading of the opening chapter of Capote’s book. The setting is, similarly, [...]

More From Our Brands

Access exclusive content