Diversity demos were 42% African American, 30% Caucasian, 18% Hispanic, and 10% Asian/Other. Those who showed up were 56% male, with 58% being under 35, and the largest demo being 25-34 year olds at 33%. Bad Boys for Life also had the biggest Thursday night in January with $801K on Imax, beating American Sniper‘s Imax ticket sales for the night, which were $559K.īad Boys for Life was strong everywhere, with South and the South Central popping (it was the No.
BAD BOYS III MOVIE
Imax screens for Bad Boys for Life grossed $7.5M over four days, becoming the second-highest January opening ever for the large format exhibitor, after American Sniper. The Smith-Lawrence movie is also the second-highest January global opening for Imax with $9M. label, which co-financed the $90M feature. Bad Boys for Life was produced by Smith, Jerry Bruckheimer, and Doug Belgrad’s 2.0. But when Tom Rothman took the top spot at Sony Pictures, he sat down with everyone, including Smith, and made it a mission to get a third film made. The lofty budget of Bad Boys II‘s $130M production cost always slowed a threequel from being made. The studio connected with CAA and brought Adil and Bilall in, and it turned out the duo were huge Bad Boys fanboys with a contemporary vision for the threequel, further accentuated by their outside perspective as Belgian filmmakers. After he stepped away from the threequel because of creative differences, the studio and Smith became turned on by Adil and Bilall’s indie 2015 movie Black, about a 15-year-old girl in a Brussels black gang who must choose between loyalty and love when she falls for a Moroccan boy from a rival gang. That conceit was established in Joe Carnahan’s draft of the script when he was aboard. Just like Indiana Jones and the Kingdom of the Crystal Skull dealt with old age, Bad Boys for Life leans into Mike and Marcus not being bad anymore, and the dilemmas of losing their street edge. Smith, I hear, continually had a big voice throughout development and production.
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But they worked hard on making this Will Smith-Martin Lawrence reteam excellent and relevant. Some of it didn’t work because there wasn’t any reason to tell the story. Sony has had a lot of great IP that they’ve tried to reboot lately.
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‘Bad Boys for Life’ film premiere, a TCL Chinese Theatre, Los Angeles on Jan. That’s the sixth-best MLK weekend ever, 2015’s being a banner year for the holiday with $250.5M, per Comscore. The overall 4-day MLK weekend is coming in with $204.3M, +25% over MLK 2019. All titles grossed $162M over the three days of the MLK weekend, a near 24% spike over a year ago. Comscore reports that the 2020 domestic box office is at $679.5M, 18% ahead of 2019 for the period of Jan. This is a great kick to the 2020 box office, which many are predicting to be down from 2019’s $11.4B, given fewer franchise pics from Disney. Final domestic endgame for Bad Boys for Life looks to be around $180M stateside.Īt a time, when some studios like Paramount are having doubts about old IP in the wake of being scorched by Terminator: Dark Fate, sending their long-gestating Beverly Hills Cop 4 to Netflix instead of the big screen, perhaps the town should think twice before it promptly relegates revived old franchises to streaming? It is Smith’s fifth-best 3-day domestic opening after Suicide Squad ($133.6M), Aladdin ($91.5M), I Am Legend ($77.2M) and Hancock ($62.6M).
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Bad Boys for Life is also is the best US/Canada opening of Lawrence’s career, besting Bad Boys II‘s $46.5M start. Talks To Animals But Doesn't Have Much To Sayīad Boys for Life is also a huge win here for indie Belgian filmmakers Adil and Bilall, whose Hollywood directing career just took off like a rocket.