Entertainment

A diminished ‘Godzilla’ still bests ‘Rocketman,’ ‘Ma’

Published

7 years ago

June 2, 2019

NEW YORK (AP) — The latest iteration of the Godzilla franchise took over the top spot from “Aladdin” and roared louder than Elton John at the weekend box office, but it still left a notably smaller footprint on North American theaters than its city-wrecking predecessors.

“Godzilla: King of the Monsters,” Warner Bros. and Legendary Entertainment’s sequel to 2014′s “Godzilla,” was brought down to size by poor reviews and middling interest from moviegoers, selling $49 million in tickets, according to studio estimates Sunday.

While still good enough for No. 1, that total was $10-15 million off industry expectations and close to half of the $93 million debut of the previous “Godzilla” movie.

Still, the weekend, led by one of the most classic movie monsters, brought Hollywood’s summer season into full swing. Last week’s top film, Disney’s live-action, blue-Will Smith “Aladdin” remake, slid to second with $42 million in its second weekend. And a rush of newcomers, including the Elton John biopic “Rocketman” and the Octavia Spencer-led horror film “Ma,” swelled theaters with a variety of options.

Dexter Fletcher’s fantastical Elton John biopic “Rocketman,” starring Taron Egerton, didn’t launch with the same bravado as last year’s Freddie Mercury biopic “Bohemian Rhapsody.” But it opened solidly in third with $25 million. The weekend’s most profitable release, by percentage, was likely the Blumhouse Production thriller “Ma,” which made $18.2 million against a $5 million budget.

Even with a toothless “Godzilla,” the weekend was up drastically — 62 percent, according to Comscore — from the same weekend last year, when the swiftly forgotten “Solo” was in its second weekend.

Part of the appeal of giant monster films from a studio standpoint is their popularity in Asia. This “Godzilla” fared best in China, opening there with $70 million. It made $130 million internationally overall.

But in Godzilla, some see a flagging franchise of unrealized potential. In its three recent blockbuster iterations going back to Gareth Edwards’ 1998 Sony release, none have drawn much praise from fans or critics. This latest one, directed by Michael Dougherty, has a 40 percent fresh rating on Rotten Tomatoes.

Warner Bros. is developing a face-off movie between Godzilla and King Kong, who was last featured in “Kong: Skull Island.” That 2017 release opened with $61 million and went on to make $566 million worldwide. Jeff Goldstein, distribution chief for Warner Bros., believes the $200-million budgeted “King of the Monsters” can keep drawing moviegoers to the studio’s ongoing monster franchises.

“The avid fans of Godzilla came out Thursday and Friday,” said Goldstein. “The real key for us is how broadly can we expand over the next couple weeks? Can we hold on to an interest that’s wider than the regular Godzilla fans? I think we can.”

In Godzilla’s shadow, counterprogramming thrived. Coming off its acclaimed premiere at the Cannes Film Festival , “Rocketman,” which Elton John executive produced, opened well if not spectacularly for Paramount Pictures. The R-rated biopic cost about $40 million to make.

Aiming to capitalize on the British singer’s worldwide appeal, the stars of “Rocketman” have circled the globe ahead of release. It added $19.2 million internationally. In Russia, the film’s local distributor cut out scenes depicting homosexual activity and drug use. John and the filmmakers criticized the move as “a sad reflection of the divided world we still live in.”

Though “Rocketman” shares much with “Bohemian Rhapsody” — including Fletcher, who helmed the Mercury film after Bryan Singer departed production — its makers have sought to distance it from last year’s Oscar-winning $900-million sensation.

“That movie is a unicorn,” Egerton said in Cannes. “Our movie is a different animal.”

“Ma,” fashioned by Blumhouse as the production company’s contemporary answer to “Misery,” reteams Spencer with “The Help” director Tate Taylor. Spencer’s first solo lead performance drew an especially diverse audience, 57 percent of which was female.

“The best news this weekend was for the industry itself,” said Paul Dergarabedian, senior media analyst for Comscore. “Even if the top movie didn’t earn $100 million, we had a big up weekend and we need more of those to get out of this deficit that we’ve been in since basically the beginning of the year.”

The news, though, wasn’t good for “Booksmart,” the acclaimed teen comedy starring Beanie Feldstein and Kaitlyn Dever. Amid its disappointing wide-release opening last weekend, director Olivia Wilde appealed on social media for fans to support a movie “made by and about women.” On its second weekend, “Booksmart” couldn’t turn it around, earning $3.3 million on 2,518 screens.

Overseas, Cannes’ Palme d’Or winner “Parasite,” a social satire from Korean director Bong Joon-ho, opened with $24.6 million. That was driven largely by stellar sales in South Korea where Bong’s raucous thriller easily outpaced “Godzilla.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Where available, the latest international numbers for Friday through Sunday are also included.

1. “Godzilla: King of the Monsters,” $49 million ($130 million international).

2. “Aladdin,” $42.3 million ($78.3 million international).

3. “Rocketman,” $25 million ($19.2 million international).

4. “Ma,” $18.3 million ($2.8 million international).

5. “John Wick: Chapter 3 — Parabellum,” $11.1 million ($12.7 million international).

6. “Avengers: Endgame,” $7.8 million ($8.6 million international).

7. “Pokemon Detective Pikachu,” $6.7 million ($14.6 million international).

8. “Booksmart,” $3.3 million.

9. “Brightburn,” $2.3 million.

10. “The Hustle,” $1.3 million.

___

Estimated ticket sales for Friday through Sunday at international theaters (excluding the U.S. and Canada), according to Comscore:

1. “Godzilla: King of the Monsters,” $130 million.

2. “Aladdin,” $78.3 million.

3. “Parasite,” $24.6 million.

4. “Rocketman,” $19.2 million.

5. “Doraemon: Nobita’s Chronicle Of The Moon Exploration,” $18.4 million.

6. “The Secret Life of Pets 2,” $17.2 million.

7. “Pokemon Detective Pikachu,” $14.6 million.

8. “John Wick: Chapter 3 — Parabellum” $12.7 million.

9. “Avengers: Endgame,” $8.6 million.

10. “Happy Little Submarine: Space Pals,” $3.4 million.

Entertainment

Dr. Phillips Center’s Free Frontyard Holiday Festival Returns to Downtown Orlando Nov. 27

Published

6 days ago

August 26, 2026

FNN NEWS

ORLANDO, Fla. (FNN) — The holidays are returning to downtown Orlando as the Dr. Phillips Center for the Performing Arts brings back its free Frontyard Holiday Festival, transforming the Frontyard and Seneff Arts Plaza into a holiday destination from Nov. 27 through Dec. 31.

The Frontyard Holiday Festival at Dr. Phillips Center, supported by AdventHealth, will feature nightly snowfall, live entertainment, holiday movies, themed nights, firepits, seasonal food and beverages, interactive experiences, light displays and performances by local artists and community groups.

Admission is free.

“This festival is part of our vision to create more free experiences in the Frontyard, one of the 1,000 annual free events planned as part of our master plan,” Dr. Phillips Center President and CEO Kathy Ramsberger said. “These events are designed to bring our community together while creating new opportunities that attract visitors and contribute to Orlando’s vibrant tourism economy.”

Nightly Snowfall Returns to Downtown Orlando

The festival opens Friday, Nov. 27, and runs through New Year’s Eve, giving Central Florida residents and visitors more than a month to experience the celebration.

Nightly snowfall will return as one of the festival’s signature attractions, along with holiday movie screenings and seasonal performances.

A rare musical attraction will also return this year: the only transportable carillon in North America.

The instrument features nearly four tons of bronze bells and will bring traditional holiday sounds to the outdoor festival.

Free Holiday Experience for Orlando Families

Organizers said the festival is part of the Dr. Phillips Center’s broader effort to increase free arts and cultural programming while creating a gathering place for residents and visitors in downtown Orlando.

AdventHealth returns as a major supporter of the event.

“The holidays invite us to slow down, reconnect and make memories with the people who matter most,” said Sharon Line Clary, AdventHealth’s senior vice president of community impact and partnership engagement.

Clary said the partnership is designed to help create a welcoming community space centered on celebration and connection.

Holiday Shows Coming Inside Dr. Phillips Center

The outdoor festival will coincide with a separate lineup of holiday entertainment inside the performing arts center.

The 2026 holiday schedule includes Lindsey Stirling, “The Nutcracker,” Vienna Light Orchestra, Irish Christmas in America, Straight No Chaser and “A Very Broadway Christmas.”

Other scheduled productions include “The Unauthorized Hallmarkish Parody” and “Adam Biner: A Jewish Boy’s Love Letter to Christmas.”

The lineup includes dance, orchestral music, comedy and other live performances throughout the holiday season.

More Festival Programming Coming

Additional details about performances, themed nights, movie screenings and interactive experiences are expected to be announced as the opening date approaches.

The festival is supported by AdventHealth, the city of Orlando’s Downtown Development Board, The Main Law Firm, OUC — The Reliable One, Massey Services Inc. and a donation from Neal and Jan Dempsey.

The project also receives funding from Orange County government through its Arts & Cultural Affairs Program.

Event Details

What: Frontyard Holiday Festival at Dr. Phillips Center supported by AdventHealth
When: Nov. 27-Dec. 31, 2026
Where: Dr. Phillips Center for the Performing Arts, Frontyard and Seneff Arts Plaza, downtown Orlando
Admission: Free

Entertainment

‘SPAMALOT’ Joins Dr. Phillips Center’s 2026-27 Broadway in Orlando Season

Published

3 weeks ago

August 10, 2026

FNN NEWS

Tony Award-winning musical will play Walt Disney Theater Nov. 3-5, 2026

ORLANDO, Fla. (FNN NEWS) — Dr. Phillips Center for the Performing Arts is expanding its 2026-27 Broadway in Orlando season with the addition of SPAMALOT, the Tony Award-winning Best Musical, scheduled for Nov. 3-5, 2026, at Walt Disney Theater.

Inspired by the classic comedy Monty Python and the Holy Grail, SPAMALOT brings Monty Python’s distinctly British humor to the stage through a comedic adventure following King Arthur and his quest for the Holy Grail.

The production comes to Orlando following a celebrated 2023 Broadway revival at the St. James Theatre, directed and choreographed by Josh Rhodes.

Monty Python Comedy Comes to Orlando

Described as “lovingly ripped” from Monty Python and the Holy Grail, the musical features British royalty, flying cows, dancing girls, shrubbery and the Lady of the Lake.

The 14-time Tony Award-nominated musical features well-known numbers including “Always Look on the Bright Side of Life,” “The Song That Goes Like This” and “Find Your Grail.”

SPAMALOT features a book and lyrics by Eric Idle, with music by John Du Prez and Idle.

Cast Announced for Orlando Production

The cast features Major Attaway, whose credits include Aladdin, as King Arthur; Sean Bell (Harmony) as Sir Robin; Chris Collins-Pisano (Forbidden Broadway) as Sir Lancelot; Ellis C. Dawson III (Hamilton) as Sir Bedevere; Leo Roberts (Les Misérables) as Sir Galahad; Amanda Robles as the Lady of the Lake; Blake Segal (Mary Poppins) as Patsy; and Steven Telsey (The Book of Mormon) as the Historian and Prince Herbert.

The company also includes Lindsay Lee Alhady, Delaney Benson, Jack Brewer, Connor Coughlin, L’ogan J’ones, Graham Keen, Claire Kennard, Ben Lanham, Nathaniel Mahone, Maddie Mossner, Emilie Renier, Mark Tran Russ and Meridien Terrell.

Creative Team

The production’s creative team includes scenic and projection designer Paul Tate dePoo III, costume designer Jen Caprio, lighting designer Cory Pattak, sound designers Kai Harada and Haley Parcher, and wig designer Tom Watson.

John Bell serves as music supervisor, with Jonathan Gorst as musical director and conductor.

Derek Kolluri is associate director, Michael Fatica is associate choreographer and casting is by Geoff Josselson, CSA. RCI Theatricals serves as general manager, and Jeffrey Finn is the producer.

Tickets on Sale Now

Single tickets for SPAMALOT are on sale now through Dr. Phillips Center.

Performances: Nov. 3-5, 2026
Venue: Walt Disney Theater at Dr. Phillips Center for the Performing Arts
Location: Orlando, Florida

Tickets and additional information are available through the Dr. Phillips Center website.

Central Florida News

Dr. Phillips Center Generates $227.6 Million Annual Economic Impact, Supports Nearly 2,500 Central Florida Jobs

Published

1 month ago

July 30, 2026

FNN NEWS

ORLANDO, Fla. (FNN NEWS) — The Dr. Phillips Center for the Performing Arts generated $227.6 million in annual economic impact, supporting 2,483 jobs and producing $13.2 million in state and local tax revenue, according to a newly released independent study by Tourism Economics.

The analysis, conducted by Tourism Economics, an Oxford Economics company specializing in economic impact and tourism research, measured the direct, indirect and induced economic activity generated by the arts center’s operations, performances, visitors and related spending throughout Central Florida.

The findings underscore the Dr. Phillips Center’s role as both a premier performing arts destination and a major contributor to the region’s economy.

“For more than a decade, we’ve seen firsthand how the arts inspire people, bring communities together and create lasting value,” said Kathy Ramsberger, president and CEO of Dr. Phillips Center for the Performing Arts. “This study confirms that our impact reaches far beyond our stages—supporting thousands of jobs, driving business growth, attracting visitors from around the world and helping position Central Florida as a more vibrant, competitive and connected region.”

Economic Impact by the Numbers

According to the Tourism Economics report, the Dr. Phillips Center generated:

$227.6 million in annual economic output
2,483 jobs supported across Central Florida
$70.8 million in total labor income in Orange County
$13.2 million in state and local tax revenue
$73.1 million in off-site spending by event attendees, performers and production crews
61,600 hotel room nights generated annually

The study highlights the ripple effect created by visitors attending performances, benefiting nearby hotels, restaurants, retailers and other local businesses.

A Global Destination for Arts and Entertainment

Now in its 11th year, the Dr. Phillips Center welcomes more than 910,000 guests annually, attracting visitors from all 50 states and more than 80 countries.

Since opening in 2014, the venue has hosted:

More than 6.2 million guests
More than 6,200 performances and events
Programming presented 99% of the year
Venue occupancy rates ranging from 82% to 97%

The center has become one of the world’s busiest performing arts destinations while helping position downtown Orlando as a leading hub for arts, culture and entertainment.

Community Investment Beyond the Stage

In addition to its economic impact, the Dr. Phillips Center continues investing in arts education, community outreach and cultural programming throughout Central Florida.

According to the organization, it has:

Served 935,920 students and community participants
Supported and hosted 202 regional arts organizations
Received support from 24,085 donors
Benefited from $256 million in philanthropic contributions since its inception

Through partnerships with schools, nonprofit organizations, community groups and touring productions, the center continues to expand access to the performing arts while strengthening the region’s cultural and economic vitality.

Looking Ahead

Eleven years after opening, the Dr. Phillips Center continues to demonstrate that investment in arts and culture produces measurable returns through tourism, employment, education and community engagement.

As Central Florida continues to grow, the independent analysis reinforces the performing arts center’s importance as both a cultural landmark and an economic engine for the region.

Additional information about the economic impact study is available through the Dr. Phillips Center for the Performing Arts.