OPENINGS: NIGHT SCHOOL (Perfect World/Universal) had a surprising 18% Saturday bump (by comparison, both Central Intelligence and Girls Trip dropped 4% on their first Saturdays), suggesting that it’s appealing to a family audience. That pushed the weekend to $28M, still not in the top rank of Kevin Hart openings ($34-35M for Get Hard, Ride Along 2 and Central Intelligence), but a solid result. Night School has the comedy field to itself for the next several weeks, so it could reach $85M+ in the US, making it profitable on production/marketing costs in the same vicinity, as long as it can do some business overseas. It’s just started international release with $5.5M in 19 markets.
SMALLFOOT (Warners Animation) was merely OK with a $23M start, a bit better than the $20.4M for last September’s LEGO Ninjago Movie, but not likely to yield much more than $75M in the US on $150M+ in production/marketing costs. Its international start was alarmingly low at $14M in 49 territories, although some major markets are still to open, including China, Russia and the UK.
The low-budget HELL FEST (CBS/Lionsgate) was muted at $5.1M, and may not get past $10M in the US, making breakeven even at its price point a question mark.
LITTLE WOMEN (Pinnacle/Pure Flix) had a barely wide release at 643 theatres and barely registered with a $750K weekend.
HOLDOVERS: Even though Smallfoot had a low-key start, it seemed to be enough to dent THE HOUSE WITH A CLOCK IN ITS WALLS (Reliance/Universal), which dropped 53% in its 2nd weekend to $12.5M, and seems to be headed to a mild $70M in the US on roughly $125M in costs. It’s also sluggish overseas, with $21M after a $9.4M weekend in 43 markets.
A SIMPLE FAVOR (Lionsgate) had a strong hold, down 36% in its 3rd weekend to $6.6M, possibly on course for $60M in the US on moderate costs. It also has $19.8M overseas to date.
THE NUN (New Line/Warners) continues to hold well for the horror genre, down 46% in its 4th weekend to $5.4M, as it heads toward $120M in the US. It’s much bigger overseas, where its $221M total (25% of that from Spanish-speaking markets) after a $16.4M weekend in 80 territories that don’t include China has pushed it worldwide to $330M, tops in the Conjuring franchise.
CRAZY RICH ASIANS (SK Global/Warners) slipped just 35% in its 7th weekend to $4.2M, and if it can hold onto its theatres, it should reach $175M in the US. It also has $53.2M overseas.
THE PREDATOR (TSG/20th) fell 60% in its 3rd weekend to $3.7M, and probably won’t get past $55M in the US. The $68.2M it’s earned overseas won’t make up the shortfall on costs of $150M+.
WHITE BOY RICK (Studio 8/Columbia/Sony) lost 51% on its 3rd weekend to $2.4M, on its way to a weak $25M US total. Overseas release hasn’t yet begun.
There was no good news for last week’s flops, none of which will see $10M in the US. FAHRENHEIT 11/9 (Briarcliff) fell 63% to $1.1M, LIFE ITSELF (Amazon) dropped 64% to $770K, and ASSASSINATION NATION (Neon) crashed by 81% to a horrible $200K (that meant a per-theatre weekend average under $200).
LIMITED RELEASE: FREE SOLO (NatGeo) had a triumphant start with a $75K per-theatre average at 4. THE OLD MAN & THE GUN (Fox Searchlight) was less exciting but still solid with a $30K average at 5. The documentary MATANGA/MAYA/MIA (Abramorama) debuted with a $26K average at 2. MONSTERS & MEN (Neon) averaged $7K at 18. ALL ABOUT NINA (The Orchard) premiered with a $7700 average at 4. Among holdovers, THE WIFE (Sony Classics) was notably strong with a 13% drop (despite losing 7% of its theatres) that gave it a $1800 average at 437, and $6.1M to date. COLETTE (Bleecker Street) expanded to 38 theatres with an $11K average. THE SISTERS BROTHERS (Annapurna) averaged $9K at 27. BLAZE (IFC) averaged $1100 at 89. TEA WITH THE DAMES (IFC) widened to 19 with a $2400 average.
NEXT WEEKEND: The Fall movie season gets into gear with the arrivals of VENOM (Columbia/Sony) and A STAR IS BORN (Warners). In addition, THE HATE U GIVE (20th) begins a 2-week limited run before going wide.
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