Behind the US/Worldwide Weekend Box Office – 11.17.2019

• Tweet
• Email

• Tweet
• Email

OPENINGS:  FORD VS. FERRARI (20th/Disney) had a strong start with $31M, and will hope to extend its run through the holidays and into Oscar season based on its initially older-skewing audience and excellent reviews and exit polls.  The only caution is that FvF was pricey for a non-IP project, with around $200M in production/marketing costs, so it’s still a long way from profitability.  The overseas launch at $21.4M in 41 markets (not including China, where a release hasn’t yet been approved) was more subdued.

It’s been a tough month for the major studios, with underperformances from Maleficent: Mistress of Evil, Terminator: Dark Fate and Doctor Sleep, but CHARLIE’S ANGELS (Perfect World/Columbia/Sony) took the poison cake with a wretched $8.6M opening.  Sony reportedly saw what was coming and slashed its late-stage marketing, but costs will still exceed $100M, and most of that will be lost, with the US likely contributing little more than $25M to the ultimate total.  Overseas was a bit better with $19.3M in 26 territories, but those included China, so there’s limited upside ahead.

The wide, comparatively expensive release for the elderly-skewing THE GOOD LIAR (BRON/New Line/Warners), as opposed to a more restrained platform strategy, is something of a mystery, but with a $5.7M weekend, it didn’t work, yielding a weekend per-theatre average even lower than the one for Charlie’s Angels.  The film also opened in 12 international markets with $1.2M.

HOLDOVERS:  MIDWAY (AGC/Bona/Lionsgate) fell 51% to $8.8M, and may manage to pass $50M in the US, which will still leave it far from its $150M in costs.  It’ snot getting much help thus far overseas, where it’s at $38.2M after a $5.3M weekend in 36 territories.

PLAYING WITH FIRE (Paramount) enjoyed its final pre-Frozen 2 weekend, down just 33% from last week’s premiere to $8.6M, and on its way to $45M in the US.  It’s in only 11 overseas markets so far, where it’s at $4.5M after a $1.3M weekend.

LAST CHRISTMAS (Perfect World/Universal) dropped 41% to $6.7M, and may reach $40M in the US.  It has $13M overseas after an $8.6M weekend in 21 territories, about 40% of the weekend total coming from its opening in the UK.

DOCTOR SLEEP (Warners) fell 56% to $6.2M, and may have to stretch to hit $40M in the US.  Things are no better overseas, where it’s at $28.8M after a $5.2M weekend in 71 markets.

JOKER (BRON/DC/Warners) is now the only R-rated film to break $1B worldwide, and it isn’t quite done yet.  In the US, it lost 39% to $5.6M in its 7th weekend, and may get past $335M.  Overseas, it’s at $694M after a $13M weekend in all major territories except China.

MALEFICENT: MISTRESS OF EVIL (Disney) dropped 38% to $5.2M in its 5th weekend, and could hit $120M in the US, depending on how it holds up to its home-grown competition from Frozen 2.  It’s much bigger overseas, with $353M after an $11.8M weekend.

HARRIET (Focus/Universal) continued to impress, down 35% to $4.8M, and likely to earn over $40M in the US, with plenty of potential awards season upside.  It hasn’t yet opened overseas.

TERMINATOR: DARK FATE (Skydance/Tencent/20th/Disney/Paramount) fell 59% to $4.4M, unlikely to get much past $65M in the US.  It’s bigger overseas with $176.8M after a $10.6M weekend in 53 markets, but that won’t get it out of red ink on its tentpole-level costs.

JOJO RABBIT (Fox Searchlight/Disney) increased its theatre count by about 20% to 995, and dropped 30% to $2.8M as it settles in for what it hopes will be an awards season run.

LIMITED RELEASE:  WAVES (A24) debuted with a fair $36K per-theatre weekend average at 4 NY/LA arthouses.  HONEY BOY (Amazon) expanded to 17 with an OK $12K average.

NEXT WEEKEND:  As noted, the box office will be dominated by FROZEN 2 (Disney).  Counterprogramming will come from the action drama 21 BRIDGES (STX), and the older-skewing awards hopeful A BEAUTIFUL DAY IN THE NEIGHBORHOOD (Columbia/Sony).  Limited releases include DARK WATERS (Focus/Universal).