November 14, 2021

Behind the US/Worldwide Box Office – 11.14.2021


OPENINGS:  CLIFFORD THE BIG RED DOG (Nickelodeon/Paramount, also on Paramount+) opened on Wednesday and earned $22M over 5 days, $16.4M of it over the weekend.  That’s somewhat above the $13.1M start for Paw Patrol, which was also simultaneously released on Paramount+ and opened on a Friday.  Paw Patrol totaled $40.1M in the US, and with Thanksgiving dead ahead (albeit with strong competition from Disney’s Encanto), Clifford could see $50M before it’s done.  The film hasn’t yet opened overseas.

Awards hopeful BELFAST (Focus/Universal) launched at 580 theaters with $1.8M, an OK start for a film that will hope to be in voters’ minds for the long haul.  Thus far during the pandemic era, Focus has put its films on VOD about 3 weeks after initial release (Last Night In Soho will be available next week), and it isn’t clear whether that will applly to Belfast as well.

HOLDOVERS:  With no new direct competition, ETERNALS (Marvel/Disney) easily kept the weekend’s box office crown with $27.5M.  However, in the context of the MCU, a 61% drop for a purely theatrical release in that circumstance isn’t great, probably reflecting the negative buzz around the film.  With $118.8M so far and a long holiday ahead, Eternals may still reach $200M in the US.  Overseas, it has $162.6M after a $48M weekend in 49 territories.

DUNE (Legendary/Warners, also on HBO Max) dropped 29% to $5.5M in its 4th weekend, and should pass $100M in the US.  It also has $258M overseas after a $6.8M weekend in 76 markets.

NO TIME TO DIE (MGM, also on VOD) wasn’t hurt by its availability at home, down 24% to $4.6M in its 6th weekend, as it continues toward $165M in the US.  That number is in the shadow of the $558.2M overseas total (the highest for any English-language film in the pandemic era) after a $24M weekend in 72 territories.

VENOM: LET THERE BE CARNAGE (Marvel/Columbia/Sony) continues to hold extraordinarily well, down just 10% to $4M in its 7th weekend, now past $200M in the US and with some gas left in the tank.  It has $238.8M overseas after a $7.7M weekend in 55 markets, with Australia and Japan yet to open.

RON’S GONE WRONG (20th/Disney) dropped 38% to $2.2M in its 4th weekend, on its way to $30M in the US.  It also has $32.8M overseas.

Although the competition for the title isn’t fierce, THE FRENCH DISPATCH (Searchlight/Disney) continues to lead arthouse releases, down 29% to $1.8M in its 4th weekend as it heads toward $20M in the US.  It’s earned $11.3M overseas.

SPENCER (Neon) lost 28% to $1.5M despite a 25% rise in theater count (to 1265), meaning that its per-theatre weekend average fell 43%.  Spencer is currently on track for $10M in the US, but it remains to be seen how much wider the film can expand, or what the studio’s plans are for availability at home.  The film has $1.4M overseas.

ANTLERS (Searchlight/Disney) was down 39% to $1.2M in its 3rd weekend and probably won’t reach $15M in the US.  Its overseas total is $4.9M.

HALLOWEEN KILLS (Blumhouse/Universal) continued its post-holiday swoon, down 54% to $1.1M in its 5th weekend and likely to end up at $95M in the US (down about 40% from the 2018 Halloween).  It has $39M overseas.

LIMITED RELEASE:  JULIA (Sony Classics) debuted at 5 theaters with a decent $4200 per-theater average.  THE SOUVENIR PART II (A24) nearly tripled its theater count to 42 but collapsed by 65% with a per-theater average below $350.

NEXT WEEKEND:  GHOSTBUSTERS: AFTERLIFE (Columbia/Sony) is the big-budget arrival, and KING RICHARD (Warners, also on HBO Max) will hope to be a factor throughout awards season.  Limited releases include CMON CMON (A24).

About the Author

Mitch Salem
MITCH SALEM has worked on the business side of the entertainment industry for 20 years, as a senior business affairs executive and attorney for such companies as NBC, ABC, USA, Syfy, Bravo, and BermanBraun Productions, and before that, at the NY law firm of Weil, Gotshal & Manges. During all that, he has more or less constantly been going to the movies and watching TV, and writing about both since the 1980s. His film reviews also currently appear on and In addition, he is co-writer of an episode of the television series "Felicity."