Articles

October 30, 2022

Behind the US/Worldwide Weekend Box Office – 10.30.2022

 

OPENINGS:  Following several months of strong showings from the horror genre, PREY FOR THE DEVIL (Lionsgate) arrived at $7M to mop up the Halloween weekend remainder.  That was around the expected result, and considering that Prey was a low-budget effort with little national marketing, it might be enough to set a pace for minimal profit.  There were no international openings.

Several awards contenders expanded throughout the country to soft results.  TILL (Orion/MGM/Amazon), now at 2058 theaters, earned $2.8M, giving it a $1400 weekend per-theater average, slightly better than the average for the 3rd weekend of Halloween Ends.

The others fared worse.  TAR (Focus/Universal) widened to 1087 theaters with $1M, giving it an average around $900.  In addition, while the exit polls for Till were very strong, audiences seemed to actively dislike Tar, with only 42% saying they’d recommend it.

TRIANGLE OF SADNESS (Neon) moved into 610 theaters with $550K for the weekend and a $900 average.  It also has $4.8M overseas.

CALL JANE (Roadside) opened disastrously at 1070 theaters and averaged an ugly $200.

HOLDOVERS:  With no new direct competition, BLACK ADAM (DC/New Line/Warners) held decently, down 59% to $27.7M, which was better than the 67% Weekend 2 drop for Doctor Strange 2, although steeper than the 50% for The Batman.  Overseas, Black Adam has reached $139M after a $39M weekend in 76 markets (with only Japan still to come, unless there’s an unexpected China release).  The film’s problem is that with $300M+ in costs, a $425M worldwide total may not even hit breakeven.  (By way of comparison, it would be about 20% higher than the global results for Shazam, which cost half as much to produce.)

TICKET TO PARADISE (Universal) is satisfying its older audience, down just 39% to $10M in its 2nd weekend, and on its way to $65M in the US.  That’s on top of its international $85.7M, after a $2.9M weekend in 78 territories.

SMILE (Paramount) continued its march to $100M in the US, with a 40% drop to $5M in its 5th weekend.  It also has $93.6M overseas after a $7M weekend in 62 markets.

HALLOWEEN ENDS (Universal, also on Peacock) fell 52% to $3.8M in its 3rd weekend, and may reach $70M in the US (25% below Halloween Kills, which also ran day-and-date on Peacock).  Like the others in its trilogy, it’s far lower overseas, with $34.3M after a $3.7M weekend in 76 territories.

LYLE, LYLE, CROCODILE (Columbia/Sony) dipped 34% to $2.8M, heading past $40M in the US.  It has $18M internationally after a $6M weekend in 40 markets.

Although the remarkable TERRIFIER 2 (Cinedigm) rose again, by 3% to $1.8M, this time it was via a theater count that more than doubled, so the per-theater drop was more like 50%.  Nevertheless, a $12M total should be very profitable for a movie with a $250K production budget and almost no national marketing.

THE WOMAN KING (TriStar/Sony) fell 41% to $1.1M in its 7th weekend, as it continued to stretch toward $70M in the US.  The overseas total is $22.7M after a $1.8M weekend in 38 territories.

LIMITED RELEASE:  Despite some strong critical support, ARMAGEDDON TIME (Focus/Universal) opened in 6 NY/LA arthouses with a soft $12K per-theater average.  THE BANSHEES OF INISHERIN (Searchlight/Disney) expanded to 58 with a $9300 average.  AFTERSUN (A24) widened to 17 and averaged $4400.

NEXT WEEKEND:  There are no scheduled wide openings, although ONE PIECE FILM: RED (Crunchyroll) may make some noise with an Imax run.

 



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 screened.com and the-burg.com. In addition, he is co-writer of an episode of the television series "Felicity."