October 9, 2022

Behind the US/Worldwide Weekend Box Office – 10.9.2022


OPENINGS:  LYLE LYLE CROCODILE (Columbia/Sony) arrived below expectations at $11.5M (it might reach $13.4M with the Monday holiday), unable to take advantage of the 11-week gap since the last major family movie opened.  It has more than a month until Strange World claims that audience, but even with strong holds, it still may not get past $50M in the US.  Lyle hasn’t yet opened overseas.

Launches don’t come much more disastrous than the $6.5M for David O. Russell’s all-star AMSTERDAM (20th/Disney), and the reviews and exit polls don’t suggest much chance that momentum will build or that it can find a place in awards season.  Amsterdam reportedly cost $80M before its extensive marketing, and it may come to be remembered as one of the final nails in the coffin of big-budget prestige theatrical films.  The overseas prospects were no better with  $3.5M in 30 markets.

The low-budget horror entry TERRIFIER 2 (Cinedigm) broke its Thursday opening day off from its weekend, a rarity these days, so officially its 4-day total was $1.2M, with $825K from Friday-Sunday.

TICKET TO PARADISE (Universal) continues to run overseas while its US opening awaits, with $60.6M to date after a $10.4M weekend.

HOLDOVERS:  Even with the general strength of the horror market, SMILE (Paramount) is proving itself to be particularly notable, down a tiny 22% by the standards of the genre to $17.6M in its 2nd weekend.  Smile will face major competition next week from Halloween Ends, but still has a chance of hitting a remarkable $100M in the US.  It’s also bright overseas, where it has $40M after a $17.5M weekend in 61 territories.

THE WOMAN KING (TriStar/Sony) is also holding extremely well, down 22% to $5.3M in its 4th weekend and on its way to $70M+ in the US.  It’s facing more challenges overseas, where it has $10M after a $5.4M weekend.

DON’T WORRY DARLING (New Line/Warners) continued to fall steeply, down 49% to $3.5M, and not certain to reach $50M in the US.  After a $6.6M weekend in 66 overseas markets, it has $30.8M internationally.

The re-release of AVATAR (20th/Disney) lost many of its Imax and other premium-priced screens, and fell 47% to $2.6M, on pace for a healthy $30M from the current release.  It’s earned $48.6M overseas after a $3.9M weekend in 51 territories.

BARBARIAN (20th/Disney) has held quite well for a horror movie, if not as impressively as Smile, with a 23% dip to $2.2M in its 5th weekend as it heads past $40M in the US.  It’s barely begun its overseas release and has $1.6M to date.

Any hopes that BROS (Universal) would make up for its lackluster opening with a strong hold were dashed by its 56% drop to $2.2M.  It may not get much past $15M in the US, and despite its moderate budget will likely lose the costs of its substantial marketing.  It hasn’t yet opened overseas.

LIMITED RELEASE:  Awards season arrived in earnest at big-city arthouses.  TAR (Focus/Universal) launched with a fair $40K weekend per-theater average at 4 in NY/LA.  TRIANGLE OF SADNESS (Neon) went a bit wider and had a $21K average at 10.  Meanwhile, THE STORIED LIFE OF AJ FIKRY (Vertical) averaged less than $400 at 332.

NEXT WEEKEND:  The studios deliver their first tentpole title in months with HALLOWEEN ENDS (Universal, also on Peacock).  The awards contenders continue arriving with TILL (Orion/MGM/Amazon) and DECISION TO LEAVE (MUBI).


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."