Behind the US/Worldwide Weekend Box Office – 11.24.2019

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OPENINGS:  After several weeks of big-studio disappointments, FROZEN 2 (Disney) performed as the blockbuster it was expected to be, with $127M in the US.  Comparisons to the first Frozen in 2013 are a bit dicey, because that opened wide on the Wednesday before Thanksgiving.  It earned $93.5M over the 5-day weekend, with an ultimate 4.28x multiple that brought it to $400.7M.  The sequel may be more front-loaded, but in its favor, it doesn’t face another major family product until Jumanji: The Next Level on December 13.  The original Frozen earned 69% of its worldwide total outside the US, and Frozen 2 galloped to $223.2M in 37 international markets (although that’s less than half of all markets, it includes almost all the most important, including $53M from China, with mostly lesser remaining arenas like Italy, Australia, Russia and Brazil, which accounted for around 20% of the first film’s international total).  Frozen 2 seems to be on track for a worldwide result in the same region as its predecessor’s $1.27B.

A BEAUTIFUL DAY IN THE NEIGHBORHOOD (Columbia/Sony) was intended as a slow-burn play that would extend through awards season and spread gradually beyond its older-viewer base, and on those terms it started well with $13.5M.  A serious drop over the Thanksgiving holiday would be cause for concern.

21 BRIDGES (H Brothers/MWM/STX) had an unassuming start with $9.3M.  Its costs were moderate, probably around $75M with worldwide marketing, but it’s likely to burn out fast in the US at $25M or so.  Overseas, 24 territories accounted for a low $2.7M.

HOLDOVERS:  FORD VS. FERRARI (20th/Disney) dropped 50% to $16M in its 2nd weekend, a bit more steep than optimal for a film with an older-skewing base audience and what was expected to be strong word of mouth.  It could reach $90M in the US, but it’s an expensive project, and so far is showing limited life overseas, with $45.8M after a $14.7M weekend in 43 markets which don’t yet include China or Japan.

MIDWAY (AGC/Bona/Lionsgate) lost 45% to $4.7M in its 3rd weekend, and should pass $50M in the US.  However, this was another costly epic, and it’s been soft overseas, with $55.8M after a $5.4M weekend in 40 territories.

PLAYING WITH FIRE (Paramount) dipped 45% to $4.6M in its 3rd weekend, on its way to $40M in the US on moderate costs.  It’s earned $5.2M in limited international release.

The older audience for THE GOOD LIAR (New Line/Warners) delivered a 40% drop to $3.4M compared to last week’s premiere, but it will still have to stretch to reach $20M in the US.  It has $5.4M overseas after a $1.1M weekend in 20 territories.

CHARLIE’S ANGELS (Perfect World/Columbia/Sony) collapsed with a 62% fall to $3.2M, unlikely to get much past a dismal $20M in the US.  Things are only slightly better overseas, where it has $29.6M after a $4.6M weekend in 30 markets.

LAST CHRISTMAS (Perfect World/Universal) won’t make it to its titular holiday, down 53% to $3M in its 3rd weekend and stumbling past $30M in the US.  It has $24M overseas after a $6.7M weekend in 26 territories.

JOKER (BRON/DC/Warners) is still in the picture, down 47% to $2.8M in its 8th weekend, as it prepares to push past $330M in the US.  Overseas, it’s at $708.8M after a $7.6M weekend in all major markets except China.

LIMITED RELEASE:  DARK WATERS (Focus/Universal) opened with an OK $27.5K weekend per-theatre average at 4 NY/LA arthouses.  HONEY BOY (Amazon) expanded to 44 with a quiet $6100 average.  WAVES (A24) widened to 21 with an $8K average.

NEXT WEEKEND:  The holiday line-up is joined by KNIVES OUT (Lionsgate) and QUEEN & SLIM (Universal).