OPENINGS: There were no new wide openings on this pre-holiday season weekend in the US, but things were busier overseas. AQUAMAN (DC/Warners), which won’t arrive in the US until December 21, launched in China with a huge $93.6M, the best start for any Warner Bros film in that country, and almost as much as Batman v Superman ($95.8M) and Justice League ($106.1M) earned in their entire China runs.
Things were less promising for MORTAL ENGINES (Universal), which opens here on Friday. It arrived in 43 international territories with a tepid $17.9M. There are major markets still to come, but the expensive spectacle is already in trouble.
HOLDOVERS: The lack of new competition was good news for the product already in theatres. RALPH BREAKS THE INTERNET (Disney) led the weekend with a 37% drop to $16.1M, although that was steeper than the parallel weekend drops for Moana (34%) and Coco (33%). Ralph should reach $225M in the US. Overseas, it’s still in only 30 territories, where it’s at $117.3M after an $18M weekend.
THE GRINCH (Illumination/Universal) is pleasing families, down just 15% in its 5th weekend to $15.2M, as it heads to $275M+ in the US. However, it’s much softer overseas, where it’s at $98.9M after a $25.6M weekend in 61 markets, with China and Japan still on the way.
CREED II (MGM/New Line/Warners) dropped 38% to $10.1M in its 3rd weekend, steeper than the 33% drop for the parallel weekend of the first Creed. It may reach $125M in the US, which would be around 15% higher than its predecessor. Overseas, it’s in 31 territories and has $23.2M after a $5.2M weekend.
FANTASTIC BEASTS: THE CRIMES OF GRINDELWALD (Warners) fell 40% in its 4th weekend, slightly better than the 43% drop for the parallel weekend of the first Beasts, although still substantially behind that film’s US total at that point in its run. Grindelwald may need a stretch to hit $175M in the US, a 25% drop from its predecessor. Overseas, it’s trailing off with a $22M weekend in all major markets for $423.3M to date, and won’t get near the $580M earned internationally by the first Beasts.
BOHEMIAN RHAPSODY (Regency/20th) continues to triumph, fueled this weekend by some major Golden Globe nominations and down 25% to $6M in Weekend 6. It should get to $185M in the US, but that’s pocket change compared to its international $423M after a $29.2M weekend in all major markets. It will get past $600M worldwide this week, with plenty of gas left in the tank.
INSTANT FAMILY (Paramount) is finding good word of mouth, down 22% to $5.6M in its 4th weekend, and on track for $65M in the US. It has $6.3M overseas after a $1.7M weekend in 15 territories.
GREEN BOOK (DreamWorks/Participant/Universal) got considerable love from the Golden Globes and increased its theatre count by about 10%, leaving its weekend almost exactly the same as last week at $3.9M. The question will be whether it can keep its momentum once the flood of holiday openings arrive, and get past $30M in the US. Its international release is still pending.
ROBIN HOOD (Summit/Lionsgate) has stabilized, down just 25% in its 3rd weekend, but that still left the weekend at $3.6M, without much prospect of getting far past $35M in the US. Things are equally bleak overseas, where it’s playing in all major markets except Germany and has $38.5M after a $7.5M weekend.
THE POSSESSION OF HANNAH GRACE (Screen Gems/Sony) fell 50% in its 2nd weekend to $3.2M, which isn’t bad for low-budget horror, but is still unlikely to reach $20M in the US. Overseas, it’s at $11.5M after a $4.8M weekend in 34 territories.
WIDOWS (Regency/20th) was ignored by the Globes and dropped 29% to $3.1M in its 4th weekend, on its way to $45M in the US. It’s dimmer overseas, where it has $26.9M after a $4.5M weekend in 59 markets.
A STAR IS BORN (MGM/Warners) made its move to find a path to $200M in the US, expanding its theatre count by 50% and grabbing a 1-week IMAX engagement. That pushed its 10th weekend up 38% to $2.5M, and if it can avoid collapse next weekend, it should hit its desired mark by the holidays. Overseas, it’s at $172.6M after a $2M weekend in 55 territories.
LIMITED RELEASE: THE FAVOURITE (Fox Searchlight) expanded solidly to 91 theatres with a $16K per-theatre average, which compares well with Darkest Hour‘s $10K average at 84, and Victoria & Abdul‘s $14K at 77. The arthouse opening of the weekend was MARY QUEEN OF SCOTS (Focus/Universal), with a $50K start at 4 that was fine, but lagged behind Favourite‘s $105K per-theatre opening. VOX LUX (Neon) arrived with a $27K average at 6, and BEN IS BACK (Roadside) averaged $20K at 4.. AT ETERNITY’S GATE (CBS/Lionsgate) widened to 172 with a slim $1800 average. THE WIFE (Sony Classics) made a disastrous attempt to capitalize on Glenn Close’s Globe nomination with a jump back into 421 theatres that averaged a paltry $500. ANNA & THE APOCALYPSE (Orion/MGM) averaged $3100 at 46. MARIA BY CALLAS (Sony Classics) found the limits of its niche with an expansion to 149 that averaged $700.
NEXT WEEKEND: Hollywood comes back to life with a trio of major openings, including SPIDER-MAN: INTO THE SPIDER-VERSE (Sony Animation/Sony), THE MULE (Warners) and Mortal Engines. Awards hopefuls in limited release include IF BEALE STREET COULD TALK (Annapurna) and CAPERNAUM (Sony Classics).
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