OPENINGS: ARGYLLE (Apple/Universal) arrived within blah expectations at $18M. That makes it the third consecutive wildly expensive theatrical flop for Apple (with worldwide marketing included, costs were around $300M), and while the company has a few more projects on the calendar, including a pair of Brad Pitt vehicles, one has to wonder how many 9-figure losses it will tolerate in the name of marketing for its streaming service. Although Argylle will benefit from having no significant competition next weekend, word of mouth will likely be poor (35% on Rotten Tomatoes, with a jaw-dropping 18% from Top Critics). And while many action movies have found more receptive audiences overseas, Argylle only managed a pallid $17.3M in 79 markets.
THE CHOSEN (Fathom) premiered the first three episodes of its 4th season in theaters to $6M ($7.5M with a full Thursday). That compares to an $8.8M start for the first 2 episodes of season 3, over a 3-day weekend in about 10% fewer theaters. Even if the Christian show has peaked, that’s still significant found money for a low-budget TV series. Subsequent episodes of The Chosen will open in theaters throughout the month.
Best Picture nominee THE ZONE OF INTEREST (A24) expanded to the low end of wide release with $1.1M in 594 theaters. That’s notably better than the $600K earned by Anatomy of a Fall when it widened to 583, demonstrating the value of Oscar endorsement.
HOLDOVERS: With only one shaky mainstream newcomer in the market, most veteran films held quite well. THE BEEKEEPER (MGM/Amazon, also on VOD) dipped just 21% to $5.3M in its 4th weekend, on its way to a solid $65M in the US. The overseas total to date is a robust $73.1M.
WONKA (Warners, also on VOD) slipped 16% to $4.8M in its 8th weekend, and should reach $215M in the US before it’s done. It also has $270.6M overseas.
MIGRATION (Illumination/Universal, also on VOD) has shared the family audience with Wonka since December, down 16% to $4.1M in its 7th weekend and en route to $120M in the US. The international total is $115.7M.
MEAN GIRLS (Paramount) had the biggest drop in the Top 10, down 42% to $4M in its 4th weekend, but it may still reach $80M in the US. However, there’s much less interest overseas, where it has $23.6M.
Sleeper of the season ANYONE BUT YOU (Columbia/Sony) lost 24% to $3.5M in its 7th weekend, and should top $85M in the US. It’s on a similar trajectory internationally, with $75.5M to date.
AMERICAN FICTION (Orion/MGM/Amazon) increased its theater count by about 10% and was down 11% to $2.3M in its 8th weekend of release. It has yet to begin its overseas release.
POOR THINGS (Searchlight/Disney) is the most successful indie since Everything Everywhere All At Once, likely to pass $35M in the US after a 9th weekend that was down 27% to $2.1M. It’s even stronger internationally with $40.1M.
AQUAMAN AND THE LOST KINGDOM (DC/Warners, also on VOD) shed 26% to $2M in its 7th weekend, and may pass $125M in the US, with $302M overseas. That won’t be enough to cover its enormous cost.
NIGHT SWIM (Blumhouse/Universal, also on VOD) dropped 25% to $1.5M in its 5th weekend and may stretch to $35M in the US, with a less enthusiastic $16.3M overseas.
THE BOYS IN THE BOAT (MGM/Amazon, also on VOD) fell 31% to $1.4M in its 6th weekend, and it will go over $50M in the US next week. International release has brought in $2.1M to date.
LIMITED RELEASE: HOW TO HAVE SEX (MUBI) opened at 4 with a $13K weekend per-theater average. TOTEM (Janus) expanded to 5 and averaged $3300. THE PEASANTS (Sony Classics) widened to 3 with a $2K average.
NEXT WEEKEND: The only scheduled wide opening is LISA FRANKENSTEIN (Focus/Universal). Limited releases include Oscar hopeful PERFECT DAYS (Neon).
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