March 26, 2023

Behind the US/Worldwide Weekend Box Office – 3.28.2023


OPENINGS:  JOHN WICK: CHAPTER 4 (Lionsgate) roared to a $73.5M start, more than 20% higher than its predecessor Parabellum‘s $56.8M.  If it holds at that pace–and it has no direct competition until Renfield on April 14–it should become the first title in the franchise to pass $200M in the US.  (Already, Lionsgate is pushing against the apparent finality of Chapter 4‘s conclusion to call for more sequels, which would be in addition to the Wick “universe” projects that are already in the pipeline.)  The international increase from Parabellum was even more striking, with Chapter 4 at $64M from 71 markets compared to Parabellum‘s initial $35.2M at 66, more than an 80% rise.

The weekend’s other arrivals were in a different box office world.  A GOOD PERSON (MGM/Amazon), barely wide at 530 theaters, launched at less than $850K, a $1600 weekend per-theater average (less than 10% of John Wick 4‘s).

THE LOST KING (IFC) inexplicably opened at 753 theaters and couldn’t reach $600K, a per-theater average under $800.

HOLDOVERS: CREED III (UA/MGM/Amazon) held extremely well in its 4th weekend, down 32% to $10.4M, and on its way to $170M+ in the US, which would be up more than 30% from Creed II.  The overseas total is $105M thus far, already higher than Creed II‘s $98.5M total.

The news only become worse for SHAZAM: FURY OF THE GODS (DC/Warners), which plunged 68% from last week’s premiere to $9.7M, unable to even claim 2nd place for the weekend.  Shazam 2 may struggle to hit $75M in the US, a terrible result for a movie with $200M+ in production/marketing costs.  Things were barely higher overseas, with $56.1M to date.

SCREAM VI (Paramount) fell 52% to $8.4M in its 3rd weekend, already ahead of the last installment’s total and pacing for $115M in the US, which would be a franchise best (not adjusted for inflation against 1997’s $101.4M for Scream 2).  It has $49.4M overseas.

65 (Columbia/Sony) dropped 45% to $3.3M in its 3rd weekend, and won’t get much past $35M in the US.  It also has $21.2M overseas.

ANT-MAN & THE WASP: QUANTUMANIA (Marvel/DC) lost 43% to $2.4M in Weekend 6, and will hope to squeeze past the last chapter’s $216.6M in the US.  It’s much lower internationally, with $257M compared to Ant-Man & The Wasp‘s $406M.

COCAINE BEAR (Universal, also on VOD) slowed by 47% to $2.1M in its 5th weekend, and probably won’t reach $70M in the US–still a fair result for a moderately-budgeted production.  However, it’s generated little interest overseas, where the total is a sluggish $17.9M, and that may keep it in the red.

JESUS REVOLUTION (Lionsgate) dipped 43% to $2M in its 5th weekend, headed for $55M in the US on low costs.  There hasn’t yet been an overseas release.

CHAMPIONS (Focus/Universal) was off by 50% to $1.5M in its 3rd weekend, likely to end up under $20M in the US.  The overseas total to date is $1.5M.

AVATAR: THE WAY OF WATER (20th/Disney) is nearing the end of its mighty run, down 33% to $1.4M in its 15th weekend as it pushes toward $685M in the US.  A few days ago it passed Avengers: Infinity War to become the 7th highest-grossing film in US history.  Internationally, it has $1.6B, the #3 title in that metric.

LIMITED RELEASE:  SCHOOL OF MAGICAL ANIMALS (Blue Fox) opened at 300 theaters with a $500 weekend per-theater average.  RETURN TO SEOUL (Sony Classics) expanded to 87 theaters with a $1K average.  TORI & LOKITA (Janus) averaged $7800 at 2.

NEXT WEEKEND:  After several weeks of franchise installments, we get a franchise wannabe:  DUNGEONS & DRAGONS: HONOR AMONG THIEVES (Paramount).  Counterprogramming comes from A THOUSAND AND ONE (Focus/Universal).

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."