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June 25, 2023
 

Behind the US/Worldwide Weekend Box Office – 6.25.2023

 

OPENINGS:  NO HARD FEELINGS (Columbia/Sony) slightly exceeded tracking expectations with $15.1M, but those expectations were themselves quite low.  With production and worldwide marketing costs in the neighborhood of $100M, the film will need to hold strongly for the next several weeks to reach any profit, and while it has the hard-R comedy field to itself next week, Joy Ride will come for its audience afterwards.  The overseas launch was soft with $9.5M in 48 markets.

The expansion of Wes Anderson’s ASTEROID CITY (Focus/Universal) gave the indie world its best news in more than a year, with $9M in 1675 theaters.  That was higher than the $6.1M Everything Everywhere All At Once earned when it entered wide release (on a per-theater basis as well), and better than the best weekend ($8.5M) for Anderson’s biggest hit, The Grand Budapest Hotel (although that per-theater number was higher).  Grand Budapest reached $59.3M in the US, and if Asteroid can get anywhere near that, it would be a shot in the arm for adult-oriented films.  Asteroid also has $6.5M overseas to date.

HOLDOVERS:  SPIDER-MAN: ACROSS THE SPIDER-VERSE (Marvel/Sony Animation) confirmed its status as the success story of the summer, regaining 1st place in its 4th weekend of release with $19.3M, down 29% from last week.  If Across reaches $375M in the US, it would be the #4 Spider-Man title ever in the US, behind only the last 2 Tom Holland installments and the original 2002 film (unadjusted for inflation).  Things have been slower overseas, with $243.2M after a $22M weekend in 63 territories.

ELEMENTAL (Pixar/Disney) dipped 38% to $18.5M.  That’s a good hold in terms of percentages (Inside Out dropped 42% in its 2nd weekend), but off a very low start (that Inside Out Weekend 2 number was $52.3M).  With $250M+ in costs, a $125M US total would still be a loser for Pixar.  Overseas, the total is $55.6M after a $31.3M weekend in 40 markets.

THE FLASH (DC/Warners) shifted from “disappointment” to “disaster” after a 72% plunge to $18.3M, worse than the infamous 69% Weekend 2 drop for Batman v SupermanThe Flash may not reach $150M in the US, and things aren’t much better overseas, where it has $123.3M after a $26.6M weekend in 78 territories.

TRANSFORMERS: RISE OF THE BEASTS (Hasbro/Skydance/Paramount) lost 44% to $11.6M in its 3rd weekend, on its way to an underwhelming $155M in the US.  It has $218.3M internationally, after a $25.6M weekend in 69 markets.  Although overseas should double the US total, the global result will still be well below The Last Knight‘s $605.4M.

THE LITTLE MERMAID (Disney) dipped 22% to $8.7M in its 5th weekend, and will hope to top $300M in the US.  It has $229.1M overseas after a $9.4M weekend in 52 territories, equating to 46% of its worldwide total where Aladdin earned 66% of its overall box office outside the US.

GUARDIANS OF THE GALAXY VOL. 3 (Marvel/Disney) dipped 34% to $3.5M in its 8th weekend, on track for $360M in the US.  It also has $476.8M overseas.

THE BLACKENING (Lionsgate) fell 50% to $3M from last week’s opening, and may pass $20M in the US.  It hasn’t yet opened overseas.

THE BOOGEYMAN (20th/Disney) held nicely, down 30% to $2.5M in its 4th weekend, and en route to $45M in the US.  The overseas total is $18.7M.

FAST X (Universal) dropped 49% to $1.1M in Weekend 6, and probably won’t get to $150M in the US, the first in the franchise not to reach that milestone since 2006.  However, the international total is far more robust with $544.7M.

LIMITED RELEASE:  PAST LIVES (A24) continued its steady expansion, with a weekend per-theater average of $3800 at 296 theaters, giving the film its first million-plus weekend at $1.1M.  That’s a better result than the $3500 average Tar had when it reached 141 theaters, and than the $2100 average for Triangle of Sadness at 280.  THE LAST RIDER (Roadside) averaged $500 at 105.  REVOIR PARIS (Music Box) averaged $4K at 2.

NEXT WEEKEND:  The holiday weekend will belong to INDIANA JONES & THE DIAL OF DESTINY (Lucasfilm/Disney), with counterprogramming from RUBY GILLMAN, TEENAGE KRAKEN (DreamWorks Animation/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 screened.com and the-burg.com. In addition, he is co-writer of an episode of the television series "Felicity."