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June 26, 2022

Behind the US/Worldwide Weekend Box Office – 6.26.2022

 

OPENINGS:  ELVIS (Warners) opened at the higher end of low expectations with $30.5M.  That technically put it into a dead heat with Top Gun: Maverick for the weekend crown, although that’s misleading because like virtually all big-studio openings, Elvis essentially had a 4-day opening, while Maverick‘s weekend didn’t get to count any of its Thursday ticket sales.  Elvis drew in the elusive older female audience, but it was also front-loaded–its Sunday number was  25% below Maverick.  Among recent rock biopics, the $30.5M opening was considerably under Bohemian Rhapsody‘s $51.1M, but better than Rocketman‘s $25.7M.  Elvis should benefit from next week’s July 4th holiday, and may pass $100M in the US.  However, it bears around $175M in production/marketing costs, and may find tougher sledding overseas, where it opened to an unexciting $20M in 52 territories.

THE BLACK PHONE (Blumhouse/Universal) launched with $23.4M, a solid start for a non-franchise horror entry.  Combined with $12.4M in 45 international markets, that should put it on the road to moderate profitability.

THE PHANTOM OF THE OPEN (Sony Classics) expanded to the narrowest possible “wide release” with a jump to 501 theaters.  It’s not clear what the strategy was here, since the result was under $150K, an awful $300 weekend per-theater average.

HOLDOVERS:  TOP GUN: MAVERICK (Paramount) continued to hold beautifully, down 32% to $30.5M in its 5th weekend, and seemingly capable of hitting an amazing $600M in the US, which would put it in the top dozen US releases of all time.  It’s almost as massive overseas, where it’s reached $484.7M after a $44.5M weekend in 65 territories.  Maverick has now passed $1B worldwide, the biggest hit by far of Tom Cruise’s 4-decade career, and it’s not close to being done.

JURASSIC WORLD: DOMINION (Universal) is quickly running out of steam, down 55% to $26.4M in its 3rd weekend, and it will be the lowest-grossing of the Jurassic World trilogy with around $375M–which to be sure is still a lot of dinosaur eggs.  Overseas, it has $443.9M after a $43M weekend in 72 markets.  (Notably, it’s one of the very few Hollywood blockbusters this year to receive distribution in China, where it’s earned $114M of that total.)

LIGHTYEAR (Pixar/Disney) has been largely rejected by audiences, down a sharp 65% to $17.7M after last week’s subpar opening.  It may not even reach $150M in the US, which among Pixar releases would put it above only The Good Dinosaur and the truncated-by-Covid Onward.  Things are no better overseas, where it has $63.6M after a $19.3M weekend in 43 territories.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (Marvel/Disney) dropped 61% to $1.7M in its 8th weekend, losing about 1/3 of its theaters, and may reach $415M in the US, putting it at #8 among MCU titles.  It has $537.8M overseas.

LIMITED RELEASE:  The weekend’s Indian-language arrival was JUG JUGG JEEYO (Coconut), which had a $2300 weekend per-theater average at 318.  MARCEL THE SHELL WITH SHOES ON (A24) had an impressive per-theater start, averaging $28.3K at 6.  OFFICIAL COMPETITION (IFC) widened to 26 and averaged $1900.  FLUX GOURMET (IFC) averaged $300 at 19.

NEXT WEEKEND:  All the non-family holdovers get a free holiday weekend, as the only wide opening is MINIONS:  THE RISE OF GRU (Illumination/Universal).  Limited releases include MR MALCOLM’S LIST (Bleecker Street) and THE FORGIVEN (Roadside).



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."