June 5, 2022

Behind the US/Worldwide Weekend Box Office – 6.5.2022


OPENINGS:  David Cronenberg is a venerated filmmaker, but not a source of many box office hits:  in a career that spans more than 4 decades, his highest-grossing film in the US is still 1986’s The Fly at $40.5M (a little over $100M adjusted for inflation).  That won’t change with his brooding and frequently grotesque CRIMES OF THE FUTURE (Neon), which had a wide-ish release at 773 theaters and brought in $1.1M, and which is unlikely to benefit from mainstream word of mouth.

Another thriller, the Sundance title WATCHER (IFC), was even weaker with $800K at 764 theaters.

JURASSIC WORLD: DOMINION (Universal) won’t arrive in the US or most of the world until next week, but it’s already launched in 15 international markets with $55.5M.

HOLDOVERS:  With great word of mouth and no meaningful competition, TOP GUN: MAVERICK (Paramount) had a spectacular hold, down just 32% from the 3-day portion of last week’s holiday weekend to $86M.  That’s the smallest Weekend 2 decline ever for a film that opened over $100M, and if the number holds, it will be the #8 2nd weekend in history.  (At the moment it’s only $22K ahead of Frozen 2‘s sophomore weekend, so things could shift a bit.)  Although Jurassic World 3 may make things more interesting next week, Maverick could climb above $500M in the US.  It’s slightly softer but still huge overseas with $257M after an $81.7M weekend in 64 territories.

DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (Marvel/Disney) dropped 42% to $9.3M in its 5th weekend, and seems likely to end its run a bit above $400M, putting it somewhere around #8-10 among MCU titles in the US.  It’s reached $520.7M overseas, and has a chance of hitting $1B worldwide.

THE BOB’S BURGERS MOVIE (20th/Disney) was extremely front-loaded, crashing by 64% to $4.5M and on its way to perhaps $40M in the US.  It has $1.7M in early overseas release

THE BAD GUYS (DreamWorks Animation/Universal) continued to thrive, down 24% to $3.3M in its 7th weekend and still reaching toward $100M in the US.  It’s earned $131M overseas.

DOWNTON ABBEY: A NEW AGE (Focus/Universal) had another heavy drop, down 48% to $3M in its 3rd weekend, with VOD availability a week away.  It won’t even reach half of its predecessor’s $96.9M US total.  New Age is similarly subdued internationally with $41M.

The amazing EVERYTHING EVERYWHERE ALL AT ONCE (A24) dipped a mere 18% to $2M in its 11th weekend, and if it can hold onto its theaters as the summer releases start piling up, it could pass $70M in the US.  It has $17.6M overseas to date.

SONIC THE HEDGEHOG 2 (Paramount, also on Paramount+) lost 30% to $1.7M in Weekend 9, and doesn’t seem to quite have enough road ahead to reach $200M in the US.  Internationally, it has $204.5M.

THE LOST CITY (Paramount, also on Paramount+/VOD) dropped 34% to $1.4M in its 11th weekend, on its way to a $110M US total, and with $81.2M overseas.

LIMITED RELEASE:  The Indian-language market has been one of the most consistent in the Covid era, and VIKRAM (Prime Media) opened strongly with $1.8M at 465 theaters, a $3800 weekend per-theater average.  The documentary DEEP IN THE HEART (Fin & Fur) premiered with an $1800 average at 69.  EIFFEL (Blue Fox) averaged $300 at 308.  JAZZ FEST: A NEW ORLEANS STORY (Sony) expanded to 302 with a $200 average.  BENEDICTION (Roadside) averaged $500 at 91.  THE PHANTOM OF THE OPEN (Sony Classics) opened at 6 theaters with a $4400 average.  NEPTUNE FROST (Kino Lorber) averaged $5K at 2.  A CHIARA (Neon) expanded to 20 with a $500 average.

NEXT WEEKEND:  Dinosaurs.


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."