July 31, 2022

Behind the US/Worldwide Weekend Box Office – 7.31.2022


OPENINGS:  LEAGUE OF SUPER-PETS (DC/Warners) arrived with a blah $23M, given its franchise-adjacent pedigree and starry voice cast, and it wasn’t very animated overseas either, with $18.4M in 63 markets.  It faces almost no competition for family audiences through the rest of the summer, which may help it stretch its run by enough to recoup around $175M in production/marketing costs.

VENGEANCE (Focus/Universal) launched at a semi-wide 998 theaters and found a slow $1.8M, lower than the recent start for the studio’s Mrs Harris Goes To Paris at a similar number of theaters, and even bleaker because Mrs Harris was aimed at an older demo.  It probably won’t get much past $5M in the US before hitting VOD in 17 days, and hasn’t opened overseas.

HOLDOVERS:  NOPE (Universal) fell 58% from last week’s opening to $18.5M, worse than the 53% Weekend 2 drop for US, although Nope has the advantage of summer weekday business.  (The initial Monday-Thursday for Nope was down only 10% from US‘s first set of weekdays, while the 2nd weekend is down 45%.)  Nope may reach $125M in the US, but it will need to perform overseas (where it hasn’t yet launched) to do more than earn back its costs.

THOR: LOVE & THUNDER (Marvel/Disney) dropped 42% to $13.1M in its 4th weekend, still on its way to $335M in the US, which would be up about 10% from Ragnorak.  However, its $360.9M overseas total is on pace to be down as much as 25% from its predecessor.

MINIONS: THE RISE OF GRU (Illumination/Universal) wasn’t harmed too much by the arrival of Super-Pets, down 40% to $10.9M in its 5th weekend, as it cruises towards $350M in the US, similar to the return for the first Minions.  Overseas, though, it has $389.9M after a $35.3M weekend in 79 territories, and is unlikely to approach its predecessor’s $823.4M.

TOP GUN: MAVERICK (Paramount) continued to do its thing, down just 20% to $8.2M in its 10th weekend, and possibly with the muscle to pass Avengers: Infinity War, the #6 movie all time in the US at $678.8M.  It’s also massive overseas, where it has $671M after a $13.8M weekend in 64 markets.

WHERE THE CRAWDADS SING (Columbia/Sony) held well again, down 27% to $7.5M in its 3rd weekend, with $75M in its sights.  It has $8.7M in early overseas release.

ELVIS (Warners) had the best hold in the Top 10, down 12% to $5.9M in its 6th weekend as it heads toward $150M in the US.  It’s doing fair business overseas as well, with $105.3M to date.

THE BLACK PHONE (Blumhouse/Universal, also on VOD) is showing very strong legs for low-budget horror, down a mere 29% to $2.5M in its 6th weekend and closing in on $90M in the US.  It also has $58.1M overseas.

JURASSIC WORLD: DOMINION (Universal, also on VOD) lost 33% to $2.1M in its 8th weekend, and should end at around $375M in the US, down 10% or so from Fallen Kingdom.  Internationally it has $573M after a $13.7M weekend (of which $10.2M was from its opening in Japan, its last major scheduled market), and will be down over 30% from its predecessor.

MARCEL THE SHELL WITH SHOES ON (A24) expanded again, this time by 40% to 821 theaters, but its weekend was nonetheless down 31% to $600K, and with a $700 weekend per-theater average it seems to have hit its wall, unlikely to cross $10M in the US.  It hasn’t yet opened overseas.

LIMITED RELEASE:  SHARP STICK (Utopia) launched at 2 theaters in NY/LA, and boosted by in-theater Q&A it averaged $9200.  A LOVE SONG (Bleecker Street) opened at 4 theaters, and similarly helped out by in-theater Q&As, it averaged $4700.  FIRE OF LOVE (Neon) widened to 191 with an $800 average.  RESURRECTION (IFC) opened at 97 with a $950 average.  MEDUSA (Music Box) arrived at 3 with a $700 average.

NEXT WEEKEND:  The last big-ticket opening for quite a while is BULLET TRAIN (Columbia/Sony), which will be counterprogrammed by BODIES BODIES BODIES (A24) and EASTER SUNDAY (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."