July 7, 2024

Behind The US/Worldwide Weekend Box Office – 7.7.2024


OPENINGS:  DESPICABLE ME 4 (Illumination/Universal) arrived at the high end of expectations with a $75M 3-day weekend and $122.6M since its July 3 opening.  That was a tad below 2013’s Despicable Me 2, which also opened on a Wednesday July 3 with $83.5M/$143.1M.  Despicable 4 should pass $300M in the US, which would put it behind only Despicable 2 (and both Minions features).  Despicable 4 has been having a staggered overseas release, scheduled around school holidays and soccer tournaments, and currently has $107M after a $73M weekend in 73 markets, with several major areas yet to open.

The trilogy capped by MAXXINE (A24) has to be one of the lowest-grossing properties to reach franchise status, and its $6.7M launch, however modest, was better than the starts for X ($4.3M) and Pearl ($3.1M).  With that in mind, it seems like a $20M US total would be considered a win, although the presence of a stacked cast suggests that costs were higher this time.  Maxxxine also has $1.1M overseas from 10 territories.

The studio behind the surprise smash Sound of Freedom tried to run the same playbook with a July 4 opening for SOUND OF HOPE: THE STORY OF POSSUM TROT (Angel), but lightning didn’t strike twice, and the $3.2M 3-day weekend and $3.6M on the holiday were a shadow of Freedom‘s $19.7M weekend and $14.2M from July 4 alone.  Hope hasn’t opened overseas.

The expansion of KINDS OF KINDNESS (Searchlight/Disney) went badly.  Despite almost doubling its theater count to 920 theaters, the weekend total was down 46% to less than $900K, a low $900 weekend per-theater average.  Kindness also has $2.7M outside the US.

KILL (Roadside) opened in 827 theaters with a terrible $400K, a per-theater average under $500.

HOLDOVERS:  INSIDE OUT 2 (Pixar/Disney) felt the direct competition from Despicable Me 4, down 48% to $30M in its 4th weekend.  Nevertheless, if it passes The Incredibles 2‘s $608.6M (currently about $74M away), it will become become the top-grossing animated film of all time in the US market.  Inside Out 2 also has $683.1M internationally after a $78.3M weekend in 45 territories, and is less likely to touch the CG Lion King‘s $1.1B.

A QUIET PLACE: DAY ONE (Paramount) dropped 60% to $21M, the same Weekend 2 fall as Quiet Place 2‘s.  If it reaches $180M in the US, it would be about 10% ahead of Quiet 2‘s US total.  Day One has $83.8M overseas after a $21.1M weekend in 67 markets.

BAD BOYS: RIDE OR DIE (Columbia/Sony) dipped 37% to $6.6M in its 5th weekend, and will likely fall just a bit short of Bad Boys For Life‘s $206.3M.  The international total is $182.8M after a $8.2M weekend in 66 territories, also running slightly behind its predecessor.

HORIZON: AN AMERICAN SAGA – CHAPTER 1 (Territory/New Line/Warners) badly needed a strong Weekend 2 to have any chance of recouping its costs, but it didn’t happen, as Horizon 1 fell 50% to $5.5M, and may not reach $40M in the US.  It has about $500K in limited overseas release.

KALKI 2898 AD (Prath) lost 67% to $1.8M, and won’t get much past $10M in the US.  It has $2.5M to date overseas.

THE BIKERIDERS (Focus/Universal) had another dour weekend, down 61% to $1.3M, on its way to $25M in the US.  It also has $10.2M internationally after a $1.8M weekend in 57 markets.

LIMITED RELEASE:  HIJACK 1971 (Sony) averaged $1100 in 62 theaters.  LAST SUMMER (Janus/Sideshow) expanded to 7 with a $2800 average.

NEXT WEEKEND:  Another light frame from the major studios, with the rom-com FLY ME TO THE MOON (Apple/Sony) and the horror movie LONGLEGS (Neon) as the only wide arrivals.  Indies include SING SING (A24) and TOUCH (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."