September 24, 2023

Behind the US/Worldwide Weekend Box Office – 9.24.2023


OPENINGS:  THE EXPEND4BLES (Lionsgate) had a disastrous start with $8.3M, about half of both expectations and the $15.9M opening of Expendables 3 in 2014.  Expend4bles may only total $20M in the US, and while the franchise makes most of its revenue overseas (82% on Expendables 3), it still seems unlikely to break even on $150M+ in production/marketing costs.

The low-budget horror entry IT LIVES INSIDE (Neon) had a slow start with $2.6M, and probably won’t get close to $10M in the US.  It currently has international revenue below $500K.

DUMB MONEY (Columbia/Sony) expanded from 8 theaters to the low end of wide release with an unpromising $2.5M.  It’s due to widen further next weekend, but doesn’t appear to be on a trajectory that would get it much higher than $10M in the US.  It hasn’t yet opened overseas.

HOLDOVERS:  THE NUN II (New Line/Warners) managed to hold onto the top slot for the weekend, thanks to the low competition.  It dropped 42% to $8.4M in its 3rd weekend, and will hope to stretch its way to $100M, although it faces direct competition next weekend from the new Saw installment.  That would put it in the range of The Nun‘s $117.5M US total.  As with the initial installment, the overseas number is much stronger with $135M so far.

A HAUNTING IN VENICE (20th/Disney) fell 56% from last week’s opening to $6.3M, and may not get past $45M in the US.  That would put it on par with Death On the Nile‘s $45.6M (although Nile fell a softer 49% in its Weekend 2), and since Venice reportedly cost $30M less to produce than Nile, the economics may justify another entry in the franchise.  As with Nile, about 2/3 of the box office is coming from overseas, where Venice has $46.2M to date.

THE EQUALIZER 3 (Columbia/Sony) dipped 35% to $4.7M in its 4th weekend, and appears to be headed for around $95M in the US, which would be a bit below the franchise’s previous results ($101.5M/$102.1M).  This is one of the unusual action series to perform less well overseas than in the US, and the current total is $67.4M.

Boosted by an Imax run that included some extra post-credits footage, the 10th weekend of BARBIE (Warners) was down a mere 16% to $3.7M.  It may reach $640M before it’s done, but it’s unlikely to catch the next film on the all-time US box office list, Jurassic World‘s $653.4M.  The international total is $797M.

MY BIG FAT GREEK WEDDING 3 (Focus/Universal) dropped 37% to $3M in its 3rd weekend, and might reach $35M in the US.  That would be down 41% from 2016’s Greek Wedding 2.  The new installment has only $6.1M overseas to date.

BLUE BEETLE (DC/Warners), which is due to hit VOD this week, lost 28% to $1.8M in its 6th weekend, and might stretch to $75M in the US.  It also has $53.1M overseas.  This isn’t enough to avoid red ink on $175M in production/marketing costs.

OPPENHEIMER (Universal) continued to hold well, down 22% to $1.6M in its 10th weekend as it headed toward $325M in the US.  The remarkable overseas total is $604.8M.

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM (Nickelodeon/Paramount, also on Paramount+) declined 19% to $1.6M in its 8th weekend, and should pass $120M in the US.  However, the appeal wasn’t as high overseas, where the total is $56.4M.

GRAND TURISMO (Columbia/Sony) was down 36% to $1.5M in its 5th weekend, and is unlikely to reach $50M in the US.  It has $68.7M overseas, but that probably isn’t enough for breakeven on around $130M in costs.

LIMITED RELEASE:  The Christian-aimed I CAN (Kappa) opened with a dim $1100 weekend per-theater average at 135.  AMERIKATSKI (Variance) expanded to 39 with a $2100 average.  THE ORIGIN OF EVIL (IFC) averaged just $200 at 206.  MY SAILOR, MY LOVE (Music Box) averaged $800 at 35.

NEXT WEEKEND:  THE CREATOR (20th/Disney) is a rare big-budget sci-fi effort without any underlying IP.  It will have to face off with SAW X (Lionsgate), while PAW PATROL: THE MIGHTY MOVIE (Nickelodeon/Paramount) will target families.


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."