OPENINGS: In some ways, the most important number of the weekend was the $71.6M that MAN OF STEEL (Warners) earned outside the US and Canada. Although it’s lower than the $113.1M domestic weekend ($125.1 with Thursday Wal-Mart screenings included), it included less than half the world, only 24 territories, giving the new Superman a flying start internationally, which was no sure thing. Obviously, the film needs to stand up beyond its opening 3-4 days, and next weekend, when it adds most of the remaining world, will be critical, but it appears to be strong enough to take over for Batman as a reigning DC Comics franchise.
As planned, THIS IS THE END (Sony) counterprogrammed Man of Steel for those who preferred an R-rated comedy this weekend. The $20.5M weekend (on top of $12.3M on Wed-Thurs) sets the modestly-budgeted production up for profit, with no direct competition for 2 weeks.
It may have been a miscalculation to propel BEFORE MIDNIGHT (Sony Pictures Classics) into a 897-theatre release. Sony Classics was trying to relive the trajectory of its smash hit Midnight In Paris 2 Junes ago, but this Midnight just doesn’t have the broad appeal that one did, and it had a wan $1700 per-theatre average (compared to $6200 for Midnight In Paris when it went to 944 theatres).
HOLDOVERS: Thanks to Fathers Day, the numbers aren’t as bad as they’d otherwise be, but they’re still largely unimpressive. THE PURGE (Universal) plummeted 75% from last weekend to $8.2M, and THE INTERNSHIP (20th) wasn’t far behind with a 60% drop to $7M. Purge, of course, will still make plenty of profit due to its microscopic cost, which doesn’t apply to Internship. NOW YOU SEE ME (Summit/Lionsgate) had the best hold of the longer runs, with a 46% slip to $10.3M (and $80M already alongside the rabbit in its hat), while EPIC (20th) and IRON MAN 3 (Disney) were down 50% on the tail end of their widely varying runs, the underperforming cartoon at $95.4M in the US ($212.7M worldwide), and the superhero at $399.6M ($1.2B worldwide). THE GREAT GATSBY (Warners) is just about out of steam, with $1.6M this weekend in the US, $139.9M total, and $300.2M worldwide, admirable numbers for such a weird project. AFTER EARTH (Sony) is looking as disastrous overseas as it’s been here, with $54.2M in the US after a $3.8M weekend, and only $102.8M worldwide.
A couple of international milestones: with $417.3M overseas, FAST & FURIOUS 6 (Universal) has hit $636.9M worldwide, making it the highest-grossing entry in its franchise. STAR TREK INTO DARKNESS (Paramount) isn’t all the studio may have hoped in the US, running about $13M behind 2009’s Star Trek despite the addition of 3D/Imax ticket prices, but it’s hit $207.1M overseas, a hefty $73.7M above Star Trek.
LIMITED RELEASE: THE BLING RING (A24) behaved more like a teen movie than an art-house release, easily the weekend’s big limited opening but earning less than 3x its Friday number over the full weekend, ending up with a $42K per-theatre average at 5 NY/LA theatres. THE EAST (Fox Searchlight) more than doubled its run to 115 theatres, and had an OK $2500 average, while THE KINGS OF SUMMER (CBS) was somewhat less impressive, expanding to 63 theatres with a $2300 average. Widening to 23 theatres, MUCH ADO ABOUT NOTHING (Lionsgate) was still down for the weekend, with a $7100 average. FILL THE VOID (Sony Pictures Classics) added 5 theatres for 18 in total, with a $4800 average. MUD (Roadside Attractions) and FRANCES HA (IFC) both lost theatres and momentum, with respective averages of $1200 at 405 and $1500 at 213.
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