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US/Worldwide Weekend Box Office Report – 12.27.2020

  OPENINGS:  WW84 (DC/Warners)–that’s the official title per the credits–had the biggest US opening of the pandemic era with $16.7M (a $7800 per-theatre average), much higher than the $9.7M for The Crood...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 5.14.2023

  OPENINGS:  Despite a launch scheduled around Mother’s Day, BOOK CLUB: THE NEXT CHAPTER (Focus/Universal) had a soft start with $6.5M.  That’s less than half the $13.6M for the first Book Club in 2018, and a...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 10.31.2021

  OPENINGS:  Taking the spotlight from higher-profile arrivals, the anime title MY HERO ACADEMIA: WORLD HEROES’ MISSION (Funimation) was the weekend’s highest-grossing newcomer with $6.4M, better than the $5.9...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 11.26.2023

  OPENINGS:  NAPOLEON (Apple/Sony) launched at the higher end of expectations, with $20.4M over the 3-day weekend and $32.5M for the 5-day holiday.  As with Apple’s Killers of the Flower Moon, however, that leaves ...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 7.28.2024

  OPENINGS:  DEADPOOL AND WOLVERINE (Marvel/Disney) landed at the top of sky-high expectations with $205M in the US and $233.3M overseas, the best US (and MCU) start since Spider-Man: No Way Home in 2021, the best worldwi...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 2.26.2023

  OPENINGS:  The surprise isn’t so much that COCAINE BEAR (Universal) “overdelivered,” but that expectations were so low for a picture that had been the subject of pop culture fascination for months.  T...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 8.27.2017

  OPENINGS:  LEAP (Weinstein) was the weekend’s tallest dwarf, claiming to have cleared $5M for the weekend, but that number will require an extremely strong Sunday hold.  Even if it’s sustained in tomorrow&#...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 12.1.2024

  OPENINGS:  It was the Thanksgiving holiday of Hollywood’s dreams, spearheaded by the record-breaking performance of MOANA 2 (Disney), which shoveled in $221M during the Wed-Sun period and $135.5M for the weekend i...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 10/9/16

  OPENINGS:  THE GIRL ON THE TRAIN (DreamWorks/Reliance/Universal) didn’t have much of a Saturday bump, rising just 2% (that compares to 15% for the 2d day of Gone Girl), suggesting that word of mouth is less than s...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 2.3.2019

  OPENINGS:  It’s possible to make money on Super Bowl weekend, as hits like Dear John ($30.5M), Taken ($24.7M) and Chronicle ($22M) have shown.  But MISS BALA (Columbia/Sony) didn’t have what it takes, with ...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 1.14.2018

  OPENINGS:  THE POST (DreamWorks/Reliance/Participant/20th) expanded to wide release with $18.6M over 3 days (which should become $22M with Monday).  That’s a bit better than the $15.4M 3-day start for Steven Spie...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 11.5.2016

  OPENINGS:  THOR: RAGNAROK (Marvel/Disney) exceeded high expectations, which is no mean feat for a Marvel blockbuster.  In the US, its weekend was $121M, 42% ahead of both Thor: The Dark World and last November’s ...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 11.21.2021

  OPENINGS:  GHOSTBUSTERS: AFTERLIFE (Columbia/Sony) opened with $44M, which was $2M below the launch of the 2016 Ghostbusters, a result treated as such a disaster that the franchise had to be re-rebooted.  Afterlife, th...
by Mitch Salem
 
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Inside the US/Worldwide Weekend Box Office – 4/10/16

  OPENINGS:  On such a razor-thin margin, the standings could change tomorrow with final numbers, but for now, THE BOSS (Universal) has the weekend edge with $23.48M, barely a nose ($45K) ahead of those creaky superheroes...
by Mitch Salem
 
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Behind the US/Worldwide Weekend Box Office – 7.9.2023

  OPENINGS:  INSIDIOUS: THE RED DOOR (Screen Gems/Sony) reaffirmed the strength of the low-budget horror genre with a $32.7M start, better than the $29.6M launch of 2018’s The Last Key (which didn’t feature th...
by Mitch Salem
 
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