The Predator brought one of cinema’s most iconic villains back to the big screen this weekend and topped the domestic box office, bringing in an estimated $24 million over its opening frame. That knocked last weekend’s big winner The Nun to second place, while fellow newcomer A Simple Favor enjoyed a better-than-anticipated debut and White Boy Rick opened about in line with expectations.

Directed by Shane Black, The Predator fell a bit below expectations this weekend, even falling short of the $24.7 million opening of 2010’s Predators. This is especially striking given that the latter film debuted on 1,300 fewer screens (2,669 vs. 4,037), which suggests audiences simply weren’t excited about the latest reboot of the long-running series. It didn’t help that The Predator performed poorly with critics (its Rotten Tomatoes score currently sits at a weak 34%), while its “C+” Cinemascore suggests poor word-of-mouth may have been a factor here. Indeed, the film was certainly frontloaded, declining 18 percent from Friday to Saturday ($10.4 million to $8.5 million). It’s also worth noting that recent controversy around cast member Steven Wilder Striegel could have impacted the film’s opening weekend grosses.

With a reported production budget of $88 million, The Predator will need to post strong holds over the coming weeks and/or perform robustly overseas. While the former seems unlikely (Predators plummeted over 70% in its sophomore frame), the films have traditionally performed moderately well in international markets (see below). Nonetheless, this is clearly a disappointing domestic opening for what had been seen as the kickoff to a new string of Predator films.

Dropping to second place this weekend is Universal’s horror hit The Nun, which took in $18.2 million in its sophomore frame. That’s a steep 66 percent drop from last weekend, when the film grossed a higher-than-expected $53.8 million, and the sharpest second-weekend drop in the Conjuring franchise yet. Moviegoers were generally less keen on The Nun than previous films in the series, with opening-day audiences giving it a franchise-low “C” Cinemascore. Nonetheless, its ten-day total stands at a strong $85 million, and it will easily top $100 million by the end of its run, becoming the fourth film in the franchise to do so.

Third place went to freshman release A Simple Favor, the dark comedy starring Anna Kendrick and Blake Lively that benefitted from strong reviews (it’s “Certified Fresh” at Rotten Tomatoes with a score of 82%), the starpower of its two leads, and a savvy social media-driven marketing campaign that saw Lively delete her Instagram account for 24 hours. The Lionsgate title performed a bit better than forecasts had predicted with an opening frame of $16 million, which is about in line with this year’s Jennifer Lawrence thriller Red Sparrow ($16.8 million opening) and 21 percent higher than the 2015 Lively vehicle The Age of Adaline ($13.2 million).

Reviews certainly helped A Simple Favor‘s performance this weekend, but so did word-of-mouth. Opening day audiences awarded the film a very good “B+” Cinemascore, which is the same as two previous hits from director Paul Feig, 2011’s leggy Bridesmaids and 2015’s Spy. While A Simple Favor is a smaller-scale release and almost certainly won’t approach the $100 million-plus gross of either of those films, it’s still an impressive start for the film, which comes with a reported production budget of $20 million. The audience for this one was heavily female at 67 percent.

Debuting in fourth place is White Boy Rick, which tells the story of drug kingpin Richard Wershe Jr., who in the 1980s became the youngest FBI informant ever at the age of 14. The Sony/Studio 8 release performed about in line with expectations with $8.8 million, which is slightly higher than the $8 million debut of the similarly-themed Snowden. The Rotten Tomatoes score for the film is 64 percent, while opening day audiences gave it a “B” Cinemascore.

Three-time champ Crazy Rich Asians dropped to fifth place in its fifth frame, grossing an estimated $8.7 million and bringing its total to an incredible $149.5 million. That easily puts the breakout hit in the Top 10 highest grossing romantic comedies of all time.

Sixth place went to Peppermint, the Jennifer Garner revenge thriller that debuted to $13.4 million last weekend. This weekend the STX release brought in $6 million, representing a drop of about 54 percent. That’s about in line with this year’s similar Death Wish, which dipped roughly 49 percent in its sophomore frame and finished its domestic run with $34 million in the bank. We’re expecting a similar final result for Peppermint, which now has $24.2 million after ten days of release.

In seventh, shark thriller The Meg brought in an estimated $3.8 million, giving the Warner Bros. surprise hit $137 million so far. Eighth place went to Sony/Screen Gems’ Searching, which eased just 28 percent to $3.2 million. The critically-acclaimed John Cho thriller now has $19.6 million to date.

Opening way down in ninth place is Unbroken: Path to Redemption, which debuted to a rather weak $2.35 million in 1,620 locations. The semi-sequel to Angelina Jolie’s Unbroken suffered a similar fate as other recent faith-based films like God Bless the Broken Road and God’s Not Dead: A Light in Darkness, neither of which was able to break through with audiences. Like those titles, Path to Redemption is looking at a short theatrical shelf life.

Rounding out the Top 10 is Mission: Impossible – Fallout with an estimated $2.3 million in its eighth weekend of release. With $216.1 million so far, Fallout is now officially the highest-grossing M:I film domestically not adjusting for inflation, topping the $215.4 million brought in by Mission: Impossible II in 2000.

Overseas Update:

The Predator opened to an estimated $30.7 million in 72 international markets, giving the sci-fi/action reboot a worldwide debut of $54.7 million.

This weekend Disney officially posted their second-biggest year of all time worldwide, topping 2017’s $6.458 billion global total thanks to massive hits like Black Panther ($1.34 billion), Avengers: Infinity War ($2.04 billion), and Incredibles 2 ($1.18 billion). The studio’s biggest year remains 2016, when its films grossed a collective $7.6 billion worldwide. The studio still has a number of high-profile releases in the pipeline this year, including The Nutcracker and the Four Realms, Ralph Breaks the Internet: Wreck-It Ralph 2, and Mary Poppins Returns.

The Nun brought in an estimated $33.1 million in 62 international markets, giving it an international total of $143.6 million and a global cume of $228.7 million.

With another $3.3 million worldwide this weekend, Sony’s Hotel Transylvania 3: Summer Vacation topped $500 million at the global box office. The threequel is the highest-grossing entry in the franchise worldwide, topping Hotel Transylvania 2‘s $474.8 million total.

Studio Weekend Estimates (Domestic)FRI, SEP. 14 – SUN, SEP. 16

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Saturday Update: Jack Black’s string of family-driven successes continues this weekend as Universal’s The House With A Clock In Its Walls delivered upon expectations with a solid $7.82 million opening in first place on Friday, including Thursday evening’s take.

Co-starring Cate Blanchett and representing a notable genre shift for director Eli Roth, House With A Clock earned a strong 9.3x multiple from its $840K Thursday night gross — well exceeding the 7.85x of A Wrinkle In Time and 7.53x of Miss Peregrine. The studio is projecting a $24.25 million weekend, but should those comparison models hold up, we’re currently expecting a weekend closer to $25 million at the top of the box office.

Among the top holdovers are A Simple Favor, which eased 45 percent to $3.3 million on Friday as strong word of mouth propels it. The thriller/dark comedy has earned $25.5 million through eight days and is on course for a solid sophomore frame around $10.5 million with some potential upside.

Unfortunately, The Predator is on the opposite end of the spectrum as it slid 76 percent from opening day last week to $2.45 million yesterday. With $34.2 million earned in eight days domestically, Fox projects an $8 million second frame. Boxoffice is slightly more bullish on matinee expectations with an $8.5 million weekend estimate.

Meanwhile, Fahrenheit 11/9 ($1.055 million) and Life Itself ($760K) each debuted below already modest expectations. The former of the two is likely to be somewhat frontloaded by Michael Moore’s fan base, meaning the two could end up in a similar range when the weekend wraps up.

Friday estimates for Assassination Nation were not available at the time of publishing.

Our early weekend estimates are below, to be followed by studio estimates on Sunday.

Early Weekend Estimates (Domestic)
FRI, SEP. 21 – SUN, SEP. 23

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Friday Update: Universal reports this morning that The House With A Clock In Its Walls earned $840K from 2,700 locations on Thursday night, getting off to a positive start ahead of the weekend which is expected to be driven by families and young audiences. For comparison purposes, last night’s take came in:

• 30 percent behind Miss Peregrine’s Home for Peculiar Children ($1.2 million)
• 40 percent ahead of Goosebumps ($600K)

Meanwhile, Fahrenheit 11/9 reportedly earned $275K from last night’s opening shows. Comps are few and far between given the documentary genre and fervor of Michael Moore’s fan base.

Follow Boxoffice throughout the weekend for more updates.

The post Weekend Estimates: ‘The House With A Clock In Its Walls’ Ticks to the Sound of $24M+; ‘A Simple Favor’ ($10M+) Holds Well; ‘Fahrenheit 11/9’ & ‘Life Itself’ Underperform appeared first on BoxOffice Pro.

The House With a Clock in Its Walls spooked its way to the No. 1 spot on a relatively weak weekend at the domestic box office, bringing in an estimated $26.9 million on over 3,500 screens. Other new wide releases didn’t fare nearly as well, with Fahrenheit 11/9, Life Itself, and Assassination Nation all underperforming in the low single-digit millions.

Starring Jack Black and Cate Blanchett, The House With a Clock in Its Walls is the first PG-rated effort from director Eli Roth, who made his name on the grisly Hostel franchise over a decade ago. The leap into more kid-friendly territory paid off, as the adaptation of the 1973 John Bellairs/Edward Gorey novel scored a debut that actually improved on the opening of Black’s Goosebumps, which opened to $23.6 million back in 2015. That film powered its way to $80 million domestically, representing a solid 3.3x weekend-to-final multiplier. If House can boast the same kind of legs, the Universal/Amblin release (which comes with a reported $42 million price tag) should finish its North American run well over $80 million.

Black’s starring role in the film may have given House the extra edge that it needed this weekend. The actor’s recent track record in PG-rated fare has been stellar over the past several years, including not only Goosebumps and its forthcoming sequel but last year’s mega-hit follow-up Jumanji: Welcome to the Jungle, which took in over $400 million in North America. Reviews for House were mixed, though the film scored just on the right side of the Tomatometer with a 67% “Fresh” rating while it netted a good “B+” Cinemascore based on audience exit surveys. One potentially negative indicator for the film’s long-term playability is its Rotten Tomatoes Audience Score, which currently stands at a not-great 48% compared with Goosebumps‘ 62% rating. It may be more reasonable to predict weekend-to-weekend declines in line with the similar Miss Peregrine’s Home for Peculiar Children, which opened to $28.8 million in early fall 2016 and finished its run with $87.2 million, representing a weekend-to-final multiplier of 3.02x.

Rising one spot to second place in its sophomore frame is Lionsgate’s A Simple Favor, which took in an estimated $10.4 million this weekend for a total of $32.5 million thus far. The weekend gross represents a drop of just 35% from its $16 million opening, a terrific hold that allowed it to outgross last weekend’s No. 1 film The Predator despite playing on nearly 1,000 fewer screens. Unlike that title, the Paul Feig-directed comedy-mystery has benefitted from fantastic word-of-mouth and solid critical notices, indicating it will continue to boast sturdy legs in the weeks ahead.

Finishing just a hair lower in third place was Warner Bros.’ The Nun, which posted a strong hold with an estimated $10.2 million in its third weekend of release. The Conjuring spin-off’s total now stands at a sensational $100.8 million, and by next weekend it will easily top both Annabelle: Creation ($102 million total) and The Conjuring 2 ($102.4 million) to become the second highest-grossing entry in the franchise after 2013’s The Conjuring ($137.4 million).

Last weekend’s No. 1 film The Predator slipped a full three spots in its sophomore frame, plummeting to fourth place with an estimated $8.7 million. That represents a steep 64% drop for the sci-fi action reboot, which is at least better than the second weekend performance of 2010’s Predators, which suffered a precipitous 71% drop in its second weekend. The Predator‘s total now stands at $40.4 million after ten days.

Maintaining its fifth place standing this weekend is Crazy Rich Asians, which eased just 25% to an estimated $6.5 million in its sixth weekend of release. The total for the Warner Bros. release now stands at an incredible $159.4 million.

White Boy Rick came in sixth, dropping 43% to an estimated $5 million in its sophomore frame. That gives the Sony/Studio 8 release a total of $17.4 million after ten days.

Coming in seventh place was the Jennifer Garner revenge thriller Peppermint, which scored an estimated $3.7 million in its third weekend. The STX release now has a so-so $30.3 million total to date and is performing just about in line with the Death Wish remake released earlier this year.

Underperforming in eighth place was Fahrenheit 11/9, the latest Michael Moore documentary which brought in an estimated $3.1 million in its opening weekend. That’s roughly half of what some were predicting, and a far cry from the $23.9 million debut of the filmmaker’s 2004 polemic Fahrenheit 9/11, which remains the highest-grossing documentary of all time with a final tally of $119.1 million.

Debuting on 1,719 screens, 11/9 boasted the largest print count for one of Moore’s films since Fahrenheit 9/11, which opened on 2,011 screens and boasted a sizzling per-theater average of $9,438. Unfortunately, the debut release from upstart distributor Briarcliff Entertainment (the new company formed by former Open Road CEO Tom Ortenberg) simply lacked the buzz factor that attended Moore’s biggest hit, and as a result it came in with a comparatively minuscule per-screen average of $1,804.

Finishing in ninth was Warner Bros.’ The Meg, which took in an estimated $2.3 million in its seventh weekend. That brings the shark thriller’s total to $140.5 million in North America, while its worldwide cume recently blasted past the $500 million mark.

Rounding out the Top 10 is Sony’s Searching, which brought in $2.17 million in its fourth weekend of wide release and its fifth weekend overall. The John Cho thriller now has $23.1 million to date.

Debuting outside the Top 10 was Life Itself, the second feature directorial effort from This Is Us creator Dan Fogelman. The character-driven drama underperformed with an estimated $2.10 million opening in tenth place, despite boasting Amazon Studios’ widest release to date with a screen count of 2,609. That gave the critically-brutalized film a per-screen average of just $807, which is one of the lowest ever for a film opening on over 2,500 screens. It’s worth noting that audiences liked it much better, as it has a “B+” Cinemascore and an Audience Score of 78% on Rotten Tomatoes. Nonetheless, this is a pretty dismal start for such a wide release.

Also opening outside the Top 10 was Assassination Nation, which brought in an estimated $1.02 million on 1,403 screens. That represents a per-screen average of just $733 for the Neon release, which arrived to mixed reviews and little buzz.

Limited Release:

Bleecker Street’s Colette posted a fantastic start in its limited opening weekend, bringing in an estimated $156,788 in just four theaters. That gives the acclaimed Keira Knightley drama a great per-screen average of $39,197, higher than any other film this weekend.

Annapurna’s The Sisters Brothers also posted a solid debut this weekend, bringing in an estimated $122,028 on just four screens for a per-screen average of $30,507. The Joaquin Phoenix-John C. Reilly western was boosted by strong reviews (82% on Rotten Tomatoes) and will expand wider in the coming weeks.

Overseas Update:

The Nun continued to post strong numbers overseas, bringing in $35.4 million this weekend in 80 international markets. That gives it an international total of $191.7 million and a global cume of $292.6 million. At this pace, it will easily top The Conjuring 2‘s $320.2 million total to become the highest-grossing title in the franchise worldwide.

The Predator brought in $15.3 million in its second weekend of international release, bringing its overseas cume to $54.5 million.

Continuing its rollout in international markets this weekend was the Rowan Atkinson spy comedy Johnny English Strikes Again, which brought in an estimated $17.2 million in 33 territories following its debut in Mexico and Malaysia a week prior. That gives the sequel a total of $22.1 million so far. The Universal release is set to expand to a number of territories next weekend before premiering in the U.K. on October 5.

Studio Weekend Estimates (Domestic)FRI, SEP. 21 – SUN, SEP. 23

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Saturday Update: Universal reports that Night School posted an opening day of $9.5 million on Friday. That’s in line with the $9.5 million first day of Boo! A Madea Halloween two autumns ago, while registering 26 percent below the $12.9 million opening day of Get Hard back in March 2015. The Hart/Haddish comedy is performing closer to the lower end of expectations at the moment as the studio projects a weekend around $26.4 million.

Smallfoot posted $6.5 million for its first day in release, 12 and 13 percent ahead of The LEGO Ninjago Movie ($5.8 million) and Storks ($5.7 million), respectively. Initial weekend projections stand around $23 million, generally in line with pre-release tracking.

The House With A Clock In Its Walls slid 60 percent from opening day last week due to direct competition from the new WB animation opener, claiming $6.5 million yesterday. With $35.3 million earned through eight days, the film still has room to stabilize as it enters the kid-friendly Halloween corridor of October. Boxoffice projects a $12.5 million sophomore frame.

Rounding out the openers this weekend, Hell Fest pulled $2.0 million on Friday. The studio projects a $4.8 million weekend, while Boxoffice is slightly more bullish at $5.0 million. Meanwhile, Pinnacle Peak’s Little Women remake took in $350,000 from 643 locations on opening day as it eyes a weekend around $1 million+.

This weekend’s early estimates are below. Updated studio estimates to follow on Sunday.

Early Weekend Estimates (Domestic)
FRI, SEP. 28 – SUN, SEP. 30

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Friday Update: Universal’s Night School reported in with a $1.35 million start last night, a very encouraging start to the weekend for the Kevin Hart/Tiffany Haddish-led comedy. Shows began at 7pm in an estimated 2,500 locations. Last night’s earnings compare like this:

• 78 percent ahead of Boo 2! A Madea Halloween ($760K)
• 21 percent behind Girls Trip ($1.7 million)
• 25 percent behind Get Hard ($1.8 million)

Also displaying a healthy start, Warner Bros.’ Smallfoot took in $850K from 3,100+ locations yesterday. Shows began at 4pm, getting a leg up on weekend business that will skew Friday/weekend projections for now, but the animated pic came in 93 percent ahead of Storks‘ $440K Thursday start two Septembers ago.

Meanwhile, Hell Fest scored an estimated $435K last night, coming in 29 percent behind Winchester ($615K) and 40 percent ahead of The Belko Experiment ($310K).

More updates to follow throughout the weekend.

The post Weekend Estimates: ‘Night School’ In Session at $26M+; ‘Smallfoot’ Captures $23M+; ‘House With A Clock’ Adds $12M+; ‘Hell Fest’ Scares Up $4.8M+ appeared first on BoxOffice Pro.

The one-two punch of Night School and Smallfoot this weekend helped September 2018 close out to a near-record high  (second only to last year), with the new releases bringing in an estimated $28 million and $23 million, respectively. Further down the chart, the amusement park-themed slasher movie Hell Fest enjoyed a decent opening while the latest cinematic adaptation of Little Women debuted outside the Top 10.

Night School easily won the crown at the North American box office this weekend thanks to its pairing of two of comedy’s biggest stars, Tiffany Haddish and Kevin Hart. The duo’s combined A-list wattage was enough to overcome negative reviews (it has a Rotten Tomatoes score of just 30%), allowing it to fall roughly in line with the opening of Hart’s Think Like a Man Too, which debuted to $29.2 million back in 2014. The Universal release is yet another box office feather in the cap for Hart, one of the most consistent performers in Hollywood whose live-action starring vehicles consistently debut north of $20 million, and even more of which (Central Intelligence, Get Hard, Ride Along 1 and 2, Jumanji: Welcome to the Jungle) manage $30 million or more in their opening weekends.

For Haddish, who has a much less extensive filmography than Hart up to this point, the film came in lower than her starmaking 2017 release Girls Trip ($31.2 million), though that film also fared much better with critics. Still, Night School boasts a healthy “A-” Cinemascore from opening day audiences, and with a reported production budget of $29 million, this is another clear success for both stars as well as super-producer Will Packer, whose filmography includes Girls Trip, both Ride Along films, and this year’s hit Gabrielle Union thriller Breaking In. It’s also worth noting that Night School now boasts the highest opening weekend of any comedy in 2018, which has been a rough year for the genre overall.

Coming in second was the animated comedy Smallfoot, whose $23 million opening compares favorably with 2016’s Storks ($21.3 million) and last year’s The LEGO Ninjago Movie ($20.4 million), both of which also came also from Warner Bros. Animation. Produced on a reported budget of $80 million, the film garnered mixed reviews (its Rotten Tomatoes score is on the lower end of “Fresh” at 69%), though audiences expectedly liked it much better (its Cinemascore is an “A-” from the generally more forgiving family audience).

The real test for Smallfoot will come in subsequent weeks, though the release calendar looks somewhat favorable, with a fall season relatively light on family entertainment aside from Goosebumps 2 (October 12) and Disney’s The Nutcracker and the Four Realms (November 2). As for animated movies, there’s nothing on the horizon until Universal’s The Grinch, which drops November 9. If it performs similarly to Storks, whose weekend-to-final multiplier of 3.4x gave it a final gross of $72.6 million, it would finish somewhere in the neighborhood of $70-$80 million by the end of its run.

Dipping to third place in its sophomore frame was last weekend’s No. 1 film The House With a Clock in Its Walls, which appears to have taken a hit from the release of Smallfoot. Dropping 53 percent to an estimated $12.5 million this weekend, the Universal release now stands at a good $44.7 million after ten days, putting it slightly ahead of Jack Black’s Goosebumps at the same point. That said, the film will have to hold up much better in the coming weeks if it’s to keep pace with that title.

Fourth went to Warner Bros.’ sleeper hit A Simple Favor, which enjoyed another good hold, easing just 35 percent in its third weekend of release with an estimated $6.6 million. The Anna Kendrick-Blake Lively mystery now has a solid $43 million in the bank, and it looks primed to continue its strong performance as we move into October.

In fifth, The Nun brought in an estimated $5.4 million in its fourth weekend, giving the Warner Bros. horror spinoff an excellent $109 million so far. It’s currently the second highest-grossing entry in the Conjuring franchise in North America, second only to the first Conjuring which ended its run with $137.4 million in 2013.

One of the weekend’s other new wide releases, the Lionsgate horror flick Hell Fest, debuted in sixth place with an estimated $5 million in 2,297 locations. That’s a good result for the low-budget film, which comes with a reported price tag of $5.5 million. The opening is higher than July’s similar Unfriended: Dark Web (though that film played on over 700 fewer screens) but weaker than the opening of last month’s Slender Man, which debuted to $11.3 million in about the same number of locations. All in all, it’s a good-enough result for the R-rated effort.

Seventh place went to the ultra-leggy rom com Crazy Rich Asians, which added an estimated $4.1 million in its seventh weekend of release. The Warner Bros. title now stands at a remarkable $165.6 million since opening in early August.

Rounding out the Top 10, The Predator dropped to eighth place in its third weekend with $3.7 million, giving the Fox reboot a disappointing $47.6 million so far. Ninth went to White Boy Rick with an estimated $2.3 million, giving it $21.7 million after three weeks of release, while in tenth Peppermint grossed an estimated $1.7 million in its fourth weekend. The Jennifer Garner revenge thriller now has $33.5 million in the bank.

Finally, Pinnacle Peak’s Little Women – a modern-day retelling of the famed Louisa May Alcott novel – couldn’t manage a Top 10 placement in its opening weekend, bringing in an estimated $747K on 643 screens.

Limited Release:

Acclaimed Robert Redford crime comedy The Old Man and the Gun debuted well in limited release, bringing in an estimated $150,000 on just five screens. That was good for a per-screen average of $30,000 as it eyes an expansion in the coming weeks.

Last weekend’s successful limited openers Colette and The Sisters Brothers expanded to 38 and 27 theaters respectively, bringing in an estimated $418K and $244K. Colette now has a total of $638K while The Sisters Brothers has $404K.

Overseas Update:

Night School managed a hefty debut internationally as well, bringing in an estimated $33.5 million in 19 markets. That brings its worldwide opening weekend total to a fantastic $61.5 million.

Smallfoot brought in an estimated $14 million in 49 international markets, giving it a global opening haul of $37 million.

The Nun surpassed The Conjuring 2‘s global gross this weekend to become the highest-grossing release in the Conjuring franchise worldwide, adding another $16.2 million overseas. Its international total now stands at a fantastic $33o million.

Disney’s Incredibles 2 passed the $1.2 billion mark worldwide in its sixteenth weekend of release, making it only the second animated film to do so after 2013’s Frozen. It’s now the seventeenth highest-grossing film of all time globally.

Sunday’s Studio Weekend Estimates (Domestic)

FRI, SEP. 28 – SUN, SEP. 30

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Saturday Update: Sony’s Venom scored an excellent $32.75 million opening day on Friday, with Thursday figures included, setting it on a course to topple Gravity‘s standing $55.8 million October weekend record. The studio is now projecting a $70.5 million three-day haul, although our estimates stand a little more bullish at $75 million — with potential for a bit more.

For comparison purposes, Venom‘s opening came in 3 percent behind Ant-Man and the Wasp ($33.73 million), 1 percent behind Logan ($33.0 million), and 24.5 percent ahead of X-Men: Apocalypse ($26.3 million).

Despite sour reviews from critics and months of lukewarm sentiment scores across social media, early word of mouth for the film itself is leaning more positive than expected with an 89 percent Flixster score and “B+” CinemaScore. Projections could still sway one way or the other as reception beyond the core fan base won’t be accurately measured until after the initial 24-hour rush, but Venom‘s results so far are definitely on the higher end of expectations and will pave the way for a successful financial run.

Further living up to the promise of a big double billing this weekend, A Star Is Born bowed to a stellar $15.8 million opening day with $3.2 million from Thursday grosses included — but excluding $1.35 million from Tuesday/Wednesday pre-screening figures. That gives the film a $17.15 million running total thus far. Boxoffice’s current projection holds to our previous forecasts of around $44 million for the weekend, although the film’s older skewing (86 percent 25+ / 68% 35+ / 42% 50+), female-driven (66 percent women) audience — combined with ecstatic reviews and word of mouth (85 percent Flixster, “A” CinemaScore) — could translate to unique holding patterns in the days and weeks ahead.

Comp-wise, Star came in 10.5 percent ahead of Mamma Mia! Here We Go Again ($14.3 million), 2 percent ahead of Ocean’s 8 ($15.5 million), and 20 percent ahead of Gone Girl ($13.2 million) on opening day.

Early weekend estimates are below. Updated studio estimates to follow on Sunday.

Early Weekend Estimates (Domestic)
FRI, OCT. 5 – SUN, OCT. 7

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Friday Update: Sony reports that Venom scored a strong $10 million haul to begin the weekend on Thursday night, setting a new October preview gross record as it surpassed Kingsman: The Golden Circle‘s previous $3.4 million benchmark.

Within the realm of comic book adaptations, Venom came in 13 percent behind Ant-Man and the Wasp ($11.5 million), 5 percent ahead of Logan ($9.5 million), and 22 percent ahead of X-Men: Apocalypse ($8.2 million).

Although the studio is holding to its $55 million weekend projection this morning, comparisons to past titles won’t be particularly reliable since Venom began screenings at 5pm instead of the usual 7pm window, making extrapolations volatile until there’s an idea of Friday proper business. Still, Gravity‘s $55.8 million October record is highly likely to be surpassed.

A Star Is Born got off to a strong start of its own with $4.55 million leading into Friday, $1.35 million of which came from special fan event screenings on Tuesday and Wednesday. Warner Bros. is comparing the take to films like Mamma Mia! Here We Go Again ($3.4 million), Kingsman: The Golden Circle ($3.4 million), The Martian ($2.5 million), and Gone Girl ($1.2 million) — but again, projections are unreliable at this stage given the unique structure of screenings throughout the week and the level of new release competition in the market.

Follow Boxoffice throughout the weekend for further updates.

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Venom and A Star Is Born both burned bright at the box office this weekend, sending the charts to an all-time October weekend record with spectacular debuts of $80 million and $42.6 million, respectively. Additionally, the former title easily surpassed Gravity‘s $55.7 million debut to set a new record for a film opening in October.

Starring Tom Hardy as an investigative journalist taken over by a vicious alien symbiote, Venom far exceeded expectations, as some had even questioned its ability to overtake Gravity for the October record going into the weekend. But all doubts were quelled when the Sony release blasted its way to a terrific $32.75 million opening on Friday, just shy of the opening day grosses of both Ant-Man and the Wasp ($33.72 million) and Logan ($33 million).

While critics were generally unkind to Venom (it has a 32% at Rotten Tomatoes), the Marvel character’s core fanbase clearly could not be dissuaded. And according to audience surveys, moviegoers were generally happy with the film, as it netted a “B+” Cinemascore and an 89 percent Audience Score on Rotten Tomatoes. That said, it’s entirely possible Venom will prove to be a frontloaded affair, much like the similarly dark-hued comic book movie Suicide Squad. That film was also lambasted by critics (it had a 28% rating on Rotten Tomatoes) and boasted an identical “B+” Cinemascore, and it fell hard in its sophomore frame, dropping a sizable 67.4% (though it held considerably better in subsequent weekends). It finished its North American run with $325.1 million after debuting to a massive $133.6 million, giving it a weekend-t0-final multiplier of 2.4x. If Venom performs similarly, it could be looking at a final gross somewhere in the range of $190-$200 million.

Coming in a very impressive second was Warner Bros.’ A Star Is Born, which brought in $42.6 million (including $1.35 million from special fan previews on Tuesday and Wednesday) on 3,686 screens. The Lady Gaga-Bradley Cooper romance, which has been riding a wave of buzz since premiering at the Venice and Toronto Film Festivals, served up a strong counter-programming choice for audiences not predisposed to gobbling up the latest superhero release. Its Rotten Tomatoes score of 90% and a strong marketing push by the studio (the film’s trailer recall has been strong over the last several weeks, consistently beating out Venom) have been key in getting audiences excited for the film, which also benefitted from Lady Gaga’s massive pre-existing fanbase. The audience for the film skewed largely female (66% to 34% male), while 68% of the audience was over the age of 35.

A Star Is Born has all the makings of a leggy late-year hit in the vein of recent releases like La La Land and The Greatest Showman, which finished their runs with $151.1 million and $174.3 million, respectively. While those titles aren’t a perfect comparison – neither grossed more than $20 million on a single weekend, for instance – one could reasonably expect A Star Is Born to finish in the same ballpark and perhaps even higher, assuming it holds up well in the weeks ahead. And given its “A” Cinemascore and the studio’s sure-to-be no-holds-barred awards season push, we have no reason to believe that it won’t.

As for last weekend’s top two titles, Smallfoot beat out Night School for third place with an estimated $14.9 million, giving the Warner Bros. release a good $42.7 million after ten days. That represents a 35 percent drop and puts it about 10 percent of Storks and 18 percent ahead of the LEGO Ninjago Movie at the same point. Next week brings some competition in the form of Goosebumps 2: Haunted Halloween, though no major animated titles are set to hit theaters until Dr. Suess’ The Grinch on November 9, so it still has a pretty good window in the coming weeks.

In fourth place was last weekend’s No. 1 Night School, which dipped 55 percent to an estimated $12.2 million in its sophomore frame. With $46.7 million after ten days of release, the Tiffany Haddish-Kevin Hart comedy is pacing just behind Hart’s 2014 sequel Think Like a Man Too, which brought in just over $48 million by the end of its second weekend. While Night School‘s gross so far falls on the lower end of the spectrum for a typical Hart comedy, it’s nonetheless a solid total and another ace in the hole for Hart, Haddish, Girls Trip director Malcolm D. Lee and the film’s hit-minting producer Will Packer.

Another former champ, Universal’s The House With a Clock in Its Walls, took fifth place with an estimated $7.3 million in its third weekend. That gives the Jack Black fantasy a total of $55.1 million after 17 days, putting it roughly 3 percent behind the pace of Black’s family-driven Goosebumps from 2015.

In sixth place was director Paul Feig’s A Simple Favor, which brought in an estimated $3.4 million in its fourth weekend. The Lionsgate sleeper now has $49 million in the bank.

Down in seventh, The Nun brought in an estimated $2.6 million for a total of $113.3 million so far, while Hell Fest brought in an estimated $2.07 million in eighth place. The total for the Lionsgate horror release now stands at an okay $8.8 million after ten days.

Rounding out the Top 10 were holdovers Crazy Rich Asians and The Predator, which brought in an estimated $2.06 million and $900K, respectively. The former title now has $169.1 million after eight weeks, while The Predator closed out its final weekend in the Top 10 with a disappointing $49.9 million cume.

Limited Release:

Fox Searchlight opened The Hate U Give on 36 screens and took in an estimated $500K, giving the critically-acclaimed drama a per-screen average of $13,889. The film, which stars Amandla Stenberg as a teenage girl grappling with the death of her best friend at the hands of a police officer, will open wider as we move into the fall.

Robert Redford crime comedy The Old Man & The Gun expanded to 49 screens and brought in an estimated $385K, giving the Fox Searchlight title a total of $575K after two weeks of limited release.

Bleecker Street’s Colette took in an estimated $458K in its expansion to 107 screens, enough for a per-screen average of $4,288 and a total of $1.23 million after three weeks.

Overseas Update:

Venom came out of the gate with an impressive $125.2 million in 58 markets, bringing its global debut total to a sizzling $205.2 million, a record for October. Key markets included South Korea ($15.7 million), Russia ($11.7 million), the U.K. ($9.3 million), and Mexico ($7.1 million). That’s all without China, where the film is slated to open at an as-yet-undetermined future date.

Sunday’s Studio Weekend Estimates (Domestic)

FRI, OCT. 5 – SUN, OCT. 7

The post Studio Weekend Estimates: ‘Venom’ Sets October Opening Record with $80M; ‘A Star is Born’ Rockets to $42.6M appeared first on BoxOffice Pro.

Saturday Update: Sony’s Venom held its ground on Friday, retaking first place after a brief concession on Thursday. The hit antihero comic pic added $9.785 million yesterday, bringing its eight-day domestic haul to $116.9 million. Projections for the weekend have swayed back in its favor with what is expected to be a sophomore frame around $32 million or slightly higher, withstanding its loss of IMAX screens in generally healthy fashion.

Its primary competition, A Star Is Born posted another excellent hold — easing just 46 percent from opening day last week to $8.5 million on Friday. The film continues its impressive run with an updated tally of $74.66 million through eight days. Current weekend projections now stand at $29.5 million as the hit remake remains in contention with Venom for the top spot but will likely take a few more days before it returns there.

First Man opened to $5.86 million on Friday, slightly below forecasts but generally in line with expectations. The strongly reviewed award season candidate was on par with the first days of Bridge of Spies ($5.4 million) and Argo ($5.9 million). Universal expects around $16.8 million for the weekend, while we’re a bit more optimistic about weekend holds.

Goosebumps: Haunted Halloween earned a healthy $4.85 million opening day, putting it on course for a debut in the mid-to-high teen millions (Sony expects $15.75 million). By comparison, the first Goosebumps pic earned $7.35 million on its first day.

Meanwhile, Bad Times at the El Royale earned $2.825 million to start its run yesterday, pacing for a weekend north of $7 million (Fox projects $7.8 million as of this morning). Opening day was comparable to mother!‘s $3.1 million start last fall.

Early weekend estimates are below with updated studio estimates to follow on Sunday.

Early Weekend Estimates (Domestic)
FRI, OCT. 12 – SUN, OCT. 14

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Friday Report: Universal’s First Man earned a solid $1.1 million from last night’s first shows beginning at 7pm in 2,850 locations. That comes in 28 percent ahead of Deepwater Horizon ($860K), 18 percent behind Sully ($1.35 million), and 120 percent ahead of Bridge of Spies ($500K). As a film likely to generate healthy walk-up business from an older audience, this start bodes well for an opening weekend on target with expectations in the high teen millions to low $20 million range.

Goosebumps: Haunted Halloween brought in $750K for Sony last night, 11 percent behind The House With A Clock In Its Walls ($840K) and 25 percent ahead of the first Goosebumps ($600K). As a sequel with shows beginning at 5pm, it could be more front-loaded than either of those comps, but this is a healthy start nonetheless.

Fox reports that Bad Times at the El Royale took in $575K last night. That figure comes in identical to White Boy Rick ($575K), 18 percent behind mother! ($700K), and 33 percent behind Crimson Peak ($860K).

Among holdovers, A Star Is Born added $4.515 million for another excellent drop of just 2 percent from Wednesday. With $66.16 million in the domestic bank thus far, the word-of-mouth phenom is building a strong case for a run toward the first place crown this weekend against Venom.

Follow us for continued updates.

The post Weekend Estimates: ‘Venom’ Stands Ground ($32M+); ‘A Star Is Born’ Holds Strong ($29M+); ‘First Man’ ($16.5M+) Leads ‘Goosebumps 2’ ($16M) & ‘Bad Times’ ($7.4M) appeared first on BoxOffice Pro.

Sunday Update:

Sony’s Venom won the box office weekend for a second frame with a confirmed $35.0M. Although it maintains its lead, it does so by a much narrower margin than its prior commanding victory. The film declined -56.4%, in line with Logan‘s second-weekend drop last year.

Narrowing the gap was Warner Bros.’ A Star Is Born, runner-up for a second straight frame with a confirmed $28.4M. The title declined -33.7%, a solid hold indicating positive word of mouth. Despite the most optimistic projections that it could snatch the weekend lead from Venom — bolstered by Star actually outperforming its competitor on Thursday — that failed to pass.

Universal’s First Man failed to quite blast off as hoped with a third place start of $16.0M. That was lower than pre-release projections, which had it in the $17M-$25M range.

Sony’s Goosebumps 2: Haunted Halloween took fourth place with a $15.8M debut. That was about in line with the pre-release expectation, which itself was below the opening of the original Goosebumps $23.6M opening on this same weekend in 2015.

Fox’s Bad Times at the El Royale started at the lowest end of pre-release expectations with a seventh place debut of $7.1M.

Comparisons

Total box office this weekend was $136.2M.

That’s -23.2% behind last weekend, but +35.6% ahead of this same weekend last year, when Happy Death Day led with $26.0M.

Year-to-date box office stands at $9.31B. That’s +10.2% ahead of this same date last year, up from +9.6% after last weekend.

Demographics

An analysis of audience demographics, using data courtesy of BoxofficeProfile by Vertigo, will be posted here soon.

Our full table of weekend actuals is below, followed by our Sunday update featuring fuller analysis.

Monday’s Weekend Actuals (Domestic)

FRI, OCT. 12 – SUN, OCT. 14

Monday Update:

At the box office this weekend, Venom took the crown once more with an estimated $35.7 million in its sophomore frame, narrowly beating out A Star is Born, which fell just shy of unseating the Sony superhero flick with an estimated $28 million. Meanwhile, three high-profile newcomers – First Man, Goosebumps 2: Haunted Halloween, and Bad Times at the El Royale – debuted to mixed results further down the chart in a weekend that suggests this October could be one for the record books.

Falling roughly 55 percent from its $80.2 million opening frame, Venom held far better than predicted, particularly given competition from a raft of newcomers including the similarly adult male-driven First Man and Bad Times at the El Royale. After ten days of release the Sony title now has a terrific $142.8 million in the bank, which goes to show how little fans paid attention to the film’s dismal 30% Rotten Tomatoes score. Looking at comps, the second-weekend drop is significantly better than that of the similarly-reviewed Suicide Squad, which tumbled 67.4% in its sophomore frame but rebounded a bit in subsequent weekends, ultimately ending its run with $325.1 million off a $133.6 million debut (for a weekend-to-final multiplier of 2.4x). If Venom can hold up hold up similarly well in subsequent weekends, it seems almost certain to cross the $200 million mark domestically by the end of its run. Notably, the film helped Sony hit the billion-dollar mark domestically this weekend, over two months ahead of last year.

Down in second is A Star Is Born, whose $28 million gross this weekend represents a fantastic drop of just 35 percent from its $42.9 million debut. That gives the Warner Bros. release a total of $94.1 million after ten days. With midweek business incredibly strong (on Thursday, the film actually bested Venom for the No. 1 spot), some had predicted a first place finish for the musical drama this weekend, and it would have gotten there had Venom been just a tad less resilient. Nonetheless, this is an incredibly good second weekend for the critically-acclaimed Lady Gaga-Bradley Cooper romance that portends a long and lucrative run well into the crowded fall season.

Third place went to the Damien Chazelle-directed Neil Armstrong biopic First Man, which brought in $16.5 million in its opening frame, including $3.7 million from 405 IMAX screens. Universal’s hoped-for awards season contender has been heavily promoted, and it scored an excellent 88% “Fresh” rating on Rotten Tomatoes while its “B+” Cinemascore suggests audiences like it well enough, too. Looking at similar titles, the film fell short of Argo‘s $19.4 million debut but opened higher than Bridge of Spies, which managed $15.3 million in its opening frame back in 2015 (albeit in about 800 fewer theaters). The opening gross is actually on the lower end of expectations for the Ryan Gosling drama, meaning it will live and die on its performance in subsequent weekends. Word-of-mouth will be crucial for the film, and with its A-list pedigree and solid critical notices it certainly has the potential to perform well in the weeks ahead, particularly given its place in the awards-season conversation.

Debuting in fourth was Goosebumps 2: Haunted Halloween, which grossed an estimated $16.2 million in its opening frame – a good bit off from the first film’s $23.6 million debut, but nonetheless a decent start for the $35 million production. Working against the film was a less-positive reception by critics than its predecessor (its Rotten Tomatoes score is just 43% vs. the first movie’s 77%) and what appears to be a muted reaction from fans; the film finished with a Cinemascore of “B” (soft for a family release) vs. the first movie’s “A.” It also may have taken a hit from the continued popularity of Smallfoot, not to mention similarities to The House With a Clock In Its Walls, which also stars Jack Black in a dark horror-fantasy aimed at families. Notably, Black has a much-reduced onscreen role in the sequel, which may also have disappointed fans who enjoyed him as R.L. Stine in the first installment. Still, this is a fairly healthy overall debut that fell just about in line with expectations going into the weekend.

(It’s worth noting that with only $300K separating them according to estimates, First Man could conceivably swap places with Goosebumps 2 once final tallies are reported.)

Finishing in fifth place was Smallfoot, which brought in an estimated $9.3 million in its third frame, representing a drop of just 32 percent from last weekend. With a total of $57.6 million to date, the Warner Bros. animated release is roughly 14 percent ahead of Storks at the same point and should easily surpass that film’s $72.6 million final tally by the end of its run.

In sixth place, the Tiffany Haddish-Kevin Hart comedy Night School held up well, dipping just 35 percent to an estimated $8 million in its third weekend in theaters. The film is likely getting something of a boost from a lack of comedies in the marketplace, as it’s the only adult-oriented comedy currently occupying space in the Top 10. The Universal release’s tally now stands at a solid $59.8 million after 17 days.

Debuting in seventh was Bad Times at the El Royale, the twisty period thriller with a star-studded cast that includes Jeff Bridges, Dakota Johnson, and Chris Hemsworth. The Fox release managed an estimated $7.2 million this weekend, a so-so result for the reported $32 million production. Looking at comparison titles, that’s better than the $3.2 million opening weekend performance of the similarly-marketed Hotel Artemis but a far cry from Baby Driver, another quirky crime thriller that debuted to $20.5 million last summer. While Bad Times was reasonably well-reviewed (71% on Rotten Tomatoes), the film fell victim to bad timing given the huge number of higher-profile fall titles currently in release, including such male-driven films as Venom and First Man. With a slew of major titles set to release over the next several weeks, long-term theatrical prospects aren’t looking great, though it’s the kind of film one could see performing well once it hits home-viewing formats.

Down in eighth place is holdover The House With a Clock in Its Walls, which took in an estimated $3.9 million in its fourth weekend for a total of $62.2 million to date. In ninth, Fox’s The Hate U Give enjoyed a successful expansion following its limited debut last weekend, grossing an estimated $1.76 million from just 248 screens. That gives the critically-acclaimed Amandla Stenberg drama a solid per-screen average of $7,117.

Rounding out the Top 10 is Lionsgate’s early-fall sleeper A Simple Favor, which brought in an estimated $1.38 million in its fifth weekend. The Anna Kendrick-Blake Lively title now has a solid total of $52 million to date.

Limited Release:

Amazon Studios’ Beautiful Boy enjoyed a fantastic debut his weekend, bringing in an estimated $221K from just four theaters. That gave the Steve Carell-Timothee Chalamet drama a sizzling per-screen average of $55K, which ranks as the fifth-highest of the year so far.

Expanding wider this weekend was Fox Searchlight’s The Old Man & The Gun, which took in an estimated $912K from 228 locations, enough for a per-screen average of $4,000. The Robert Redford title now stands at $1.69 million after three weeks of limited release.

Overseas Update:

Venom enjoyed another solid frame at the international box office, bringing in an estimated $69.7 million from 65 markets. In addition to solid holdovers in a number of territories, the film launched to an estimated $6.7 million in France, $3 million in Vietnam, and $2.2 million in Thailand. Its international total now stands at $235.3 million while its global cume is a stellar $378.1 million after just 12 days of release.

A Star Is Born opened in a number of major territories this weekend and brought in an estimated $20.2 million from 65 markets, including $3.8 million in the UK (2nd weekend), $2 million in Italy, $1.8 million in France (2nd weekend), and $1.4 million in Brazil. Its international tally now stands at $41.2 million.

Sunday’s Studio Weekend Estimates (Domestic)

FRI, OCT. 12 – SUN, OCT. 14

The post Weekend Actuals: ‘Venom’ ($35.0M) Tops ‘A Star Is Born’ ($28.4M) for No. 1; ‘First Man’ ($16.0M) Edges ‘Goosebumps 2’ ($15.8M) appeared first on BoxOffice Pro.

Saturday Update: Universal reports this morning that Halloween scored a massive $33.34 million opening day on Friday, setting a new October first day record that was just recently claimed by Venom two weeks ago with its $32.5 million start. The studio is projecting an $80.3 million weekend at this time, in line with our earlier report.

Digging in to the numbers, Halloween‘s record start is the second highest ever for an R-rated horror film — only trailing It‘s $50.4 million opening day last year. In its first day alone, this chapter already owns the highest opening weekend in franchise history (even after adjusting for inflation). It’s also surpassed the entire lifetime domestic grosses of six other films in the franchise.

Where it goes from here is a bit more a mystery. The series’ strong fan following could still result in a sharp enough Saturday decline to prevent an $80 million weekend, but its Thursday-to-Friday multiple of 4.33x is already indicative of positive early word of mouth and/or expansion beyond the core fans. By comparison, The Nun earned 4.09x, A Quiet Place earned 4.39x, and It earned 3.74x.

In other words, expecting the film to play out like those films over the weekend is more than reasonable, which means Venom‘s October weekend record of $80.255 million is definitely in play (per Universal’s official projection this morning). It wouldn’t be surprising to see the final result come in a few ticks higher *or* lower — but either way, this is an incredible performance for the franchise, the genre, and yet another contribution to a massive month at the box office.

Expanding wide this weekend, The Hate U Give posted $2.5 million on Friday — including $300,000 from 7pm shows at 1,600 locations during Thursday evening’s wide market expansion. Fox projects an $8.0 million weekend.

On the holdover front, A Star Is Born claimed second place with $5.7 million on Friday, down just 33 percent from last Friday and bringing its domestic cume to $112.8 million. Venom took third with $5.05 million and an updated tally of $158.5 million.

Last week’s top new release, First Man, added $2.5 million yesterday for an updated $23.9 million eight-day haul. Goosebumps 2 pulled another $2.535 million, giving it $21.6 million in the same time frame.

Early weekend estimates are in the chart below. Follow Boxoffice for continued updates this weekend.

Early Weekend Estimates (Domestic)
FRI, OCT. 19 – SUN, OCT. 21

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Friday Report: Universal and director David Gordon Green’s Halloween scored a strong $7.7 million start on Thursday night from shows beginning at 7pm in 3,200 locations. That’s the biggest start for an R-rated film since May’s Deadpool 2 ($18.6 million), and handily tops all horror releases in 2018. Additional comps:

• 42.6 percent ahead of The Nun ($5.4 million)
• 79.1 percent ahead of A Quiet Place ($4.3 million)
• 43 percent behind It ($13.5 million)

Weekend projections are volatile at this stage for a number of reasons, not the least of which being that the franchise has a considerable fan base which may — or may not — result in some front-loading toward early shows. The film’s strong reviews and pre-release tracking suggest that internal weekend performance will alleviate much of that thanks to broad appeal. It’s also worth noting the film lacks the IMAX price boost enjoyed by The Nun and It.

At this point, a debut weekend close to $70 million is likely if it were to follow a similar trajectory as It.

Follow Boxoffice for continued updates.

The post Weekend Estimates: ‘Halloween’ Claims October Opening Day Record with $33.3M Friday, Could Approach $80M Weekend appeared first on BoxOffice Pro.

Monday Update: Only two weekends after Venom broke the record for best October opening ever, Halloween captured the second-best October opening ever with $76.2M.

Those are the top two openings for the month whether in pure dollars or adjusted for ticket price inflation.

Halloween debuted about in line with its already high expectations — riding a combination of nostalgia for the original 1978 Halloween, a timely tie-in to the upcoming October 31 holiday, a lack of much competition as the only new wide release, and the strongest two years in memory for horror at the box office between It, Get Out, A Quiet Place, and more.

In other box office news:

• A Star Is Born — after debuting the same weekend as Venom with about half the opening, then cutting the gap significantly last weekend — actually slightly overtakes its competitor this weekend, with $19.0M to Venom‘s $18.0M. That indicates strong word of mouth on Star‘s part, including the soundtrack debuting at #1 on the Billboard albums chart.
• The Hate U Give, which had been out for two weeks in limited release, expanded wide during its third overall weekend and took sixth place with $7.6M.
• A24’s Mid90s, the directorial debut of Jonah Hill, captured the best per-theater average of the weekend with a $258,157 start in four theaters, for $64,539 each.

Comparisons

Total box office this weekend was $165.0M.

That’s +20.9% above last weekend and 72.0% ahead of this same weekend last year, when Boo 2! A Madea Halloween led with $21.2M.

Year-to-date box office stands at $9.53B. That’s +11.0% ahead of this same date last year, up from +10.2% after last weekend.

Demographics

A full demographic breakdown of the top 30 movies this weekend, courtesy of BoxofficeProfile by Vertigo, will be updated here soon.

Our full table of weekend actuals is below, followed by our Sunday update featuring fuller analysis.

Weekend Actuals (Domestic)FRI, OCT. 19 – SUN, OCT. 21

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