With no major wide releases going into the market this week, it was all about holdovers for the mainstream products with all of them dropping a bit sharper than you would expect given nothing release over the top. On the limited release front, however, some exceptionally fine performances were tallied up as The Shape of Water (2 screens) opened for awards qualification and smashed $170,000 on an $85,000 screen average. Sure, it’s only two screens, but the Guillermo Del Toro re-imagining of the Beauty and the Beast fable has been winning the hearts of critics and audiences ever since it bowed in Cannes. Sitting on 95% Fresh critically, the fantasy romance with a rumoured $19.4m budget (imdb) looks in fine stead to expand and recoup for Fox Searchlight on the back of whimsically strong word of mouth.
The Disaster Artist (19 screens) smashed its way to a $1.32m opening on a whopping $69,474 screen average. The James Franco led biopic amorously sits on a 95% Fresh score, too, and it putting the star in contention for a slew of award nominations along with his screenplay writers Scott Neustadter & Michael H. Weber. This has the potential to break out and head to the $30m range.
Call Me By Your Name (4 screens) holds up well in its 2nd weekend with a $267,000 result, 35% off from last week, on a smashing $66,750 screen average. $894k in the kitty so far and, with the propulsive awareness the film continues to get from critics and awards seasons, this should be able to follow the Moonlight road and head to a $25m+ result when expansion plans go into effect.
Wonder Wheel (5 screens) opens to $109,000 on a $21,800 screen average. As his 44th directorial effort, Wonder Wheel also marks his softest limited opening since 2005s Melinda and Melinda did $74,238 on a single screen. This is well behind last year’s Cafe Society $360k opening on 5 screens (69.7% off the pace) but it still has posted a sturdy screen average. Reviewers weren’t enamoured with the Kate Winslet/Justin Timberlake starrer, either, awarding it a 41% rotten score. More in line with 1999’s Sweet and Lowdown, this should push to a $3m domestic gross as it will capture Allen fans only.
Darkest Hour (4 screens) shaved off half its business in weekend 2 for an $86k take on a $21,500 screen average. With $388k in the kitty, the campaign for Gary Oldman to slay the Best Actor categories in the awards circuit will be vital for continued theatrical life. Though, fingers are now pointing to Timothee Chamalet taking out this category for Call Me By Your Name, so the game is on, Gazza, the game is on!
Coco (3,987 screens) remains atop the box office as it sheds 45% from its opening weekend for a $27.8m gross on a solid $6,973 screen average. With $110m in the kitty and another week ahead where it won’t get toppled from the top of the shop, that cannibalisation should stabilise into the 30-35% range this time next week.
Justice League (3,820 screens) continues its diabolical descent as it plummets another 61% for a $15.8m take on a $4,136 screen average. With $196.5m in the kitty, this looks to be coming in at $240m mark domestically (Star Wars: The Last Jedi will decimate whatever remnants of business remain for this) and secure it as the most expensive and worst performing entry in the DC Extended Universe. Globally, its hit $500m with a finish line in the $570m range which will also secure it as the worst performing one as well.
Wonder (3,449 screens) drops 42% in weekend 3 for a $13.2m take on a $3,827 screen average. With $88.7m in the kitty, this feel good weepie is now Lionsgate’s 2nd highest grossing film released in 2017 behind John Wick: Chapter Two‘s $92m haul, give it a couple of days and Wonder will be the top dog. What should also be mentioned here is that, from a profitability point of view, Wonder would also be the highest returning production the studio has released in the past 2 years behind La La Land.
Thor: Ragnarok (3,148 screens) takes $9.36m to for the weekend to bring the gross to $291m. It will cross $300m this week on its way to a $310m finish to make it the out-and-out highest grossing Thor movie ever (it already is) and the 10th highest grossing Marvel film. Well done, Taika, well done!
Daddy’s Home 2 (3,403 screens) drops by 44% in weekend 4 for a $7.45m result on a dying $2,189 screen average. With $82.8m in the tank so far, the inexplicably priced $69m production (talent fees no doubt), will nudge $95m as a domestic finish line. Disappointing against the original’s $150m yet not an unmitigated disaster. Globally, the film has crossed $100m.
Three Billboards Outside Ebbing, Missouri (1,430 screens) bolstered its business by 2% by adding 816 screens for a $4.5m take on a modest $3,147 screen average. With $13.6m in the kitty, the $15m budgeted production will be attempting to sail off the awards attention its lead actress will be getting (though that category looks to be dominated by Saoirse Ronan for Lady Bird). There’s still life in this puppy yet and international roll out has yet to come into play.
Lady Bird (1,194 screens) equalises trade on last week by adding 403 screens for a $4m weekend on a very modest $3,350 screen average. With $16.6m in the kitty so far and the award accolades rolling in – especially for Saoirse Ronan who has to be odds on favourite for Best Actress Oscar now – to keep this kiddy chugging along will be to limit any further expansions from here to sustain a solid screen average.
Roman J. Israel, Esq (1,669 screens) plummets another 55% in week 3 for a $2m take on a deathly $1,198 screen average. The film is dead in the water with $9.6m in the kitty. This will stay on screens cosmetically this weekend for the lack of new product, which will push its take to $12m – but it’s all over from there once Star Wars: The Last Jedi and all the awards contenders muscle into the market place. This is the worst performing film in Denzel Washington’s career since 1992’s Mississippi Masala earned just $7.3m (unadjusted).
In Cinemas Friday 8 December, 2017 – Just Getting Started, I, Tonya
Figures from Deadline
1.) Coco (DIS), 3,987 theaters / Fri: $6.3M (-67%)/ 3-day cume: $27.8M (-45%)/Total:$110.4M / Wk 2
2.) Justice League (WB), 3,820 theaters (-231)/$4.5M Fri/ 3-day cume: $15.8M (-61%)/Total: $196.5M/ Wk 3
3.) Wonder (WB), 3,449 theaters (+277) /$3.6M Fri/3-day cume: $13.2M (-42%)/ /Total: $88.7M/Wk 3
4). Thor: Ragnarok (DIS), 3,148 theaters (-133) / $2.3M Fri/ 3-day cume: $9.36M (-44%) / Total cume: $291M / Wk 5
5) Daddy’s Home 2 (PAR), 3,403 theaters (-115) /$2.1M Fri/ 3-day cume: $7.45M (-44%)/ Total: $82.8M/Wk 4
6) Murder on the Orient Express (FOX), 3,201 theaters (+49)/ $2M Fri/ 3-day cume: $7M (-47%)/Total: $85M/ Wk 4
7) Three Billboards Outside Ebbing, MO (FSL), 1,430 theaters (+816) / $1.4M Fri/ 3-day cume: $4.5M (+2%) /Total: $13.6M /Wk 4
9). Lady Bird (A24), 1,194 theaters (+403) /$1.2M Fri/3-day cume: $4M (0%)/ Total cume: $16.6M / Wk 5
10.) The Star (SONY), 2,822 theaters (-15) /$874K Fri / 3-day cume: $3.8M (-45%)/Total:$27.1M/Wk 3
11). A Bad Moms Christmas (STX), 2,251 theaters (-55) /$1.1M Fri/3-day cume: $3.4M (-30%) /Total cume: $64.8M / Wk 5
12.) Roman J. Israel, Esq. (SONY),1,669 theaters (0)/$602K Fri/ 3-day cume: $2M (-55%)/Total: $9.6M/Wk 3
13.) The Disaster Artist (A24), 19 theaters / $478K Fri/3-day cume: $1.32M /PTA: $69k /Wk 1
14.) The Man Who Invented Christmas (BST), 674 theaters (+48) /Fri $263K (-48%)/3-day cume: $913K (-33%)/Total: $3.2M/ Wk 2
Titanic 20th Anniversary (PAR), 87 theaters / $172K Fri/3-day cume: $400k /Total: $659M/Wk 1
Call Me By Your Name (SPC), 4 theaters (0)/ $77K Fri/3-day cume: $267k (-35%) /PTA: $66,6k /Total: $894K/Wk 2
The Shape of Water (FSL), 2 theaters / $55K Fri/3-day cume: $170k /PTA: $85k /Wk 1
Wonder Wheel (AMZ), 5 theaters/ $37K Fri/3-day cume: $109k /PTA: $21,8k /Wk 1
Darkest Hour (FOC), 4 theaters (0)/ $24K Fri /3-day cume: $86K (-51%) /PTA: $20k/ Total: $388k/ Wk 2