As the weekend hits its final day it is, as predicted, Crazy Rich Asians (3,384 screens) that takes the top spot in the U.S. with a $31.1m 5 day/$22.4m 3 day opening weekend projected. That’s a great win for the $30m production which earned a $9,190 screen average since opening on Wednesday. Jon Chu’s romantic comedy, based on the best selling book by Kevin Kwan, also won major favour with critics, landing a 92% fresh score, and audiences were equally enamoured with it as they landed on an A Cinemascore. With a $90m+ potential domestic box office, the real gold for Crazy Rich Asians is in the global markets where it should go ballistic. We’ll report further on that as the numbers come in over the next couple of days.
The Meg (4,118 screens) slips 56% in weekend 2 for a $19.8m take on a $4,808 screen average. Bringing the local haul to $82.4m, there’s still gas in the tank on this $150m production which should kick on to a $110-$120m finish domestically. Here’s the kicker, the film has already smashed $250m in global ticket sales with China contributing $50m of that thus far! Australia opened this week, so we’ll check that out tomorrow, but anyone thinking this is a dud has another thing coming.
Mile 22 (3,520 screens) disappoints on opening to $13.9m on a $3,949 screen average. The $35m production marks the fourth collaboration between Peter Berg and Mark Wahlberg in their series of macho Americana posturing flag waving tosh, which opens 18.8% stronger than their last effort Patriot’s Day. Yet Mile 22 also sports the worst reviews of their collaborations (by a long shot), landing at 20% rotten. With that opening and reaction, this should be able to hit near $44m domestically yet, like all their films, these films don’t translate overseas heavily with an average 33% market share which means it’ll do $22m in international markets and finish around $65m in global sales. Here’s a table of the Berg/Wahlberg films for reference.
|Film||Opening Weekend||Total Domestic||Total International||Total Global||Budget|
|Lone Survivor (76% Fresh)||$ 37.9m||$ 125.1m||$ 29.7m||$ 154.9m||$40m|
|Deepwater Horizon (83% Fresh)||$ 20.2m||$ 61.4m||$ 60.3m||$ 121.8m||$110m|
|$ 11.7m||$ 31.9m||$ 18.9m||$ 50.55m||$45m|
|Mile 22||$ 13.9m||$ 43.5m||$ 21.6m||$ 65.1m||$35m|
Mission: Impossible – Fallout (3,482 screens) slips 44% in weekend 4 for $10.8m on a modest $3,102 screen average. With $181m in the domestic tank, circa $300m in international sales, the current global total is circa $481m. Yeah, it’s a big hit and will hit the golden $500m this week. This is before China opens on 31 August. This is important as China provided $136m of the Mission: Impossible – Rogue Nation $683m global finish line (or 20% of the total global gross), which means it should bring in near $150m for Mission: Impossible – Fallout.. Good times at Paramount/Skydance/Bad Robot/Ali Baba Pictures indeed!
Christopher Robin (3,602 screens), as predicted, is that little (big) earner that just keeps kicking along as it takes $9.6m for weekend 3, off 25% from last frame, on a $2,665 screen average. With $67.6m in the kitty so far, this is one of those Disney vehicles like Pete’s Dragon, that is quietly reaching its audience slowly but surely. Pete’s Dragon finished on $76.3m domestically which Christopher Robin will surpass by this time next week as it looks to knock over Disney’s other like film Saving Mr. Banks‘ $83.3m domestic gross. Christopher Robin should nudge $90m to finish and it’ll be slow and steady wins the day to get there.
Alpha (2,719 screens) very soft on opening with $9.4m on a $3,457 screen average. Though, having said that, where do you position a film like this? This live action young man and his dog adventure set in the last ice age just couldn’t cut through. Critically, the film was very well received, landing an 84% fresh score. Aussie Kodi Smit-McPhee leads it, but this is too high brow for the mass market in the U.S., hence it got dumped in the butt end of the U.S. summer frame from its original March 2018 release date. Rumours have the budget on this in the $50m+ range, so it’ll be up to international (if it goes out) to hopefully recoup some of the costs. $25m finish.
Blackkklansman (1,788 screens) expands by 276 screens and slips 37% from weekend 1 for a $6.8m gross on a $3,803 screen average. With $22.8m in the can thus far, it’s a modest screen average going into its second weekend and caution must go into play on further expansions as they will outweigh the critical currency (ie. although the film has outstanding word of mouth and critical reactions, it is an upscale, discerning title – pushing it too far too fast will kill its fiscal longevity).
Slender Man (2,358 screens) falls over in week 2, dropping 62%, for a $4.3m gross on a $1,824 screen average. With $20m in the can thus far, it’s doubled its production budget of $10m so, for Sony, it should limp to recoup on its domestic theatrical release. $28m finish.
Hotel Transylvania 3: A Monster Vacation (2,187 screens) takes $3.1m in weekend 6, off 31% from last week, on a $1,417 screen average. As school holidays draw to a close and $153.8m in the tank domestically, this will limp to $160m as it mops up that residual weekend play off over the next month. Come on Sony Animation, where’s the announcement for Hotel Transylvania 4: A New Hope?
Mamma Mia!: Here We Go Again (2,270 screens) makes its final appearance on the top ten leaderboard as it earns $3.4m in weekend 5. That’s off 41% from last weekend to land on a $1,498 screen average. With $111.2m in the can domestically and a $118m final gross most likely, the film is looking at a $350m global gross on a $75m production budget. Oh yeah, it earned its keep, alright!!
In Cinemas Friday 24 August, 2018 – The Happytime Murders, A.X.L., Pappilon, Searching
Figures from Deadline