May 7, 2017

Behind the US/Worldwide Weekend Box Office – 5.7.2017


OPENINGS:  GUARDIANS OF THE GALAXY VOL 2 (Marvel/Disney) had a solid Saturday hold for a blockbuster, down 9% on its 2d full day of release.  That compares to the performance of the Iron Man sequels, respectively down 11% and 10%, and much better than Avengers: Age of Ultron‘s 33% plunge, although a tad less good than Captain America: The Winter Soldier (-6%) or Thor: The Dark World (+1%), neither of which had the showcase first weekend in May summer kick-off slot.  The studio is estimating a $145M weekend (perhaps slightly optimistic), and that suggests a final US box office around $340M, just about the same as the first Guardians‘s $333.2M.  Overseas, things are huge but also a bit disappointing, since it’s where Marvel sequels often shoot up (Thor‘s sequel by over 60%, and Captain America‘s more than doubling).  Vol 2 is now in all major markets except Japan (where the first Guardians didn’t crack $10M), and after a $123.8M weekend, it’s at $282.6M, and likely to end up around $485M, up perhaps 10% from Guardians, which is more like Age of Ultron‘s international performance compared to the first Avengers.  To be clear, $825M or so worldwide is nothing but a big win, just not the $1B performance Disney might have hoped to see.

THE DINNER (Orchard) decided to counterprogram Guardians 2 in 505 theatres, and the result wasn’t pretty:  a studio-estimated $1500 per-theatre average for the weekend, and that number is likely to come down on Monday, since it assumes an exceptionally strong Sunday.

HOLDOVERS:  THE FATE OF THE FURIOUS (Universal) is running out of road.  In the US, it fell 57% to $8.5M in the face of Guardians 2, and is still on track for a $220-225M total, below installments 6-7, and just slightly above #5.  Overseas, it had a $30.1M weekend that brought it to $951.2M, and it may crack $1B, which would put it about 15% below Furious 7, although far above the rest of the franchise.

Family movies were the most resistant to the arrival of Guardians 2THE BOSS BABY (DreamWorks Animation/20th) dipped 34% in the US to $6.2M, and with no other animated titles opening until June, it could reach $170M+, perhaps even matching the $177.4M for the studio’s Home.  Overseas, it’s at $278.2M, 30% above Home‘s $208.6M total.  BEAUTY & THE BEAST (Disney) was down only 28% in the US to $4.9M, stretching toward $500M.  Its international total is $698.1M.  GIFTED (Fox Searchlight) dropped 39% to $2.1M, and will cross $20M next week.

Last week’s openings fared badly.  HOW TO BE A LATIN LOVER (Pantelion/Lionsgate) fell 57% to $5.3M, and might reach $30M in the US.  THE CIRCLE (Europa/STX) dropped 56% to $4M, unlikely to get to $25M.  BAAHUBALI 2 (Great India) sank by 69% to $3.2M and should get past $20M.  SLEIGHT (Blumhouse/BH Tilt) lost 56% for $740K, and might not get to $5M if it doesn’t expand.

LIMITED RELEASE:  THE LOVERS (A24) had a quiet start, averaging $18K in 4 NY/LA arthouses.  3 GENERATIONS (Weinstein) was much worse, with a $3400 average at 6.  (Both of those studio estimates may drop tomorrow, since both incorporate extremely strong Sunday performances.)  The documentary RISK (Neon) averaged $2200 at 34.  NORMAN (Sony Classics) expanded to 125 theatres with a mild $3900 average.  A QUIET PASSION (Music Box) averaged $2K after widening to 79.

NEXT WEEKEND:  The solid word-of-mouth for Guardians 2 may be bad news for KING ARTHUR: LEGEND OF THE SWORD (Warners), which already faced an uphill climb at the box office.  The Amy Schumer/Goldie Hawn comedy SNATCHED (20th) will counterprogram all the action-adventure in the market.  Limited releases include LOWRIDERS (Blumhouse/BH Tilt), PARIS CAN WAIT (Sony Classics), and THE WALL (Roadside).


About the Author

Mitch Salem
MITCH SALEM has worked on the business side of the entertainment industry for 20 years, as a senior business affairs executive and attorney for such companies as NBC, ABC, USA, Syfy, Bravo, and BermanBraun Productions, and before that, at the NY law firm of Weil, Gotshal & Manges. During all that, he has more or less constantly been going to the movies and watching TV, and writing about both since the 1980s. His film reviews also currently appear on and In addition, he is co-writer of an episode of the television series "Felicity."