August 13, 2017

Behind the US/Worldwide Weekend Box Office – 8.13.2017


OPENINGS:  There have been a lot of busted franchises this summer, but ANNABELLE: CREATION (New Line/Warners) held strong, with a $35M opening weekend that was down just 5% from the first Annabelle.  The new entry is considerably more frontloaded than the first, down 22% on Saturday compared to 10%, which may mean a US total of $75M or so instead of Annabelle‘s $84.3M.  That’s still fine against worldwide costs of around $85M, especially since the franchise remains solid overseas, with a $35M opening in 39 territories (the international total is $36.7M with last week’s Italy opening).

THE NUT JOB 2: NUTTY BY NATURE (Open Road), however, is probably the end of its short-lived franchise, with a $8.9M opening that’s down a disastrous 54% from the first Nut JobNutty probably won’t get beyond $35M in the US.

THE GLASS CASTLE (Lionsgate) opened in only 1461 theatres, but the $4.9M opening was still threadbare, with a $3300 per-theatre average that was one-third of Annabelle: Creation‘s.  Lionsgate will hope to expand through the rest of summer, a task that will be more difficult with the film’s 50% Rotten Tomatoes score suggesting iffy word of mouth.  It’s unlikely to make much of an impact before awards season begins in a few weeks.

AN INCONVENIENT SEQUEL: TRUTH TO POWER (Paramount Vantage) expanded ineffectively to a barely-wide 556 with a $1400 per-theatre average.

HOLDOVERS:  DUNKIRK (Warners) was once again king of the veterans, down just 33% from last weekend to $11.4M, and heading for $175M+ in the US.  Overseas, it’s at $210M after a $14.5M weekend, and still hasn’t opened in China and Japan.  Despite the heavy cost and non-franchise subject matter, it’s going to be profitable, a personal triumph for Christopher Nolan.

THE DARK TOWER (MRC/Columbia/Sony) slumped by 59% in its 2d weekend to $7.9M, and can’t hope to get beyond $50M in the US.  It’s not showing much strength overseas, either, where it’s at $19.3M after a $7.9M weekend in 35 markets.  Even if it can get to $150M worldwide, it’s going to leave quite a bit of red ink in its path.

THE EMOJI MOVIE (Columbia/Sony) remained unexciting in its 3rd weekend, down 45% to $6.6M in the US, where it should end up around $75M.  Overseas, it’s at $33.6M after a $14.1M weekend in 42 markets.  The cartoon will continue its release into the fall, but it’s not going to get anywhere near the $107.5M US/$242.3M overseas totals of the sequel-worthy Angry Birds Movie.

GIRLS TRIP (Perfect World/Universal) should hit $100M in the US next week, after a 43% drop in its 4th weekend to $6.5M.  It’s still barely in release overseas ($8.4M to date). although international box office will be gravy thanks to its US success.

SPIDER-MAN: HOMECOMING (Marvel/Columbia/Sony) earned $6.1M (down just 31% from last week), and should reach $320M in the US.  Overseas, it’s at $395.6M after a $7.1M weekend, with China still to come.  That territory will determine whether it can reach the $495.9M/$506.1M international totals of the Amazing Spider-Man entries.

KIDNAP (Aviron) fell 48% in its 2d weekend to $5.2M, but a $30M US total should be profitable for the domestic distributor, given the movie’s tiny costs.

ATOMIC BLONDE (Sierra/Focus/Universal) is still on track for a $50M US total after a 44% drop to $4.6M.  Overseas, it’s at $18.9M after a $5.2M weekend.  It seems likely to finish a bit above the $88.7M worldwide gross of the first John Wick, and the question will be whether that’s enough to plant the flag for a franchise.

DETROIT (Annapurna) collapsed in its 2d weekend, down 58% to $3M, and unlikely to pass $20M in the US.  An aggressive Oscar campaign seems to require pouring good money after bad, but Annapurna may feel that it has something to prove with its first solo release.

BABY DRIVER (MRC/TriStar/Sony) hit $100M in the US after a $1.5M weekend (down 43%), a genuine sleeper success.  It’s at $66.7M overseas after a $6M weekend in 47 territories, with Russia, China and Japan among those still to open.

LIMITED RELEASE:  INGRID GOES WEST (Neon) had an impressive start, averaging $47K in 3 NY/LA arthouses.  GOOD TIME (A24) wasn’t far behind, with a $34K average at 4.  THE ONLY LIVING BOY IN NEW YORK (Roadside), however, only managed a $3800 average in its debut at 15.  THE TRIP TO SPAIN (IFC) had a comfortable $15K average at 3.  WIND RIVER (Weinstein) expanded well to 45 with a $14K average.  STEP (Fox Searchlight) averaged $1500 after an expansion to 185.  MENASHE (A24) widened to 47 with an OK $4200 average.  BRIGSBY BEAR (Sony Classics) averaged a low $1500 at 37.

NEXT WEEKEND:  LOGAN LUCKY (Fingerprint/Bleecker Street) marks Steven Soderbergh’s return to big-screen directing, and also the debut of his new financial template that gives him control of his film’s distribution and marketing.  THE HITMAN’S BODYGUARD (Summit/Lionsgate) is the weekend’s other wide release.  Limited releases include GOOK (Goldwyn), LEMON (Magnolia), and PATTI CAKE$ (Fox Searchlight)–all hailing from Sundance.

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."