Friday, June 23, 2017
Box Office
Box Office

the mummy Weekend Box Office: The Mummy Entombed With $32M U.S. Debut

Courtesy of Universal Pictures
‘The Mummy’

The Tom Cruise-led ‘Mummy’ reboot fared far better overseas, opening to nearly $142 million internationally; ‘Wonder Woman’ easily stays No. 1 in North America after falling a scant 45 percent in its second weekend.

One of Hollywood’s most iconic monsters was no match for an Amazonian princess-turned-superhero at the North America box office over the weekend.

Universal’s The Mummy, starring Tom Cruise, opened to a withering $32.2 million domestically from 4,035 theaters, a dismal start for summer event film that launches Universal’s new Dark Universe of interconnected monster movies. The movie fared far better overseas with a winning $141.8 million from 63 markets, Cruise’s best international opening.

In the U.S., The Mummy was relegated to second place behind Warner Bros.’ box-office sensation Wonder Woman, which fell a scant 45 percent in its second weekend to $57.2 million from 4,165 theaters. That’s one of the lowest drops ever for a superhero tentpole. Generally speaking, a superhero film can fall 60 percent.

Wonder Woman, directed by Patty Jenkins, jumped the $200 million mark domestically on Sunday, its tenth day in release. Overseas, it took in another $58.1 million for a foreign tally of $230 million and $435 million globally. The movie is a much-needed win for Warner Bros.’s DC Extended Universe of superhero titles.

Conversely, The Mummy, costing $125 million to make after rebates, is a rough start for Universal’s monsters-themed Dark Universe..

Plagued by withering reviews and a B- CinemaScore from audiences, The Mummy opened behind any of the openings for the Mummy films starring Brendan Fraser, as well as for spin-off The Scorpion King. Unlike those movies, the reboot decided to fashion itself as an action pic set in modern times.

Universal executives said on Sunday that each Dark Universal title will be its own entity. Up next is Bill Condon’s Bride of Frankenstein. They also said The Mummy‘s global launch was impressive overall.

“Kudos to the filmmakers. I myself have seen the movie five times. And kudos to the cast, especially Tom Cruise,” said Universal domestic distribution president Nick Carpou. “Unfortunately in the U.S., the critical acclaim wasn’t there to the degree that people use that as a guidepost.”

The Mummy‘s ultimate financial standing will largely depend on its foreign showing. Universal notes that the movie’s global debut of $174 million is also a best for the actor. All told, it opened No. 1 in 46 markets. China led with $52.2 million. The Middle Kingdom was one of 46 markets where The Mummy marked Cruise’s top showing to date.

Directed by Alex Kurtzman, the story follows an ancient princess (Sofia Boutella) who is awakened from her crypt beneath the desert, threatening mankind. Cruise plays the man who discovers the tomb of Ahmanet and unleashes her powers. The film cost $125 million to make after tax rebates. Russell Crowe and Annabella Wallis also star.

Captain Underpants, Pirates of the Caribbean: Dead Men Tell No Tales and Guardians of the Galaxy Vol. 2 rounded out the top five.

In its second weekend, DreamWorks Animation’s Captain Underpants slipped 48 percent to $12.3 million for a domestic total of $44.6 million.

Pirates 5 jumped the $600 million mark globally earning $10.7 million domestically and $38.4 million overseas. The movie has earned far more internationally, or $464.4 million. Fellow Disney release Guardians of the Galaxy Vol. 2 rounded out the top five with $6.2 million domestically for a worldwide tally of $833.2 million.

Two other movies from a pair of indie distributors also opened nationwide this weekend: A24’s apocalyptic horror film It Comes at Night and Bleecker Street’s drama Megan Leavey, starring Kate Mara as a young Marine fighting in Iraq with her bomb-sniffing combat dog.

It Comes at Night, opening in 2,500 theaters and coming in No. 6, grossed a solid $6 million from 2,253 theaters despite a D CinemaScore. Directed by Trey Edward Shults (Krisha), the $5 million film stars Joel Edgerton as a man trying to protect his family from an unnatural threat, only to find his plan go awry upon the arrival of another desperate family.

Meagan Leavey, nabbing an A CinemaScore, debuted to $3.8 million from 1,956 cinemas, ahead of expectations.

Additionally, Fox Searchlight’s release of My Cousin Rachel starring Rachel Weisz, delivered an estimated $954k from 523 theaters, a meager $1,824 per theater average.

In limited release, Roadside’s release of Beatriz at Dinner delivered an estimated $150,160 from five theaters for a strong, $30,032 per theater average. Oscilloscope’s Night School debuted at the IFC Center in New York and brought in an estimated $1,600 after playing to several sold out shows over the weekend in the 40 seat auditorium. Freestyle’s release of Miles debuted in two theaters and brought in an estimated $5,176 ($1,676 PTA) while The Orchard’s The Hero debuted with an estimated $48,414 from four screens for a $12,104 average.

Next weekend sees four new wide releases hitting theaters, three of which will be playing in over 3,000 locations. Among them, Disney and Pixar’s Cars 3 is looking to debut in over 3,900 theaters, Entertainment Studios will release 47 Meters Down in ~3,500 theaters and Sony will release the R-rated comedy Rough Night in over 3,000 theaters. Lionsgate’s release of Summit’s All Eyez on Me, telling the story of rapper 2Pac, will also be hitting theaters, debuting in ~2,400 locations.

wonder woman Box Office: Wonder Woman Opens to Historic $100.5M

Clay Enos/Warner Bros.
‘Wonder Woman’

The tentpole lands the top domestic opening of all time for a female director, and launches the first major studio film franchise featuring a female superhero; overseas, ‘Wonder Woman’ takes in $122.5 million for a $223 million global bow.

In a defining moment for Hollywood’s gender problem, Patty Jenkins’ Wonder Woman grossed a winning  $100.5 million from 4,165 theaters in its domestic box office debut, the biggest opening of all time for a female director.

And overseas, Wonder Woman also won the weekend with $122.5 million from 55 markets for a global bow of $223 million, including a No. 1 debut in China with $38 million.

Hollywood studios are notoriously loath to hire female directors, not to mention for a big-budget tentpole featuring a marquee superhero. Wonder Woman‘s performance could put even more pressure on film companies to make women filmmakers more job offers.

The $150 milllion Warner Bros. movie, starring Gal Gadot, also launches the first film franchise featuring a female superhero after both Catwoman and Elektra flopped in the mid-2000’s. Wonder Woman — which has been in development since 1996 — skewed female (52 percent), almost unheard for a superhero title, which usually draws an audience that is 60 percent male.

“Patty’s vision mesmerized the audience. She is a real talent,” said Warners domestic distribution president Jeff Goldstein. “Clearly, this is a movie that is resonating with moviegoers around the globe,”

Wonder Woman becomes the 16th superhero film to cross $100 million in its domestic box-office launch, a list that is topped by the likes of Marvel’s The Avengers ($207 million), Avengers: Age of Ultron ($191.3 million), Captain America: Civil War ($179.1 million), Iron Man 3 ($174 million) and Batman vs. Superman: Dawn of Justice ($166 million). Wonder Woman beat out the openings of the first two Thor and Captain America movies, as well as the first Iron Man.

The previous record-holder for top opening for a female director was Sam Taylor-Johnson’s Fifty Shades of Grey, not adjusting for inflation. That film debuted to $93 million over the four-day Valentine’s Day/Presidents Day weekend in 2015, including a three-day haul of $85 million.

Earning rapturous reviews and an A CinemaScore from audiences, Wonder Woman is a much-needed critical win for Warners and DC Entertainment, whose Man of Steel (2013) and Batman v. Superman: Dawn of Justice (2016) were largely snubbed.

Wonder Woman also restores the luster to the early summer box office after the worst Memorial Day weekend in 18 years. Overall weekend revenue was up 33 percent over the same frame last year.

Jenkins’ movie opens as World War I pilot Steve Trevor (Chris Pine) and his plane crash on Themyscira, the island of the Amazons, where the Princess Diana (Gadot) has been trained by her aunt, the great warrior Antiope (Robin Wright). Soon, Diana leaves the island to try and stop the war, marking the beginning of her transformation into Wonder Woman.

Internationally, Wonder Woman came in ahead of fellow Warners superhero film Man of Steel in many markets, including China. According to Warners, it is also pacing ahead of both Guardians of the Galaxy movies, the first two Iron Man films and the first two Captain America titles.

Wonder Woman snagged the fourth-best Warners opening in both China and Mexico ($8.4 million). It raked in $8.5 million in South Korea and $8.3 million in Brazil. In Europe, the movie debuted to $7.5 million in the U.K., although it lost in Russia and Italy to Pirates of the Caribbean: Dead Men Tell No Tales. Wonder Woman has yet to open in several major markets, including France and Germany.

Imax theaters accounted for $18.3 million globally — the third biggest launch for a DC Comics film — including $9 million domestically.

The weekend’s other new offering, DreamWorks Animation’s Captain Underpants: The First Epic Movie, placed No. 2 behind Wonder Woman with an estimated $23.5 million from 3,434 theaters after costing a modest $38 million to produce.

Based on the popular book series, Captain Underpants tells the tale of two fourth-grade troublemakers (voiced by Kevin Hart and Thomas Middleditch) who hypnotize their mean principal (Ed Helms) into thinking he’s Captain Underpants, a hero from a comic book. The movie’s characters also include Professor Pippy P. Poopypants (Nick Kroll) and a school snitch named Melvin Sneedly (Jordan Peele).

Captain Underpants is the final DWA title that Fox will distribute before Universal takes over all marketing and distribution duties for DWA movies. (NBCUniversal bought DWA last year.)

Among holdovers, Disney’s Pirates of the Caribbean: Dead Men Tell No Tales tumbled 66 percent in its second weekend domestically — the biggest drop of any film in the franchise — to $21.6 million for a domestic total of $114.6 million. But overseas, Pirates 5 continues to find plenty of treasure, earning another $73.8 million and jumping the $500 million mark globally. In addition to Russia, it prevailed over Wonder Woman in Spain and in a number of smaller markets. And in China, the movie’s total has climbed to a mighty $143 million.

Dead Men Tell No Tales placed No. 3 domestically, followed by fellow Disney release, Guardians of the Galaxy Vol. 2, with roughly $9.7 million for a global tally of $816.6 million.

Paramount and Skydance’s Baywatch, which bombed in its U.S. debut last weekend, rounded out the top five with $8.5 million for a domestic total of $41.7 million. The R-rated movie fell nearly 55 percent. Overseas, Baywatch opened to $23.8 million from 31 markets, including a pleasing $5.8 million in the U.K., not all that far behind Wonder Woman.

box office 1 Box Office: Pirates 5 Sails for $77M U.S. Bow; Baywatch Belly Flops

Left, courtesy of Walt Disney Studios Motion Pictures; Right, courtesy of Paramount Pictures
‘Pirates of the Caribbean 5,’ ‘Baywatch’

Overseas, ‘Pirates of the Caribbean: Dead Men Tell No Tales’ found plenty of treasure with a huge $208 million debut for an estimated global launch of $285 million-plus; ‘Baywatch’ marks a rare miss for Dwayne Johnson.

The waters are choppy at the Memorial Day box office.

Disney’s Pirates of the Caribbean: Dead Men Tell No Tales is easily winning the four-day holiday regatta with an estimated $76.6 million from 4,276 theaters, while Baywatch is belly flopping with a projected $22 million in a rare miss for Dwayne Johnson, who stars alongside Zac Efron in Paramount’s R-rated adaptation of the classic TV show.

Pirates 5, returning Johnny Depp in the lead role as the zany Captain Jack Sparrow, is being billed as the final chapter in the storied franchise and is pacing behind the last three installments in the U.S. In terms of Memorial Day openings, it ranks No. 11, not adjusting for inflation. Pirates of the Caribbean 3: At World’s End (2007) remains the holiday record-holder with $139.8 million, while Pirates of the Caribbean 4: On Stranger Tides opened to $90.2 million over the May 20-22 weekend in 2011, a non-holiday.

Final Friday-Monday estimates for all films will be updated tomorrow.

Franchise fatigue among U.S. consumers is a huge concern for Hollywood, and Disney is counting on Pirates 5 doing huge business overseas to make up for any deficit closer to home. The movie, costing north of $200 million to make before a major marketing spend, is already finding plenty of treasure overseas with an  international opening of $208.4 million for an estimated global launch of $285 million through Monday, if not north of $300 million.

China — where the movie’s world premiere was held — leads with $67.8 million, more than the entire runs of the last two films in the franchise, based on the storied Disney theme park attraction. Imax theaters turned in $24 million globally, including $9 million in China.

“We’re making movies for a global audience. This is one of the most prolific franchises in history, and will cross $4 billion in combined box-office revenue today. That is extraordinary by any measure,” said Disney distribution chief Dave Hollis, whose studio is also celebrating crossing $1 billion in 2017 domestic ticket sales, the first studio to do so this year. Hollis added that Pirates 5‘s domestic opening will come in about 15 percent behind Pirates 4, a respectable drop.

Joachim Ronning and Espen Sandberg, who helmed the breakout international darling Kon-Tiki, directed Pirates 5. Starring alongside Depp are Javier Bardem, Brenton Thwaites, Kaya Scodelario, Kevin R. McNally, Golshifteh Farahani, David Wenham, Stephen Graham, Orlando Bloom and Geoffrey Rush.

The franchise has never been a favorite of critics, outside of the first film, with Dead Men Tell No Tales currently sporting a 32 percent fresh rating on Rotten Tomatoes, roughly on par with the last installment, 2011’s Pirates of the Caribbean: On Stranger Tides. Moviegoers liked it far more, giving the film an A- CinemaScore.

Baywatch, directed by Seth Gordon, fared even worse among reviewers, with an 18 percent rating on Rotten Tomatoes.

Paramount and Skydance decided to get a jump on the holiday weekend and launch Baywatch on Thursday. The movie is looking at a five-day debut of just $26.6 million from 3,647 theaters. Adding insult to injury, Disney and Marvel’s Guardians of the Galaxy Vol. 2 is expected to beat Baywatch for the four-day weekend with $26 million, compared to Baywatch‘s estimated $22 million.

Heading into the holiday, pre-release tracking had suggested the comedy would clear $42 million or more for the five days, although some services lowered their estimates to $37 million late last week. Audiences bestowed Baywatch with a B+ CinemaScore. The movie skewed slightly female (52 percent) on Thursday, while 45 percent of ticket buyers were under the age of 25.

“I think reviews did hurt the film, which scored great in test screenings. Maybe it is a brand that relied on a positive critical reaction more than we recognized. But we do feel bullish about the international marketplace, where Baywatch opened this weekend in Taiwan to great numbers and well ahead of 22 Jump Street and Central Intelligence,” Paramount marketing and domestic distribution president Megan Colligan said.

Baywatch opens in earnest overseas next week.

There is certainly precedent for programming Memorial Day with R-rated comedies; The Hangover Part II debuted to $103.4 million over the holiday in 2011, followed by $50.3 million for The Hangover Part III in 2013 and $36 million for Sex and the City 2 in 2010.

Baywatch, costing under than $70 million to produce before marketing, also stars Priyanka Chopra, Alexandra Daddario, Jon Bass, Kelly Rohrbach and Ilfenesh Hadera. It doesn’t debut overseas until June 2.

Last summer, PG-13 action comedy Central Intelligence, starring Johnson alongside Kevin Hart, opened to $35 million over the June 17-19 weekend. And in late May 2015, Johnson’s San Andreas posted a three-day debut of $54.6 million.

Elsewhere, Fox and Ridley Scott’s Alien: Covenant is falling to No. 4 in its second outing with an estimated four day gross of $13.1 million for a domestic total of $60 million.

The weekend wasn’t a complete wash out for Johnson as The Fate of the Furious became only the sixth movie in history to cross $1 billion at the international box office, fueled by a record-breaking $387.4 million in China. Globally, the Universal release has earned $1.22 billion globally.

Fate of the Furious wasn’t the only milestone. Disney’s Beauty and the Beast crossed $500 million domestically, while Disney and Marvel’s Guardians 2 has now eclipsed the first film with a global total of $783 million. Guardians of the Galaxy grossed $733.3 million.

box office Box office preview: Alien: Covenant to hatch atop weekend chart

FOX; WARNER BROS; FOX
 ‘Guardians of the Galaxy Vol. 2’ could be dethroned over the May 19-21 frame

Alien: Covenant is poised to launch a Facehugger attack squarely at Guardians of the Galaxy this weekend.

The Ridley Scott-directed Prometheus sequel guns for the peak position on the domestic chart as the superhero sequel enters its third weekend in wide release, while a pair of modestly-budgeted newcomers — Warner Bros.’ literary adaptation Everything, Everything and Fox’s Diary of a Wimpy Kid: The Long Haul— are expected to perform well against what’s shaping up to be a pack of steady holdovers.

Check out May 19-21 weekend box office predictions below.

1 – Alien: Covenant – $43 million

While Scott’s Alien franchise lacks in consistency (it has dabbled in everything from the mindless carnage of the Alien vs. Predator days to the high brow philosophical musings of 2012’s Prometheus), its seemingly bottomless lows (Alien 3, anyone?) are typically outweighed by its soaring highs, and Covenant — a continuation of Prometheus in a planned prequel trilogy leading up to the events in the 1979 original — is shooting for the moon (and beyond) at the weekend box office.

With a budget of $97 million, someone obviously had stellar hopes for the flick, which bows at 3,757 sites (including IMAX) this Friday. While Fox is hoping for a debut in the $40-45 million range, there’s reason to believe the film could push higher — especially given the film has pulled in stronger reviews than the aforementioned Alien Vs. Predator, which overcame negative critical reception to post $38 million over its first three days in 2004. Prometheus was also able to rope in $51 million worth of ticket buyers without the Alien moniker, and Covenant is being touted as a return-to-form for Scott’s space-centric sci-fi series, which should pull in both the curious and the nostalgic.

Still, as 2017 has shown us so far, aging franchises aren’t exactly the safest bets at the box office. Power Rangers quickly tumbled from a solid $40.3 million start in March and Kate Beckinsale’s Underworld series hit a new low in January, as did the Milla Jovovich-led Resident Evil collection later that same month (though the latter has gone on to make a stunning $312 million worldwide). That’s not to say any of those films’ trajectories are on-par with the time-tested legacy Scott and Sigourney Weaver introduced almost 40 years ago, just that mainstream audiences can quickly tire — sometimes for no detectable reason — of that which they’re familiar.

There’s little reason to believe Covenant is headed for a crash-landing, however, as social media activity is healthy for the film, as is the playing field upon which it enters this weekend — Guardians of the Galaxy is prepping for its third go-round with moviegoers and both fellow newcomers are aimed at entirely different demographics, so expect Covenant to gobble up $40-50 million (or more).

2 – Guardians of the Galaxy Vol. 2 – $36 million

It’s time for round No. 3 for Guardians of the Galaxy‘s second Hollywood installment, following its massive $146.5 million opening earlier this month. The film has thus far raked in $646.9 million worldwide, and that total will climb even higher after this weekend when the film enters steady territory (most tentpole comic book films tend to tumble hard from week one to week two, and level out from week three onward). Guardians of the Galaxy should pull in an additional $30-40 million through Sunday.

3 – Everything, Everything – $11 million

As Warner Bros. reels from the disappointing figures posted by the expensive action epic King Arthur, the studio will likely see a few rays of sunshine this weekend when its Nicola Yoon adaptation Everything, Everything opens at roughly 2,800 sites this Friday (with Thursday pre-shows). Warner produced the film alongside MGM on a reported $10 million budget — a number the film should clear over its first three days, given the performance of comparable titles like 2016’s Me Before You, which earned $18.7 million last June. That number seems a bit high for Everything, Everything to clear, though its source material’s status as a similarly popular best-seller — particularly among teens — should push it past the $11 million mark at the close of the week.

4 – Snatched – $10 million

After rising $2 million above initial projections to a healthy $19.5 million premiere thanks to a healthy Mother’s Day push last weekend, Snatched positioned Goldie Hawn back in the good graces of the movie-going public after a 15-year big screen absence. The film has continued to grow at a solid pace, with midweek numbers averaging between $1.2 and $1.9 million. Summer comedies typically hold on stronger than entries from other genres, with Schumer’s own Trainwreck coasting through the middle of 2015 to an impressive $110 million. While Snatched won’t reach that number, it should, given seasonal trends, dip around 40-50 percent (even in the wake of its middling B grade on CinemaScore) over its sophomore frame.

5 – Diary of a Wimpy Kid: The Long Haul – $9 million

Since 2010, three Diary of a Wimpy Kid titles have amassed decent ticket sales on domestic screens, with final totals landing between $49 and $64 million. The Long Haul — the fourth in a line of family-oriented movies based on the popular children’s books — takes a creative risk, though, as it replaces the cast that occupied the first three installments (Zachary Gordon, Steve Zahn, Rachael Harris) with series newcomers Jason Drucker, Alicia Silverstone, and Tom Everett Scott. Those who’ve flocked to see the previous Wimpy Kid films are less likely to care about cast and character than they are about the films’ wacky hijinks, which its theatrical trailer promises plenty of. As the aging series winds down, look for The Long Haul to post between $9 and $12 million this weekend.

Outside the top five, King Arthur: Legend of the Sword looks to pad its disastrous opening weekend (the film cost $175 million to make, earning just $15.4 million on North American screens) throughout week No. 2, though it’s likely to fall hard (a fall in the 50-60 percent range isn’t out of the question) as Covenant swoops in to steal a large chunk of its audience.

Elsewhere, on the specialty front Bryan Cranston leads Wakefield — which traveled the 2016 fall festival circuit to positive reviews — to a single location alongside Jennifer Garner and Beverly D’Angelo in the days ahead, where it should post a decent number given the film’s buzzy premise (a man abandons his family home only to spy on his loved ones in the aftermath) and glowing critical reception.

Guardians of the Galaxy Vol 2 Box Office Preview: Guardians of the Galaxy Vol. 2 to come out on top

MARVEL STUDIOS
 The only new wide release opening this weekend is The Guardians of the Galaxy Vol 2., the first of three Marvel films on the 2017 release calendar. Given fan’s building excitement, and the fact that its nearest competition is The Fate of the Furious, which has been speeding into the top spot the past three weeks, Star-Lord (Peter Quill), Gamora, and the gang should handily land at No. 1 this week.

But here’s how the rest of the Top 10 could play out over the May 5-7 period:

1. The Guardians of the Galaxy Vol. 2 – $150 million+ 

Having already earned more than $160 million overseas, and with the film opening in 4300+ locations in North America, the Guardians of the Galaxy sequel is positioned to do quite well, if not cross the $150 million mark — especially given how much better it’s been doing compared to its predecessor in international markets. Though, that may have a lot to do with the fact that not as many movie-goers were familiar with the ragtag gang when they first made their way to theaters in 2014. But seeing how well the previous film performed ($773 million worldwide, adjusted for inflation), not to mention how recent Marvel sequels Avengers: Age of Ultron and Captain America: Civil War performed in their opening weekends ($191 million, and $179 million, respectively), GoTG V2 should pull in just as impressive figures.

The second film is set three months after the first one and sees Star-Lord finally meet his father, Ego (Kurt Russell), while on the run from the Sovereign, an alien race angered by one of the Guardians’ actions. James Gunn once again serves as director, with Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, and Karen Gillan reprising their roles as Peter Quill, Gamora, Rocket Raccoon, Baby Groot, Drax, and Nebula, respectively.

 2. The Fate of the Furious – $9.5 million

Having crossed the $1 billion mark worldwide and going into its fourth week, F8 is set to slow down, placing No. 2 at the box office this weekend. But while the film’s popularity (it received an A CinemaScore) has given it some legs, its performance has repeatedly mirrored not its direct predecessor Furious 7, but Fast & Furious 6, which means this week’s haul will drop by at least 45 percent, bringing this week’s earnings into the single digits.

3. How to be a Latin Lover – $8.4 million

After pulling in $12 million from 1,118 locations last weekend, the Panthelion — a Lionsgate and Televisa joint venture — romantic comedy will be widening its release by 85 more locations. The movie, which stars Salma Hayek, Eugenio Derbez, Rob Lowe, Raquel Welch, and Kristin Bell, proved to be a sleeper hit, like Derbez’ last film Instructions Not Included, which earned $99 million worldwide at the end of its run. Based on that, expect Latin Lover to see a more steady 30 percent drop in domestic box office sales, for an earning of $8.4 million.

4. The Boss Baby – $6.7 million

Just six weeks old, this animated feature still has long legs as it continually proves to be a family favorite (bringing in an A- on CinemaScore). Expect another 25 percent dip as it moves beyond the $150 million mark in the domestic box office.

5. The Circle – $5 million

After getting largely negative reviews from both critics and the audience (a D+ on CinemaScore), the STX Entertainment film should see a 50 percent drop in the domestic box office, despite starring Beauty and the Beast‘s Emma Watson, Star Wars‘ John Boyega, and Sully’s Tom Hanks, all of whom have proved to be big openers.

Elsewhere, Beauty and the Beast’s popularity continues to reign as the Disney live-action version of the 1991 animated classic nears $500 million at the domestic box office. In addition, last week’s big hit Baahubali 2: The Conclusion, will likely see a 60 percent drop off — much like predecessor Baahubali: The Beginning — from last week’s 420-location $10 million opening, for a $4 million haul this week.

In terms of specialty box office releases, The Weinstein Company’s 3 Generationsopens this weekend. The drama sees Elle Fanning play a transgender teen seeking his mother’s (Naomi Watts) permission to start taking hormone treatments so he can begin his transition. Susan Sarandon also stars in the now PG-13 rated film, which should bring in $300,000 in its first week.

furious 8 Box Office Milestone: Fate of the Furious Crosses $1B Globally

Courtesy of Universal Pictures.
‘The Fate of the Furious’

The eighth outing in the octane-laced action franchise becomes the 30th film to achieve the milestone, and the fourth title Universal title to do so in its original run.

Universal and director F. Gary Gay’s The Fate of the Furious has crossed the $1 billion mark at the global box office in yet another victory for the enduring series.

Fate of the Furious is in rarefied air, becoming the fourth title in the history of the 105-year-old studio to achieve the milestone in its original run after Jurassic World ($1.67 billion), Furious 7 ($1.52 billion) and Illumination’s Minions ($1.16 billion). Jurassic Park also crossed $1 billion in its re-release.

Through Sunday, the eighth outing in the Fast and Furious series has earned $192.7 million domestically and a massive $867.6 million overseas, where it has shattered numerous records (international grosses account for a whopping 82 percent of the bottom line). China leads with $361 million, the top showing of all time for an imported film (Furious 7 was the previous record-holder.)

Fate of the Furious once again stars Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Elsa Pataky and Kurt Russell. Newcomers include Charlize Theron, Helen Mirren and Scott Eastwood. The story follows a villainous superhacker (Theron) who turns Diesel’s character against his crew.

Earlier this month, the movie scored the biggest worldwide launch of all time with $542 million, eclipsing Star Wars: The Force Awakens ($529 million).

So far, Fate of the Furious is the 30th film to earn $1 billion or more globally, and the second movie of 2016 to achieve the milestone after Disney’s Beauty and the Beast, which has grossed north of $1.1 billion to date.

Fate of the Furious is also the highest-grossing film directed by an African-American director.

How to Be a Latin Lover Box Office: Fate of the Furious Wins; How to Be a Latin Lover, Baahubali Beat The Circle

Courtesy of Pantelion Films
‘How to Be a Latin Lover’
‘The Circle,’ starring Emma Watson and Tom Hanks, comes in No. 4 with $9.3 million; ‘Guardians of the Galaxy Vol. 2’ blasts off overseas with $101 million a week ahead of its domestic debut.
‘Furious 8’ Tops $1 Billion, ‘Latin Lover’ and ‘Baahubali 2’ Open Big & ‘Guardians 2’ Debuts

In an unexpected upset, How to Be a Latin Lover and Indian film Baahubali: The Connection both beat Emma Watson’s new high-tech thriller The Circle at the North American box office on the last quiet weekend before the summer season kicks off.

Overall, Universal’s The Fate of the Furious stayed atop the chart in its third weekend with $19.4 million from 4,077 theaters for a domestic total of $192.7 million. Globally, the eighth outing in the action series gunned past the $1 billion mark after clearing a massive $867.6 million offshore, including a record-breaking $361 million in China.

How to be a Latin Lover followed in the U.S. with $12 million from only 1,000 locations, well ahead of expectations and marking the biggest opening to date for Pantelion Films, a label devoted to movies targeting Hispanic audiences. Lionsgate and Televisa own Pantelion.

The comedy — made available in both English and Spanish — stars popular Mexican actor Eugenio Derbez (Instructions Not Included) and Salma Hayek. The story revolves around a lothario who is finally dumped after 25 years of marriage and must move in with his estranged sister. Rob Lowe, Kristen Bell, Raphael Alejandro, Raquel Welch and Rob Riggle also star. Nearly 90 percent of ticket buyers were Hispanic.

“We positioned the movie knowing Eugenio is huge star,” says Lionsgate distribution chief David Spitz.

If you deliver the content, the audience will show up. He has established himself as a big star. In May, going into production on a remake of Overboard, MGM. We want to be in the ED busienss.

How to Be a Latin Lover wasn’t the only film going after a specific audience that overperformed.Baahubali placed No. 3 with $10.1 million from a mere 450 theaters. That’s the top launch ever for an Indian film in the U.S. A run in 45 Imax films paid off, generating $1.8 million, an Imax record for a foreign-language film.

Baahubali, which also opened in India this weekend and is a follow up to the 2015 blockbuster, puts the spotlight on the South Indian industry, which is often overshadowed by Hindi-language Bollywood. The sequel continues the story of warring royal cousins in an ancient mythical kingdom, and stars Prabhas, Rana Daggubati, Tamannah and Anushka Shetty.

No one expected either Baahubali or How to Be a Latin Lover to do laps around The Circle, which stars Watson — who is coming off the blockbuster success of Beauty and the Beast — alongside Tom Hanks.

Directed by James Ponsoldt, The Circle came in No. 4 with $9.3 million from 3,163 theaters after getting skewered by critics and audiences, who gave the film a rare D+ CinemaScore. Heading into the weekend, EuropaCorp and STX Entertainment were hoping for $12 million.

The Circle, about invasion of privacy in the Internet age, is set in the near future at a high-tech company where a new employee (Watson) uncovers a dark agenda that will affect the lives of her friends, family and society at large. EuropaCorp acquired the project, based on Dave Eggers’ novel, for $8 million from producers Parkes+MacDonald and Image Nation Abu Dhabi, with STX handling domestic distribution duties.

John Boyega, Karen Gillan, Ellar Coltrane, Patton Oswalt and the late Bill Paxton also star in the $18 million film.

Elsewhere, Blumhouse’s genre label BH Tilt released Sleight, a thriller about a street magician that opened to a $1.7 million from 500 theaters. The film, which made its debut at the 2017 Sundance Film Festival, revolves around a young street magician who must use his wits and tricks to save his sister from kidnappers. It’s helmed by  J.D. Dillard.

The big headline overseas this weekend was Marvel and Disney’s Guardians of the Galaxy Vol. 2, which grossed $101 million from its first 37 markets, 57 percent ahead of the first film when comparing the same suite of territories.

The U.K. led with $15.5 million, the second-biggest number of the year after Beauty and the Beast. It also prospered in Australia ($11.6 million), followed by Germany ($8.3 million), France ($7.9 million), Mexico ($7.6 million), Brazil ($6.9 million), Italy ($4.1 million) and Indonesia ($3.4 million).

Guardians Vol. 2 doesn’t land in the U.S. until May 5 and has a bevy of other major markets left to open, including China, South Korea and Russia.

In limited release China Lion’s Battle for Memories brought in an estimated $210k from 42 theaters ($5,000 PTA); Oscilloscope’s One Week and a Day opened with an estimated $9,500 from 3 theaters ($3,167 PTA); Well Go’s Buster’s Mal Heart brought in $7,800 from one location; and Abramorama’s Bang! The Bert Berns Story also debuted in just one theater where it brought in an estimated $4,227.

Next weekend belongs to Guardians of the Galaxy Vol. 2, which got off to a strong start internationally this weekend, bringing in an estimated $101.2 million from ~58% of the overall international market. The film was #1 in all markets in which it opened outside of Portugal, Turkey and Vietnam and all markets topped the opening performance for the original Guardians of the Galaxy. Estimated results include the UK ($15.5M), Australia ($11.6M), Germany ($8.3M), France ($7.9M), Mexico ($7.6M), Brazil ($6.9M), Italy ($4.1M), Indonesia ($3.4M), Spain ($3.3M), Philippines ($3.2M), Thailand ($2.7M), Taiwan ($2.4M), Malaysia ($2.0M) and New Zealand ($2.0M).

As for how this performance compares to previous Marvel releases, Disney estimates the opening is +57% ahead of the original Guardians which ended with $440.2 million internationally, +50% ahead of Captain America: Winter Soldier ($454.5M internationally) and +19% ahead of Thor: The Dark World ($438.2M internationally) when comparing the same suite of territories and all at today’s exchange rates. The film has still yet to open in Russia, Korea, China and Japan.

As for Guardians 2‘s domestic debut, the film will open in ~4,200 theaters and while it was originally expected Fate of the Furious would become 2017’s second $100+ million opener until it fell short, Guardians most certainly will cross that mark as an opening around $150 million is within reach.

ff8 2 Weekend Box Office: The Promise, Unforgettable Crash; Fate of the Furious Hits $980M

Courtesy of Universal Pictures.
‘The Fate of the Furious’

‘Unforgettable’ marks a career worst for Katherine Heigl in opening to $4.8M, while Christian Bale-starrer ‘The Promise’ debuts to a paltry $4.1 million after costing $100 million to make.

Universal’s The Fate of the Furious left the competition in the dust at the North American box office, grossing $38.7 million in its second weekend for a 10-day domestic total $163.6 million and $908.4 million globally.

‘Furious 8’ Tops $900 Million Worldwide as Disney’s ‘Born in China’ Bests All Newcomers

Fate of the Furious is doing massive business overseas, where it earned another $163.4 million for a foreign total of $744.8 million — led by China with an astounding $318 million.

Back in the U.S., The Boss Baby placed No. 3 with $12.3 million for a domestic cume of $137 million, followed by Beauty and the Beast with $10 million for a global total of $1.1 billion.

Among the fresh crop of offerings, it was nothing short of a car crash, save for Disney’s nature documentary Born in China. The doc earned $5.1 million from 1,508 theaters to place No. 4 and come in ahead of the other new films.

Warner Bros.’ female-centric thriller Unforgettable, starring Katherine Heigl, debuted to a paltry $4.8 million from 2,417 locations, marking a career worst for Heigl for a nationwide opening. “It just didn’t resonate with our intended audience,” said Warner Bros. domestic distribution chief Jeff Goldstein.

Helmed by veteran producer Denise Di Novi in her feature directorial debut, Unforgettable, placing No. 7, stars Heigl as a jilted woman whose jealousy of her ex-husband’s new wife turns pathological. Rosario Dawson and Geoff Stults also star.

If there’s any solace, it is that the film cost $12 million to make.

The same can’t be said for the Armenian genocide drama The Promise, directed by Terry George and starring Christian Bale alongside Oscar Isaac. The big-budget movie opened to $4.1 million from 2,251 theaters after costing a hefty $100 million to produce. The Promise was fully financed by the late Kirk Kerkorian, who was of Armenian descent.

Open Road is handling The Promise domestically. The filmmakers say the movie has succeeded in raising awareness about the Armenian genocide regardless of its box-office performance, and that a $20 million donation will help create the The Promise Institute for Human Rights at UCLA School of Law.

The other two new films, action-comedy Free Fire and sci-fi thriller Phoenix Forgotten, had smaller footprints then their brethren but still disappointed.

Phoenix Forgotten, coming in No. 11 with $2 million from 1,592 cinemas, tells the story of three teenagers who disappear after trying to solve the mystery behind the 1997 UFO phenomenon knows as the Phoenix Lights. Ridley Scott, Wes Ball, Courtney Solomon and Mark Canton produced the movie, with Cinelou distributing.

British helmer Ben Wheatley’s Free Fire, a send-up of vintage action movies, grossed $1 million from 1,070 theaters for indie distributor A24. The pic, placing No. 18, stars Brie Larson, Sharlto Copley, Armie Hammer, Cillian Murphy and Jack Reynor.

Among other specialty fare, Fox Searchlight’s Gifted hit 10 crossed $10 million after earning another $4.5 million from 1,986 theaters.

James Grey’s The Lost City of Z expanded into a total of 614 theaters in its second weekend, earning $2.1 million to place No. 10.

ounding out the top ten is Bleecker Street’s expanded release of The Lost City of Z. After opening in four theaters last weekend the film expanded to 641 locations and brought in an estimated $2.1 million for a strong, $3,497 per theater average.

Finishing just outside the top ten is Cinelou’s Phoenix Forgotten, which opened in 1,592 theaters with an estimated $2 million and just behind it is Universal’s Get Out, which brought in an estimated $1.7 million to start its ninth week in release as the domestic cume for the $4.5 million budgeted feature has now topped $170 million.

Much further down the list we find A24’s new release Free Fire, which failed to capture audience attention, finishing with an estimated $1.03 million from 1,070 theaters.

In limited release, IFC’s Citizen Jane opened in two theaters in New York, bringing in an estimated $33,760 ($16,880 PTA) and will open in Los Angeles next week, followed by a rollout into the top fifteen markets throughout May. Additionally, The Orchard’s Jeremiah Tower also debuted in two theaters, bringing in an estimated $24,068 ($12,034 PTA).

Overall, the weekend was down 40% compared to last week as the top twelve couldn’t combine for more than $100 million for only the second time this year.

Next weekend sees the release of STX’s The Circle starring Tom Hanks and Emma Watson, Pantelion’s How to be a Latin Lover starring Eugenio Derbez and the next potential Blumhouse breakout feature, Sleight, a sci-fi actioner starring Jacob Latimore that played at the 2016 Sundance Film Festival.

the promise unforgettable Box Office: Fate of the Furious Crossing $900M; Promise, Unforgettable Bomb

Left, courtesy of Open Road Films, right, courtesy of Warner Bros.
‘The Promise,’ ‘Unforgettable’

Holdover ‘The Fate of the Furious’ continues to rule the road as new offerings ‘Phoenix Forgotten’ and ‘Free Fire’ also sink; the only new film to hold its own is Disney nature doc ‘Born in China.’

It is bombs away at the Friday box office, where four out of five new films are badly struggling, according to early returns.

Universal holdover The Fate of the Furious easily remains in the driver’s seat as it races past the $900 million mark globally. The eighth outing in the action franchise grossed $11.2 million Friday from 4,329 theaters for a projected $35 million weekend, putting it’s domestic total at $160.4 million.

Overseas, Fate will finish up the weekend with more than $750 million in foreign ticket sales — including $327 million in China alone — for a global haul north of $900 million.

Among the weekend’s new movies, Warner Bros.’ female-centric thriller Unforgettable, starring Katherine Heigl, grossed $1.7 million Friday from 2,417 locations for a forgettable $4 million-$5 million debut. If it comes in on the lower end, it could mark the lowest start of Heigl’s career in terms of a major studio title.

Helmed by veteran producer Denise Di Novi in her feature directorial debut, Unforgettable stars Heigl as a jilted woman whose jealousy of her ex-husband’s new wife turns pathological. Rosario Dawson and Geoff Stults also star in the film, which cost a modest $12 million to make.

While Unforgettable‘s financial exposure is limited, the same can’t be said for director Terry George’s Armenian genocide drama The Promise, starring Christian Bale and Oscar Isaac. The $100 million movie is projected to earn $4 million-$4.5 million from 2,251 million theaters for the weekend.

The Promise was fully financed by the late Kirk Kerkorian , who was of Armenian descent. Produced by his Survival Pictures, It is the first major U.S. film to address the massacre of Armenians during the waning days of the Ottoman Empire. Open Road is handling The Promise domestically.

Disney’s nature documentary Born in China — the one new offering that’s holding its own — could beat The Promise with $4.5 million from 1,508 theaters.

The forecast is likewise grim for the two other new films opening this weekend, action-comedy Free Fire and sci-fi thriller Phoenix Forgotten.

Phoenix Forgotten, expected to open south of $2 million from 1,592 cinemas, tells the story of three teenagers who disappear after trying to solve the mystery behind the 1997 UFO phenomenon knows as the Phoenix Lights. Ridley Scott, Wes Ball, Courtney Solomon and Mark Canton produced the movie, with Cinelou distributing.

British helmer Ben Wheatley’s Free Fire, a send-up of vintage action movies, is projected to open in the $1 million range from 1,070 theaters for indie distributor A24. The pic stars Brie Larson, Sharlto Copley, Armie Hammer, Cillian Murphy and Jack Reynor.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • The Fate of the Furious (4,329 theaters) – $35.7 M
  • The Boss Baby (3,697 theaters) – $9.7 M
  • Beauty and the Beast (3,242 theaters) – $8.4 M
  • Unforgettable (2,417 theaters) – $8.2 M
  • Born in China (1,508 theaters) – $5.8 M
  • Smurfs: The Lost Village (2,737 theaters) – $3.9 M
  • Gifted (1,986 theaters) – $3.8 M
  • Going in Style (3,038 theaters) – $3.8 M
  • The Promise (2,251 theaters) – $3.2 M
  • The Lost City of Z (614 theaters) – $2.1 M

ff8 1 Box Office: Fate of the Furious Nabs $100.2M in U.S. for Record $532.5M Global Start

Courtesy of Universal Pictures.
‘The Fate of the Furious’

Thanks to an all-time best China launch of $190 million, the eighth installment in the popular franchise surpassed the previous worldwide record launch of ‘Star Wars: The Force Awakens.’

Universal’s Fast and the Furious franchise is showing no signs of running out of gas on the world stage.

The Fate of the Furious, directed by F. Gary Gray, raced to an estimated $532.5 million global debut over Easter weekend, including $100.2 million domestically and a $432.2 million overseas.

If those estimates hold when final numbers are tallied early Monday, Furious 8 will eclipse Star Wars: The Force Awakens ($529 million) to boast the biggest worldwide opening of all time. Either way, it is assured of scoring the top international launch of all time, surpassing fellow Universal title Jurassic World ($316.7 million).

Furious 8 had the advantage of opening day-and-date in China, where it earned a massive $190 million, the biggest three-day bow in history. Overall, the tentpole debuted at No. 1 in all 63 foreign markets, and it did more business than any previous installment in 32 of those.

In North America, Furious 8 scored the second-biggest launch of the franchise behind Furious 7‘s $147 million. Furious 7 (2015) was the final film in the series to star Paul Walker, who died in a tragic car crash in November 2013. Globally, Furious 7 launched to $397.7 million (it didn’t open in China until a week later).

“This franchise is showing no sign of wear and tear,” said Universal international distribution chief Duncan Clark.

Added Universal domestic distribution president Nick Carpou: “Considering this is the second-highest opening of eight films speaks to the fact that people continue to be interested in the storyline.”

Long heralded for its diverse cast, Furious 8 played to audiences of all ethnicities and nabbed an A CinemaScore. Domestically, Caucasians made up 41 percent of the audience, followed by Hispanics (26 percent), African-Americans (21) percent, Asians (11 percent) and Native American/Other (3 percent), according to comScore’s exit polling service PostTrack. The pic skewed male at 58 percent, far more than the last film at 51 percent.

Highlights for the film’s international debut begin with the fact it was the #1 film in all 60+ territories where it opened, among which it was the largest opening in 17 of those territories: Argentina, China, Colombia, Egypt, Indonesia, Israel, Lebanon, Malaysia, Middle East, Pakistan, Panama, Peru, Portugal, South Africa, U.A.E., Venezuela and Vietnam. The largest of all of this weekend’s openings is the estimated $190 million the film brought in from China, which is the largest three-day opening weekend of all-time in China and, of course, the biggest Hollywood opening of all-time. Top grossing territories include:

  • China – $190 million
  • Mexico – $17.8 million
  • U.K. and Ireland – $17 million
  • Russia – $14.1 million
  • Germany – $13.6 million
  • Brazil – $12.8 million
  • France – $10.5 million
  • Korea – $10.5 million
  • India – $10.4 million
  • Taiwan – $9.7 million
  • Australia – $9.6 million
  • Middle East Combined – $9.3 million
  • Indonesia – $9 million
  • Argentina – $8.3 million
  • Malaysia – $6.8 million
  • Italy – $6.7 million
  • Spain – $6.1 million
  • Colombia – $5 million
  • Thailand – $4.7 million
  • Panama – $4.6 million

The Fate of the Furious has five more territories where it is set to open including today in the Philippines followed by an April 20 opening in Serbia, April 21 in Poland and Romania and an April 28 opening in Japan.

Gray is making his franchise debut after helming Straight Outta Compton for Universal. Fate of the Furious once again stars Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Elsa Pataky and Kurt Russell. Newcomers include Charlize Theron, Helen Mirren and Scott Eastwood. The story follows a villainous superhacker (Theron) who turns Diesel’s character against his crew.

The Fast and Furious movies have collectively grossed more than $3.9 billion globally. Furious 7 was far and away the biggest earner and the only installment to cross $1 billion on its way to finishing its worldwide run with $1.516 billion.

Fate of the Furious certainly spooked the competition; no other film opened against it nationwide.

At the specialty box office, The Lost City of Z did nicely for Amazon Studios and Bleecker Street, opening to $112,633 from four theaters in New York and Los Angeles for a location average of $28,158. The period adventure film, directed by James Gray and produced by Brad Pitt’s Plan B, stars Charlie Hunnam, Robert Pattinson and Sienna Miller.

Another limited offering was the animated film Spark: A Space Tail, which debuted to a miserable $100,000 from 365 theaters for Open Road and the filmmakers.

Back in the top 10, Fox and DreamWorks Animation’s The Boss Baby placed No. 2 with $15.5 million for a domestic cume of $116.5 million and worldwide haul of $287.6 million. (Fox also celebrated Logan passing the $600 million mark globally over the weekend.) Disney’s Beauty and the Beast held at No. 3 with $13.5 million for a domestic total of $454.7 million and $1.043 billion worldwide.

Sony’s Smurfs: The Lost Village continued to remain obscured, falling a steep 51 percent in its second weekend to $6.5 million for $24.7 million in North America and $94.7 million globally. New Line and Village Roadshow’s Going in Style has grossed almost as much domestically as Smurfs, earning $6.4 million in its second outing for a domestic total of $23.4 million and $35.1 million worldwide.

Outside the top five, Fox Searchlight’s expansion of Gifted didn’t exactly light the box office on fire as it played in 1,146 theaters (+1,090) and brought in an estimated $3 million ($2,618 PTA). Gifted will continue to expand to around ~1,600 theaters next weekend.

Also, for the seventh weekend in a row (a.k.a. every subsequent weekend since its release eight weeks ago), Universal and Blumhouse’s Get Out had the smallest drop within the top ten. This weekend it dipped just 28% for an estimated $2.9 million as its domestic cume now stands at $167.5 million.

A few other weekend highlights include Kong: Skull Island, which brought in an estimated $2.67 million and has now surpassed $160 million domestically and Logan, which brought in an estimated $1.9 million and has now topped $220 million domestically.

In limited release, Roadside’s Tommy’s Honour opened on 167 screens where it brought in an estimated $218,920 ($1,310 PTA). Bleecker Street’s release of The Lost City of Z brought in an estimated $112,633 from four theaters ($28,158 PTA), narrowly topping Open Road’s Spark: A Space Tail even though Open Road’s animated feature opened in 361 more theaters where it could only manage an estimated $112,352 ($308 PTA).

Also, Sony Classics’ Norman: The Moderate Rise and Tragic Fall of a New York Fixer opened with an estimated $103,664 ($20,733 PTA); Chasing Trane: The John Coltrane Documentary from Abramorama opened with an estimated $15,880 from one theater; GKIDs’ My Entire High School Sinking Into the Sea opened with an estimated $15,215 from three theaters ($5,072 PTA); Cohen Media’s Heal the Living debuted with an estimated $3,176 from two theaters ($1,588 PTA); and FilmRise’s Finding Oscar opened with an estimated $3,000 from one location.

Next weekend sees the release of five new films including the Warner Bros. thriller Unforgettable along with Open Road’s The Promise, Phoenix Forgotten from Cinelou, Free Fire from A24 and, finally, Disneynature’s Born in China.

smurfs lost village Weekend Box Office: Boss Baby Crushes Smurfs: Lost Village With $26M

Sony pictures
‘Smurfs: The Lost Village’

Elsewhere, ‘Beauty and the Beast’ holds at No. 2 as it prepares to waltz past the $1 billion mark globally. ‘Going in Style,’ catering to older adults, opens ahead of expectations.

In another box-office blow for Sony, Smurfs: The Lost Village bombed in its North American debut with an estimated $14 million from 3,610 theaters, one of the worst starts in recent memory for an animated offering from a major Hollywood studio.

Smurfs 3 was undone by a pair of hearty family holdovers, DreamWorks Animation/Fox’s The Boss Baby and Disney’s Beauty and the Beast.

Boss Baby — voiced by Alec Baldwin, who is making headlines for his impersonation of President Donald Trump on Saturday Night Live, plus his new book — stayed atop the chart in its second weekend, falling 48 percent to $26.3 million for a pleasing domestic total of $89.4 million. The movie also bossed around Smurfs overseas with $37.5 million from 46 markets for a foreign tally of $110.4 million and just shy of $200 million worldwide.

Now in its fourth weekend, Beauty and the Beast followed at No. 2 in North America with $25 million for a domestic tally of $432.3 million. The live-action fairy tale is days away from jumping the $1 billion mark globally after finishing Sunday with a dazzling global haul of $977.4 million. Beauty is winding down its run internationally, where it earned $36.1 million for the weekend.

Smurfs: Lost Village, placing No. 3 domestically, was intended to reinvigorate the franchise after Smurfs 2 earned $347.5 million worldwide in 2013, far less than the $563.7 million global tally scored by The Smurfs in 2011 (the first two titles were CGI/live-action hybrids).

Lost Village, costing a relatively modest $60 million to make, will have to do big business overseas if Sony is to get its wish and make more installments. So far, Smurfs 3 is having a tough time offshore, where it took in another $22 million from 58 markets over the weekend for a foreign cume of $42.1 million and $56.1 million globally (it opened early internationally).

Sony maintains that Lost Village can still find its way, thanks to spring break and the upcoming Easter holiday. The movie, which some rival studios have ending up closer to $13 million for the weekend, earned an A CinemaScore.

The new film centers on a mysterious map that sets Smurfette (Demi Lovato) and her friends Brainy, Clumsy and Hefty on a race through the Forbidden Forest leading to the discovery of the biggest secret in Smurf history. Rainn Wilson, Joe Manganiello and Jack McBrayer are among the voice cast and Kelly Asbury (Gnomeo & Juliet) directed.

In a surprise twist, Village Roadshow and Warner Bros.’ Going in Style — catering to the elderly set — came in well ahead of expectations with $12.5 million. More than 70 percent of the audience was over the age of 50.

Directed by Zach Braff, the $25 million movie is a remake of the 1979 heist film and stars Morgan Freeman, Michael Caine and Alan Arkin as three retirees who decide to rob a bank when their pensions go belly-up. Ann-Margret and Matt Dillon also star in Going in Style, which had been expected to open to $8 million. The movie, coming in No. 4, received a B+ CinemaScore.

The weekend’s third new nationwide offering, The Case for Christ, placed No. 10 with just $3.9 million. The faith-based drama, from Pure Flix Films, tells the real-life story of a self-avowed atheist and journalist who sets out to disprove his wife’s newfound Christian faith. Nabbing an A+ CinemaScore, Case for Christ stars Mike Vogel, Erika Christensen, Faye Dunaway and Robert Forster.

Elsewhere in the top 10, Paramount’s Ghost in the Shell, starring Scarlett Johansson and based on the popular Japanese manga series, tumbled 61 percent in its second weekend to $7.4 million for a disappointing 10-day domestic tally of $31.6 million.

Ghost in the Shell, which has been dogged by controversy for not casting an Asian star in the central role, is faring better overseas, where it topped the foreign chart with $41.1 million from 54 markets upon opening to $21.4 million in China. That puts the movie’s foreign tally $92.5 million for $124.1 million globally. However, it debuted at No. 2 in Japan with $3.2 million despite a major local marketing push by Paramount.

At the specialty box office, Niki Caro’s The Zookeeper’s Wife expanding into a total of 804 theaters after a limited debut last weekend. The Focus Features film, starring Jessica Chastain, grossed a muted $2.9 million for a 10-day domestic total of $7.6 million.

Colossal, starring Anne Hathaway as a woman who battles a Godzilla-like creature in South Korea, opened in four theaters in New York and Los Angeles, grossing $124,809 for a screen average of $31,452 the best of the weekend. The independent film marks the first release from Neon, the distribution company launched by former Radius-TWC co-chief Tomas Quinn and Alamo Drafthouse founder Tim League.

Fox Searchlight opted for a bigger footprint for Gifted, directed by Marc Webb and starring Chris Evans, Mckenna Grace and Octavia Spencer. Rolling out in 56 locations, the drama opened to $476,000.

EuropaCorp and STX Entertainment’s critically acclaimed British romantic comedy Their Finest, starring Gemma Arterton, Sam Claflin and Bill Nighy, debuted to $77,000 from four theaters in L.A. and New York for a screen average of $19,250.

Next weekend sees the release of The Fate of the Furious in over 4,200 theaters, which means it’s already looking to become the widest release of April, topping the 4,028 theaters The Jungle Book opened in last year before debuting with over $103 million and more than the 4,004 theaters Furious 7 premiered in back in 2015, when it opened with $147.1 million. One interesting factor when forecasting Furious 8 is the fact the seventh installment had the sentimental aspect surrounding the untimely passing of franchise star Paul Walker and while audience goodwill and excitement most certainly remains for the franchise, can it manage to match its predecessor’s monster opening?

In addition to its domestic debut, Fate of the Furious will also be opening in 66 international markets next week, beginning on Wednesday in Australia, France, Korea, Belgium, Egypt, Indonesia, French-Switzerland and Trinidad. Also of note, that opening includes 1,074 IMAX screens globally including North America and China, making it the widest day and date opening in IMAX history.

The Fate of the Furious Smurfs 3 and Going in Style Debut as Moviegoers Await Fast and Furious 8

Nothing major to report from last night’s Thursday preview screenings, which were led by New Line’s Going in Style, which brought in $600,000 from previews that began at 5PM. Sony’s Smurfs: The Lost Village also held 5PM preview screenings in 2,731 theaters where it brought in $375,000. Comparisons for both performances are tough to come by as the films used in our weekend preview either didn’t hold Thursday previews or we don’t have the results in our database.

We will be back tomorrow morning with a look at Friday estimates. You can read our weekend preview below.

WEEKEND PREVIEW: We’ve already seen some strong performances at the box office this year all of which have contributed to the yearly domestic box office topping $3 billion in ticket sales faster than it ever has before. Last weekend, The Boss Baby became the fifth release of 2017 to top $50 million at the weekend box office and while this weekend won’t see similar returns for the week’s new wide releases, it’s the relative calm before the storm as Universal’s The Fate of the Furious debuts next weekend, sure to become the year’s second $100+ million opener. As for this weekend, the top twelve may struggle to reach $120 million collectively as both Smurfs: The Lost Village and Going in Style are looking at relatively soft openings while Pure Flix’s The Case for Christ should find a spot in the lower half of the weekend top ten.

At the top of the box office it’s looking like another close one between Fox and DreamWorks Animation’s The Boss Baby and Disney’s Beauty and the Beast, the latter of which is entering its fourth weekend in release after recently crossing $400 million domestically and has now made over $910 million worldwide. Both films are likely to lose a little bit of their audience to the release of Smurfs: The Lost Village as the three family features must find a way to share a common audience, but we’re expecting both to drop no more than 46% this weekend. As for the forecast, we’re looking for Boss Baby to repeat at number one by a narrow margin, bringing in just over $27 million for the three-day with Beauty and the Beast estimated to bring in around $25.4 million.

As for Smurfs: The Lost Village, as opposed it its predecessors, this is a fully animated Smurfs feature. The 2011 live-action/animated hybrid debuted to $35.6 million and eventually grossed $142.6 million domestically while the sequel could only open with $17.5 million in 2013 before finishing its domestic run with $71 million. Those first two films, however, saw three-quarters of their worldwide grosses come from international markets, which is clearly the play once again with The Lost Village as it has already debuted overseas, opening in 38 markets with over $15 million last weekend. This third feature also saved on production costs, carrying a budget around $60 million, well below that of the previous two films, both of which carried budgets over $100 million.

Looking at this weekend’s domestic opening, The Lost Village is likely to perform as expected, a bit below the $17.5 million opening for The Smurfs 2, bringing in around $16 million or so from 3,610 theaters. Should this forecast hold, an overall domestic performance below $50 million could be likely.

Fourth place should go to Paramount’s Ghost in the Shell, which debuted with a very soft, $18.6 million last weekend. The film has since found itself a topic of conversation over the course of the week, and it’s the kind of conversation that’s unlikely to help its carryover prospects. Look for this one to drop over 50% this weekend as we’re forecasting an $8.6 million sophomore session.

Rounding out the top five is the week’s second new wide release, New Line’s comedy remake Going in Style starring Alan Arkin, Michael Caine and Morgan Freeman. The film is debuting in 3,061 theaters and industry expectation is for an $8 million opening for the film, which is reported to carry a $25 million budget. Attempting to find titles for comparison isn’t easy, though IMDb page view data shows it tracking well behind titles such as Last Vegas and playing closest to The Big Wedding, which opened with $7.6 million back in April 2013.

The week’s third new wide release finds Pure Flix’s faith-based feature The Case for Christ debuting in approximately 1,175 theaters this weekend as well as holding a special, Fathom event this evening on approximately 450 screens, which should help with its “weekend” haul. Industry expectations carry a rather wide range, anticipating an opening anywhere from $3-6 million, but to narrow that down a bit, IMDb page view data shows the film’s performance pacing closely to the studio’s 2015 release Woodlawn, which opened with $4 million from 1,553 theaters. Granted, the difference in theater counts is worth taking into account, but the title alone should help in getting more of the targeted audience into theaters and the Fathom premiere should definitely help with the weekend’s prospects. Overall, we’re forecasting an opening around $4.3 million, which could find it finishing around eighth place for the weekend.

Just outside the top ten, Focus is adding 265 theaters to their release of The Zookeeper’s Wife, which finished in the tenth slot last weekend with $3.2 million from 541 theaters. This weekend we’re expecting the film to hardly budge if not improve slightly, bringing in around $3.1 million.

Elsewhere, FUNimation will finally bring the overseas box office juggernaut Your Name to 303 North American theaters this weekend. The film has already brought in over $328 million internationally, of which over 65% came from Japan where it holds court as the country’s second largest domestic release ever behind Spirited Away, grossing over $214 million since hitting theaters last August.

Additional limited releases included Fox Searchlight’s Gifted, which will open in 56 theaters; Well Go’s Mine debuting in 26 locations; STX will release Their Finest in four theaters; Neon will release Anne Hathaway‘s Colossal into four theaters; and IFC is opening Graduation at two locations.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • The Boss Baby (3,829 theaters) – $27.0 M
  • Beauty and the Beast (3,969 theaters) – $25.4 M
  • Smurfs: The Lost Village (3,610 theaters) – $16.0 M
  • Ghost in the Shell (3,440 theaters) – $8.6 M
  • Going in Style (3,061 theaters) – $7.2 M
  • Power Rangers (2,978 theaters) – $6.8 M
  • Kong: Skull Island (2,753 theaters) – $5.1 M
  • The Case for Christ (1,175 theaters) – $4.3 M
  • Get Out (1,794 theaters) – $4.3 M
  • Logan (1,949 theaters) – $4.0 M