The weekend box office report is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
Weekend Estimates Update:
Universal’s Old outpaced fellow new release Paramount’s Snake Eyes in a fairly close race for first place this weekend. Old debuted with an estimated $16.50 million, which was on the high end of consensus expectations. While Snake Eyes had the added advantages of playing on IMAX screens and playing in 166 more locations than Old this weekend, Old was ultimately able to make up for those factors this weekend thanks to greater anticipation among its respective fanbase. Writer-director M. Night Shyamalan was no doubt the driving force behind the performance of Old this weekend and Old represented the third consecutive first place opening for Shyamalan, joining fellow Universal releases 2017’s Split and 2019’s Glass (2015’s The Visit, also a Universal release from Shyamalan, debuted in a very close second place). While critical reviews for the horror film starring Gael García Bernal and Vicky Krieps have been mixed, those reviews were still good enough on the average not to harm Old at the box office this weekend. Compared to other recent horror films, Old opened 31.5 percent ahead of the $12.55 million start of fellow Universal release The Forever Purge earlier this month and coincidently 31.5 percent behind the $24.10 million launch of The Conjuring: The Devil Made Me Do It last month. Old received a C+ rating on CinemaScore, which is respectable for a horror film and suggests that the film is going over with audiences similarly as it has with critics. One other factor to remember in this weekend’s race between Old and Snake Eyes is that Old had a far less expensive production budget than Snake Eyes did.
Internationally, Old started out with an estimated $6.5 million this weekend from 23 markets. That places the film’s global launch at $23.0 million. International starts for Old this weekend included $2.10 million in Russia, $1.15 million in the United Kingdom, $0.85 million in Mexico, $0.64 million in Italy and $0.53 million in France. In the coming week Old will open in Brazil and Germany on Thursday (July 29) and in Spain the following day (July 30).
Paramount’s Snake Eyes: G.I. Joe Origins had to settle for second place this weekend with an estimated $13.35 million. The Robert Schwentke directed G.I. Joe franchise reboot starring Henry Golding debuted just under expectations, which were already relatively modest to begin with for a G.I. Joe film. Snake Eyes looks to have been hurt this weekend by coming across just as much as a spin-off as it has a reboot. Mixed critical reviews (which have been more negative than positive on the average) and a scaled back marketing campaign for a franchise film also took a toll on the potential of Snake Eyes this weekend. As mentioned, Snake Eyes did receive a boost this weekend from playing on IMAX screens, which were responsible for a significant estimated $1.8 million (13.5 percent) of this weekend’s overall domestic gross. Snake Eyes received a B- rating on CinemaScore. While that suggests that the film is going over a bit better with audiences than it has with critics, on the other hand that rating is also significantly lower that the B+ and A- CinemaScore ratings received by the previous two G.I. Joe films. With that in mind, it will be difficult for Snake Eyes to hold up well going forward, especially with the film soon to be facing new direct competition from both Disney’s Jungle Cruise (beginning this coming Friday) and Warner’s The Suicide Squad (beginning the following week on Friday, August 6). Internationally, Snake Eyes grossed just $4.0 million from 37 markets this weekend. That places the film’s global start at $17.4 million.
Disney’s Black Widow placed in a relatively close third this weekend with an estimated $11.60 million. While Black Widow is starting to stabilize some, the film was still down a sharp 55 percent from last weekend. The start of the long-delayed 2020 Summer Olympics in Tokyo on Friday and growing concerns over the Delta variant of COVID-19 in North America both look to have taken a toll on holdovers in general this weekend. With that said, Black Widow looks like it would have still been on course for a sizable decline this weekend even without those overall marketplace factors in play, due in part to the film also losing its IMAX screens to Snake Eyes this weekend. Despite the continued front-loading, with a 17-day total of $154.81 million, Black Widow remains the third highest grossing film domestically since the re-opening of theatres and will soon zoom past A Quiet Place Part II (which has grossed $157.52 million to date) to move into second place (behind only F9).
This weekend also saw Black Widow pass the $300 million global mark. After taking in an estimated $14.5 million internationally this weekend from 48 markets, respective totals for Black Widow through Sunday stand at $160.1 million internationally and $314.9 million globally. South Korea remains the film’s top international market with $23.1 million, followed by the United Kingdom with $19.0 million, France with $12.9 million, Mexico with $8.9 million, Australia with $8.6 million, Russia with $8.5 million, Japan with $7.3 million, Hong Kong with $6.0 million, Germany with $5.8 million, Brazil with $5.6 million and Spain with $5.6 million.
After last weekend’s stronger than expected first place performance, Warner’s Space Jam: A New Legacy fell three spots and a troubling 69 percent this weekend to land in fourth place with an estimated $9.56 million. The film’s second weekend decline takes some of the luster away from last weekend’s debut, especially since Space Jam: A New Legacy didn’t have Thursday preview shows last weekend and no longer had to deal with the NBA Finals this weekend. In general, Warner’s day-and-date HBO Max releases have tended to experience sharp second weekend theatrical declines, but this weekend’s decline for Space Jam: A New Legacy was still sharp even with that in mind. Back in March Warner’s Tom & Jerry fell 54 percent in its second weekend, but the second weekend decline for Space Jam: A New Legacy ended up being closer to 73 percent second weekend decline of Mortal Kombat at the end of April / start of May. Like Mortal Kombat, Space Jam: A New Legacy also initially benefited from nostalgic fans of its 1990s predecessor rushing out on opening weekend. Unlike Mortal Kombat, Space Jam: A New Legacy will still have a chance of significantly stabilizing going forward, thanks in part to no new animated films entering the marketplace until Paramount’s PAW Patrol: The Movie does so on August 20. The ten-day domestic total for the expensive Space Jam: A New Legacy stands at $51.37 million.
Thanks in part to debuts of $1.3 million in Spain and $1.0 million in France, Space Jam: A New Legacy was able to hold up better internationally than domestically this weekend. Space Jam: A New Legacy grossed an estimated $12.6 million from 66 international markets this weekend, which brings the film’s international total to $42.6 million and current global haul to $94.0 million. Additional international totals for Space Jam: A New Legacy through Sunday include $7.3 million in Australia, $5.6 million in Mexico, $5.0 million in the United Kingdom, $2.6 million in Russia, $1.6 million in Brazil, $1.5 million in Germany and $1.5 million in Colombia.
Universal’s F9 rounded out the weekend’s top five with an estimated $4.70 million. F9 was down a solid 39 percent from last weekend, which actually represented this weekend’s best percentage hold among current wide releases. F9 is currently the highest grossing film since the re-opening of domestic theatres with a 31-day gross of $163.40 million. Internationally, F9 added an estimated $11.6 million this weekend from 59 markets. Respective totals for F9 through Sunday stand at $457.9 million internationally and at $621.3 million globally (as F9 remains the highest grossing Hollywood film globally since re-opening). F9 will open in Japan on Friday, August 6.
Additional estimated grosses this weekend include $3.40 million for Sony’s Escape Room: Tournament of Champions (for sixth), $2.70 million for Universal and DreamWorks Animation’s The Boss Baby: Family Business (for Seventh) and $2.30 million for Universal’s The Forever Purge (for eighth). Escape Room: Tournament of Champions was down a very sharp 61 percent in its second weekend, while The Boss Baby: Family Business and The Forever Purge experienced similar respective declines of 43 percent and 44 percent. Respective total domestic grosses stand at $50.13 million for The Boss Baby: Family Business through 24 days, at $40.31 million for The Forever Purge through 24 days and at $16.05 million for Escape Room: Tournament of Champions after ten days.
Internationally this weekend, The Boss Baby: Family Business grossed an estimated $7.2 million from 18 markets (to bring its international total to $11.2 million and global haul to $61.3 million), The Forever Purge grossed an estimated $2.3 million from 39 markets (to bring its international total to $17.2 million and global haul to $57.5 million) and Escape Room: Tournament of Champions grossed an estimated $2.0 million from 18 markets (to bring its international total to $8.0 million and global haul to $24.0 million).
In the specialty market, Roadside’s Joe Bell was unable to keep up the per-location average momentum of Focus’ Roadrunner: A Film About Anthony Bourdain and NEON’s Pig last weekend. Joe Bell placed in eleventh among all films this weekend, with an estimated $0.71 million from 1,094 locations (for a per-location average of just $646). The already modest potential for the Mark Wahlberg-led Joe Bell was further limited by the film’s mostly negative critical reviews. In their respective second weekends of release, Roadrunner grossed an estimated $0.83 million from 954 locations (for a per-location average of $870) and Pig grossed an estimated $0.57 million from just 588 locations (for a per-location average of $961). Respective ten-day totals stand at $3.70 million for Roadrunner: A Film About Anthony Bourdain and at $2.03 million for Pig.