The weekend box office report is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
Weekend Actuals Update:
Warner Bros. and Legendary’s Dune was off to a very solid first place start this weekend with an estimated $40.10 million. The Denis Villeneuve directed adaptation of the Frank Herbert sci-fi novel opened on the high-end of consensus expectations. Dune features an ensemble cast that includes Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista and Zendaya. As with Warner’s other 2021 releases, Dune opened day-and-date this weekend, theatrically and via streaming on HBO Max. Dune outpaced the $31.63 million three-day opening weekend of Godzilla vs. Kong back in April to deliver the largest opening weekend to date for a day-and-date release from Warner Bros., though it should also be noted that the three-day weekend for Godzilla vs. Kong was deflated somewhat from that film having opened on a Wednesday. Dune also outpaced the $32.75 million pre-pandemic start of Villeneuve’s previous film, Blade Runner 2049; back in October of 2017 (Warner Bros. also released Blade Runner 2049 domestically). Dune registered the eighth largest opening weekend since the re-opening of domestic theatres. If Dune remains above $40 million for the weekend with actuals, all four of this October’s event films (Venom: Let There Be Carnage, No Time To Die, Halloween Kills & Dune) will have opened with at least $40 million domestically.
Dune started out with $17.5 million on Friday (which included an estimated $5.1 million from Thursday preview shows that began at 6PM), decreased a respectable 22 percent on Saturday to take in $13.7 million and is estimated to decline 35 percent on Sunday to gross $8.9 million. Dune performed especially well on IMAX screens this weekend; as the film grossed an estimated $9.03 million from the format. That represented 22.5 percent of this weekend’s overall domestic performance. Together, all premium formats (including IMAX, PLF, Dolby Cinema, D-Box & 3D) were responsible for 50 percent of this weekend’s overall gross for Dune. Top DMA markets for Dune this weekend included Los Angeles, New York City, California Bay Area, Seattle, Dallas, Salt Lake City, Toronto, Washington D.C., Chicago & Denver.
Dune has gone over well with critics and also looks to be going over well with initial audiences as the film received a healthy A- rating on CinemaScore. Warner Bros. day-and-date releases available on HBO Max have tended to be quite front-loaded towards opening weekend theatrically, but Dune may be able to hold up at least somewhat better than most other Warner Bros. day-and-date releases due in part to the film’s good early word of mouth and the continued demand to see the film in IMAX (until Dune loses its IMAX screens to Disney’s Eternals on November 5). The audience breakdown for Dune skewed 62 percent male, 38 percent female, 28 percent under 25 and 72 percent over 25 (though it should also be noted that 38 percent of the film’s audience was over 35, as the 25 – 34 demo represented a significant 34 percent of the film’s audience).
Internationally, Dune grossed an estimated $47.4 million this weekend from 75 markets. That brings the film’s international total to $180.6 million and current global haul to $220.7 million. International openings for Dune this weekend included $22.2 million in China, $7.5 million in the United Kingdom, $3.4 million in South Korea, $2.0 million in Mexico, $1.3 million in Poland and $0.9 million in Brazil. Additional estimated totals by market for Dune through Sunday include $27.4 million in France, $20.8 million in Russia, $18.9 million in Germany, $8.8 million in Spain, $8.2 million in Italy, $5.3 million in the Netherlands, $5.2 million in Taiwan, $4.1 million in Denmark, $3.9 million in Sweden and $3.7 million in Japan. Dune grossed an estimated $17.8 million from global IMAX screens this weekend, with $8.8 million of that total coming from international IMAX screens (including $5.1 million from China). Respective current IMAX totals for Dune stand at $20.2 million internationally and $29.2 million globally.
After debuting in first place last weekend, Universal’s Halloween Kills was down one spot to place in second this weekend with an estimated $14.50 million. Halloween Kills declined a very sharp 71 percent this weekend, though a decline of that magnitude had pretty much been expected due to the film’s initial front-loading during its first week of release, the film not looking to have gone over as well with audiences as its processor did (2018’s Halloween), Halloween Kills also being available via streaming on Peacock and the new competition the film faced this weekend from Dune. In the bigger picture, the ten-day start for the relatively modest priced Halloween Kills stands at a healthy $73.10 million. Furthermore, Halloween Kills could stabilize in a big way next weekend (if only for a weekend), thanks to the Halloween weekend frame which will see Halloween fall on Sunday this year.
Halloween Kills opened in a number of new international markets this weekend, which led to the film grossing an estimated $10.1 million internationally for the frame from 53 markets. Debuts for Halloween Kills this weekend included $1.45 million in Germany, $0.85 million in France, $0.75 million in Russia, $0.67 million in Spain and $0.67 million in Italy. Additional totals by market for Halloween Kills through Sunday include $4.36 million in the United Kingdom, $2.44 million in Mexico, $0.82 million in Brazil and $0.53 million in Sweden. Respective total grosses for Halloween Kills stand at $17.8 million internationally and $90.9 million globally. Halloween Kills will open in additional international markets in the coming week, including South Korea on Wednesday (October 27), Australia on Thursday (October 28) and Japan on Friday (October 29).
United Artists Releasing and MGM’s No Time To Die claimed third place with an estimated $11.89 million. No Time To Die was down a sizable 50 percent from last weekend, but the film’s hold was also a respectable one given that No Time To Die faced very direct new competition from Dune this weekend and also lost its IMAX screens to Dune. The 17-day total for No Time To Die stands at $120.04 million. Thanks in part to continued strong midweek business, the current total gross to opening weekend ratio for No Time To Die stands at an encouraging 2.17 to 1. With the opening weekend of Dune behind us, No Time To Die is likely to further stabilize next weekend.
No Time To Die remained more impressive internationally this weekend with an estimated $33.1 million from 72 markets. This weekend saw No Time To Die pass the $400 million international mark and the $500 million global mark. No Time To Die joins F9 as the only Hollywood films to reach the $500 million global mark since the re-opening of theatres. Respective current totals for No Time To Die stand at $405.6 million internationally and at $525.7 million globally (with an estimated $34.2 million of that total coming from global IMAX screens). International totals for No Time To Die through Sunday (in markets being handled by Universal) include $106.0 million in the United Kingdom, $56.0 million in Germany, $21.6 million in France, $18.7 million in Japan, $16.0 million in the Netherlands, $10.9 million in Russia and $9.2 million in (German-Speaking) Switzerland. This coming Friday will see No Time To Die debut in China.
Sony’s Venom: Let There Be Carnage followed in fourth place with an estimated $9.10 million. While Venom: Let There Be Carnage has been front-loaded towards opening weekend overall, the film continued to stabilize this weekend by declining a very respectable 45 percent. With a 24-day total of $181.83 million, Venom: Let There Be Carnage is currently the third highest grossing film domestically since re-opening and will soon surpass the $183.65 million total domestic gross of Black Widow to move into second place (behind only Shang-Chi and the Legend of the Ten Rings).
Internationally, Venom: Let There Be Carnage grossed an estimated $38.3 million this weekend from 53 markets. Of note is that Venom: Let There Be Carnage took first place in 31 of 53 of those markets this weekend. Current respective totals for the film stand at $170.6 million internationally and $352.4 million globally. This weekend saw Venom: Let There Be Carnage debut with $5.2 million in France and $4.3 million in Germany (including previews in both markets), $0.91 million in Sweden, $0.83 million in the Netherlands and $0.78 million in Austria. Additional current totals for Venom: Let There Be Carnage by market include $30.3 million in Russia, $19.8 million in Mexico, $14.6 million in the United Kingdom, $14.2 million in South Korea, $9.0 million in Brazil, $6.6 million in Spain, $6.1 million in Italy and $4.2 million in Taiwan.
Disney and 20th Century’s Ron’s Gone Wrong started out in fifth place this weekend with an estimated $7.30 million. The Jean-Philippe Vine and Sarah Smith directed computer animated film from Locksmith Animation opened in line with its modest consensus expectations, which had tended to range from $6 million to $10 million heading into the weekend. Despite good critical reviews and opening exclusively in theatres, Ron’s Gone Wrong opened below most of this year’s other computer animated films (which have been tending to open in the teen-millions range), though that had been expected. Ron’s Gone Wrong was able to open just ahead of the $6.10 million start of Spirit Untamed back in June.
Ron’s Gone Wrong looks to be going over very with audiences as the film received a strong A rating on CinemaScore and currently boasts a 96 percent Verified Audience Score on Rotten Tomatoes. The audience breakdown for Ron’s Gone Wrong skewed 50 percent male, 50 percent female, 62 percent under 25 and 38 percent over 25. Family audiences made up an estimated 77 percent of the film’s overall audience. Internationally, Ron’s Gone Wrong grossed an estimated $7.3 million this weekend from 40 markets. Current totals for the film stand at $10.0 million internationally and $17.3 million globally. Ron’s Gone Wrong has grossed $2.4 million in the United Kingdom (where the film opened last weekend) and $1.2 million in Russia (where the film opened this weekend).
Fellow computer animated film The Addams Family 2 followed in sixth place with an estimated $4.34 million. The United Artists Releasing and MGM release was down a solid 39 percent, as the film looks to have taken a bit of a hit from the new competition from Ron’s Gone Wrong for family audiences this weekend. The Addams Family 2 is quickly approaching the $50 million domestic mark, as the film has grossed $48.32 million through 24 days. Internationally, The Addams Family 2 grossed an estimated $4.5 million this weekend from 23 markets being handled by Universal (the film is also being handled by MGM in other international markets). Through Sunday The Addams Family 2 has grossed an estimated $23.0 million from international markets being handled by Universal (including $7.1 million in the United Kingdom, $5.1 million in Russia, $3.2 million in Spain, $2.0 million in Mexico and $1.8 million in France).
Meanwhile, Disney and 20th Century’s The Last Duel landed in seventh place with an estimated $2.10 million and Disney’s Shang-Chi and the Legend of the Ten Rings followed closely behind in eighth with an estimated $2.00 million. The two films are close enough to one another that they obviously could still switch places in this weekend’s rankings when actuals are released on Monday. The Last Duel was down a sharp 56 percent from last weekend’s already soft debut, while Shang-Chi declined a solid 40 percent from last weekend. Shang-Chi and the Legend of the Ten Rings has grossed $221.03 million through 52 days, to remain the highest grossing film domestically since re-opening. On the other hand, the ten-day total for The Last Duel stands at a very disappointing $8.52 million.
On the platform front, the specialty market had some much needed good news with Disney’s launch of Searchlight’s The French Dispatch. The Wes Anderson directed anthology film featuring an ensemble cast grossed an estimated $1.30 million from just 52 locations, for a strong per-location average of $25,000 for the frame. With the film’s per-location average this weekend in mind, The French Dispatch no doubt had the most impressive debut for a specialty release since the re-opening of domestic theaters. This weekend’s platform launch for The French Dispatch is made even more impressive when considering that the film hasn’t gone over as well with critics as most of Anderson’s previous films have (though on the average, reviews for The French Dispatch have still been good). In addition to being very strong in both New York City and Los Angeles, The French Dispatch also performed very well in Portland, Toronto and Vancouver (Canada). The French Dispatch took ninth place among all films this weekend. This coming Friday The French Dispatch is scheduled to play in over 600 locations, while the film will receive another expansion the following Friday (November 5).