The weekend box office report is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
Weekend Estimates Update:
Sony’s Ghostbusters: Afterlife was off to a healthy first place start this weekend with an estimated $44.00 million. The Jason Reitman directed horror comedy sequel starring Carrie Coon, Finn Wolfhard, Mckenna Grace, and Paul Rudd opened on the high end of the film’s wide-ranging consensus expectations. It should also be noted that Ghostbusters: Afterlife was off to a very nice start with the film’s budget in mind, as Ghostbusters: Afterlife was significantly less expensive than most high-profile sequels. Ghostbusters: Afterlife registered the ninth largest opening weekend since the re-opening of domestic theaters, as the film opened ahead of the $41.01 million launch of Dune last month and below the $47.55 million start of A Quiet Place Part II back in May. Ghostbusters: Afterlife did open just below the $46.02 million opening weekend of 2016’s Ghostbusters, though Ghostbusters: Afterlife hadn’t been expected to open higher than Ghostbusters (2016) and also carried a much smaller production budget than that of Ghostbusters (2016).
Ghostbusters: Afterlife started out with $16.50 million on Friday (which included an estimated $4.5 million from Thursday preview shows), declined a slim 2 percent on Saturday to gross $16.17 million and is estimated to decrease 30 percent on Sunday to take in $11.33 million. Saturday’s percentage hold (which was a 35 percent increase when not including Thursday preview grosses towards Friday) is an early sign that Ghostbusters: Afterlife is going over well with audiences and also appealing to family audiences. The film’s current 96 percent Verified Audience Score on Rotten Tomatoes also suggests that Ghostbusters: Afterlife is going over much better with audiences than it has with critics (critical reviews for Ghostbusters: Afterlife have been mixed, albeit more positive than negative). With the ongoing holiday season and seemingly better word of mouth than that of Ghostbusters (2016), Ghostbusters: Afterlife will have a very good chance of holding up well going forward. Ghostbusters: Afterlife grossed an estimated $3.7 million from domestic IMAX screens this weekend, which represented 8.4 percent of this weekend’s overall domestic gross.
Internationally, Ghostbusters: Afterlife started out with an estimated $16.0 million this weekend from 31 markets. That places the film’s global start at an estimated $60.0 million. International debuts for Ghostbusters: Afterlife this weekend included $5.8 million in the United Kingdom, $2.4 million in Mexico, $1.4 million in Italy and $1.2 million in Germany. Ghostbusters: Afterlife grossed an estimated $1.0 million from international IMAX screens, which places the film’s current global total at $4.7 million.
Meanwhile, Disney’s Eternals was unable to stabilize this weekend as the latest installment of the Marvel Cinematic Universe declined a sharp 60 percent and one spot to land in a distant second place with $10.83 million. The strong start of Ghostbusters: Afterlife, Eternals losing its IMAX screens to Ghostbusters: Afterlife and word of mouth for Eternals being mixed by typical MCU standards are factors that all look to have taken a toll on Eternals this weekend. The 17-day total for Eternals stands at $135.82 million. Eternals will hope to finally stabilize, at least in the short term, over the upcoming Thanksgiving holiday weekend frame.
At the same time, Eternals remained more impressive internationally than domestically, as the film grossed an estimated $22.7 million internationally this weekend from 49 markets. Eternals is estimated to surpass the $200 million international mark on Sunday with an estimated $200.3 million to date internationally. Globally, Eternals has grossed $336.1 million through Sunday. Estimated international totals by market for Eternals through Sunday include $25.2 million in South Korea, $17.3 million in the United Kingdom, $13.7 million in France, $13.3 million in Mexico, $10.5 million in Brazil, $9.4 million in Australia, $8.7 million in Italy, $8.5 million in Japan, $8.1 million in Germany, $8.0 million in Taiwan, $7.6 million in Russia, $6.9 million in Spain and $6.2 million in Hong Kong.
Paramount’s Clifford the Big Red Dog was down one spot from last weekend to claim third with an estimated $8.10 million. Clifford the Big Red Dog declined a sizable 51 percent from last weekend’s stronger than expected start, which was a bit surprising given the film’s A rating on CinemaScore and that last weekend’s three-day gross was deflated somewhat by the film’s midweek opening. New indirect competition from Ghostbusters: Afterlife and Clifford the Big Red Dog continuing to also be available via streaming on Paramount+ both look to have taken a toll on this weekend’s hold for the film. In the bigger picture, the twelve-day total for Clifford the Big Red Dog stands at a solid $33.51 million. Clifford the Big Red Dog will soon be facing new direct competition for family audiences, as Disney’s Encanto is set to open this coming Wednesday (November 24).
Warner’s King Richard started out in fourth place with an estimated $5.70 million. That was below the film’s already modest pre-release expectations. Despite terrific critical reviews and being widely considered as one of the year’s awards season favorites, the Reinaldo Marcus Green directed drama starring Will Smith as Richard Williams (father of tennis players Venus Williams and Serena Williams), just wasn’t able to have much of a theatrical presence this weekend. King Richard, which opened day-and-date this weekend theatrically and via streaming on HBO Max, represents yet another HBO Max release that has struggled to gain traction at the theatrical box office. While the theatrical performance of King Richard was always going to be more about the film’s holding power, this weekend’s debut was soft enough that holding onto screens and locations will now be more difficult for King Richard going forward. On a positive note, in addition to going over exceptionally well with critics, King Richard also looks to be going over very well with audiences, as the film received a strong A rating on CinemaScore. Internationally, King Richard grossed an estimated $2.5 million this weekend from 30 mostly smaller markets. That places the film’s current global total at $8.2 million. This weekend saw King Richard open with $0.78 million in the United Kingdom, $0.35 million in Saudi Arabia and $0.26 million in Russia.
Estimated holdover grosses for high-profile holdovers still in the marketplace included a fifth place take of $3.07 million for Warner Bros. and Legendary’s Dune, a sixth place gross of $2.80 million for Sony’s Venom: Let There Be Carnage and an eighth place haul of $2.71 million for United Artists Releasing and MGM’s No Time To Die. Venom: Let There Be Carnage continued to hold up very well by declining just 29 percent from last weekend, but Dune (-45 percent) and No Time To Die (-40 percent) both look to have taken a direct hit from the arrival of Ghostbusters: Afterlife this weekend. Respective domestic totals stand at $206.50 million for Venom: Let There Be Carnage through 52 days, at $154.69 million for No Time To Die through 45 days and at $98.19 million for Dune through 31 days.
With an estimated current global total of $734.1 million, No Time To Die has surpassed the $725.3 million total gross of F9 to become the highest grossing Hollywood film globally since re-opening. This weekend No Time To Die grossed an estimated $11.9 million from 72 markets, which brings the film’s international total to $579.4 million.
Venom: Let There Be Carnage grossed an estimated $6.8 million internationally this weekend from 57 markets (including a $2.0 million debut in Indonesia), which brings the film’s international total to $248.2 million and global haul to $454.7 million. Dune grossed an estimated $4.6 million internationally this weekend from 75 markets, which places the film’s international total at $268.9 million and global total at $367.1 million.