The weekend box office report is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
Weekend Estimates Update:
Disney’s Encanto debuted in first place over Thanksgiving weekend with respective estimated three-day weekend and five-day holiday starts of $27.00 million and $40.30 million. While Encanto didn’t deliver the type of opening that we are accustomed to for a Disney or Pixar animated film over Thanksgiving weekend (prior to the Covid-19 pandemic), the film opened in line with its wide-ranging expectations. Encanto also registered the largest three-day opening weekend for a fully animated film since re-opening (the second largest when counting the $31.05 million debut of computer animated / live-action hybrid Space Jam: A New Legacy). The five-day start of Encanto was 81.5 percent higher than the recent $22.21 million five-day start of Clifford the Big Red Dog. Encanto, the latest computer animated film from Walt Disney Animation Studios, was directed by Byron Howard and Jared Bush, and features original songs written by Lin-Manuel Miranda.
Encanto did prove to be a bit front-loaded towards Wednesday and Thursday for a family film opening over Thanksgiving weekend, as the film’s five-day to three-day weekend ratio stands at 1.49 to 1. Critical reviews for Encanto have been strong and the film looks to be going over very well with audiences as well, as Encanto received a strong A rating on CinemaScore and currently boasts a 93 percent Verified Audience Score on Rotten Tomatoes. The audience breakdown for Encanto skewed 62 percent female, 38 percent male, 53 percent over the age of 25 and 47 percent under the age of 25. Family audiences made up an estimated 51 percent of the film’s overall audience. Encanto is a theatrical exclusive until it also becomes available via streaming on Disney+ on Christmas Eve (December 24).
Internationally, Encanto started out with an estimated $29.3 million from 47 markets. That places the film’s global launch at $69.6 million. Encanto was especially strong throughout Latin America, including a $2.6 million opening in Colombia (the second largest opening ever for an animated film in the market, behind only Toy Story 4) and a $1.6 million start in Mexico. Additional estimated international starts for Encanto this weekend included $3.5 million in France, $2.4 million in the U.K., $2.2 million in South Korea, $2.1 million in Italy, $1.9 million in Russia, $1.8 million in Spain, $1.6 million in Japan and $0.9 million in Germany. In the coming week, Encanto will open in Australia and New Zealand.
Sony’s Ghostbusters: Afterlife finished in a closer than expected second place with respective estimated three-day weekend and five-day holiday grosses of $24.50 million and $35.25 million. For the three-day frame, Ghostbusters: Afterlife was down 44 percent, which is a very good second weekend hold for a high-profile sequel (even over Thanksgiving weekend). Ghostbusters: Afterlife was helped out this weekend by its strong word of mouth with audiences, by holding onto its IMAX screens and by this weekend’s three new wide releases serving more as indirect competition for Ghostbusters: Afterlife (as opposed to direct competition). The estimated ten-day start for Ghostbusters: Afterlife stands at a promising $87.76 million, which already gives the film a current total gross to opening weekend ratio of 1.99 to 1. IMAX screens were responsible for an estimated $2.3 million of this weekend’s domestic performance for Ghostbusters: Afterlife and have totaled $7.5 million thus far domestically. Given this weekend’s hold, don’t be surprised if next weekend Ghostbusters: Afterlife has a better than usual hold for a high-profile film over the weekend after Thanksgiving weekend.
Ghostbusters: Afterlife remained less impressive internationally this weekend with an estimated $8.6 million from 40 markets. That brings the film’s international total to $28.0 million and current global haul to $115.8 million. This weekend saw Ghostbusters: Afterlife take in $2.9 million in the United Kingdom (where the film has grossed $10.1 million to date) and $1.0 million in Mexico (where the film has grossed $4.0 million to date). Thus far Ghostbusters: Afterlife has grossed $1.7 million from international IMAX screens, which places the film’s global IMAX total at $9.2 million. It should be noted that Ghostbusters: Afterlife still has a number of major markets to open in, including France and South Korea this coming Wednesday (December 1) and Russia and Spain the following day (Thursday, December 2).
United Artists Releasing and MGM’s House of Gucci was off to a nice third place start this weekend with estimated three-day weekend and five-day holiday grosses of $14.23 million and $21.83 million. The Ridley Scott directed crime drama starring Lady Gaga and Adam Driver and also featuring Jared Leto, Jeremy Irons, Salma Hayek and Al Pacino, was no doubt driven this weekend in large part by Lady Gaga’s presence and her loyal fanbase. While what is and what isn’t a drama can be argumentative, the consensus feeling is that House of Gucci easily delivered the largest opening of 2021 for a more traditional drama, as dramas and films aimed at older moviegoers have struggled in general since re-opening. Critical reviews for House of Gucci have been mixed (albeit more positive than negative), but House of Gucci proved to be critic-proof this weekend and also looks to be going over significantly better with audiences than with critics after receiving solid B+ rating on CinemaScore (as well as currently boasting an 85 percent Verified Audience Score on Rotten Tomatoes). The film’s estimated five-day to three-day weekend ratio of 1.53 to 1 is also respectable when factoring in the rush-out of Lady Gaga’s fanbase. The audience breakdown for House of Gucci skewed 59 percent female and 41 percent male. The film did well with older moviegoers (especially in the current environment), as 34 percent of the film’s audience was over the age of 45.
Internationally (where the film is being handled by Universal in most markets and by MGM in others), House of Gucci started out with an estimated $12.8 million from 40 markets. Through Sunday, respective totals for House of Gucci stand at $12.9 million internationally and $34.7 million globally. Estimated international debuts for House of Gucci this weekend included $3.42 million in the United Kingdom, $1.85 million in France, $0.98 million in Mexico, $0.80 million in Spain, $0.63 million in the Netherlands, $0.63 million in Ukraine and $0.48 million in Brazil. This coming week House of Gucci will open in Germany and Russia on Thursday.
Disney’s Eternals placed in fourth with respective estimated three-day weekend and five-day holiday grosses of $7.90 million and $11.40 million. With the aid of the Thanksgiving holiday frame, Eternals was finally able to stabilize this weekend, as the film’s three-day weekend was down just 29 percent from last weekend. Eternals is estimated to pass the $150 million domestic mark on Sunday; making it the seventh film since re-opening to do so. The 24-day domestic total for Eternals stands at $150.64 million. Internationally, Eternals took in an estimated $10.2 million this weekend from 49 markets. Through Sunday, respective estimated totals for Eternals stand at $217.8 million internationally and $368.4 million globally. In the coming week, Eternals will open in the Philippines and Vietnam.
Sony and Screen Gems’ Resident Evil: Welcome to Raccoon City rounded out the weekend’s top five with respective three-day weekend and five-day holiday takes of $5.28 million and $8.80 million. The Johannes Roberts directed action horror film opened under its already modest expectations. Resident Evil: Welcome to Raccoon City represents both the seventh film of the Resident Evil franchise and a reboot of the series. Resident Evil: Welcome to Raccoon City was actually off to an encouraging $2.50 million start on Wednesday (including Tuesday previews), but quickly lost momentum beginning on Thursday, which led to the film having a concerning five-day to three-day weekend ratio of 1.67 to 1. Internationally, Resident Evil: Welcome to Raccoon City started out with an estimated $5.1 million from 15 select markets. That places the film’s current global total at $13.9 million. In the coming week Resident Evil: Welcome to Raccoon City will open in Brazil on Thursday and in the United Kingdom on Friday.
Paramount’s Clifford the Big Red Dog was down 40 percent over the three-day weekend to fall to sixth with an estimated $4.88 million. Clifford the Big Red Dog took in an estimated $6.90 million over the five-day holiday frame, which brings the film’s 19-day total to a solid $42.88 million.
In its second weekend of release, Warner’s King Richard declined 39 percent over the three-day weekend to place in seventh with an estimated $3.30 million. For the five-day holiday frame, King Richard grossed an estimated $4.73 million. Despite the film’s healthy second weekend hold, the ten-day start for the critically acclaimed King Richard stands at just $11.38 million.
The holiday frame also saw Warner Bros. and Legendary’s Dune surpass the $100 million domestic mark. For the three-day weekend, Dune was down just 32 percent to claim eighth place with an estimated $2.17 million. Dune took in an estimated $3.00 million over the five-day holiday frame and has grossed $102.24 million through 38 days of domestic release.
In other box office news, United Artists Releasing and MGM had more good news this weekend, as Licorice Pizza had an extremely successful platform launch with an estimated $335,408 from 4 locations in New York City and Los Angeles. The critically acclaimed Paul Thomas Anderson directed film featuring Alana Haim, Cooper Hoffman, Sean Penn and Bradley Cooper easily registered the highest per-location average of any film since re-opening with an average of $83,852. In addition to the film’s strong critical reviews and awards season buzz, Licorice Pizza playing in 70MM at all four of its locations this weekend helped further the excitement for the film in New York and Los Angeles. Licorice Pizza is currently scheduled to expand to wide release on Christmas Day.