The weekend box office report is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
Weekend Estimates Update:
Disney’s Eternals arrived in the marketplace this weekend with an estimated first place debut of $71.00 million. The latest installment of the Marvel Cinematic Universe was directed by Chloé Zhao and features an ensemble cast that includes Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Kit Harington, Salma Hayek, and Angelina Jolie. While Eternals started out a bit below consensus expectations, the film still delivered the fourth largest three-day opening weekend since the re-opening of domestic theatres; behind only Venom: Let There Be Carnage, Black Widow and the $75.39 million opening of Shang-Chi and the Legend of the Ten Rings (and just ahead of the $70.04 million debut of Universal’s F9). Heading into the weekend, expectations for Eternals had already been scaled back a bit due in part to the film’s mixed critical reviews (films within the Marvel Cinematic Universe typically go over very well with critics). And similarly to the recent No Time To Die, the 157 minute length of Eternals also looks to have held back opening weekend potential a bit for the film.
Eternals started out with $30.70 million on Friday (including an estimated $9.5 million from Thursday preview shows that began at 6PM), declined a reasonable 21.5 percent on Saturday to take in $24.1 million and is estimated to decrease 33 percent on Sunday to gross $16.20 million. The audience breakdown for the film skewed 61 percent male, 39 percent female, 53 percent under 25 and 47 percent over 25. Family audiences made up an estimated 15 percent of the film’s overall audience. The opening weekend audience demographics for Eternals were very similar to those of Shang-Chi (which skewed 61 percent male, 39 percent female, 50 percent under 25, 49 percent over 25 and 12 percent towards family audiences).
One troubling aspect for Eternals this weekend and going forward is that while the film appears to be going over somewhat better with audiences than it has with critics, at the same time the film doesn’t appear to be going over significantly better with audiences than with critics. Eternals received a B rating on CinemaScore and while that would normally be a respectable score in general, it’s a lackluster rating for a comic book adaptation and is the lowest CinemaScore rating ever for the typically dependable Marvel Cinematic Universe (prior to Eternals, 2011’s Thor was the only Marvel Cinematic Universe film to receive a CinemaScore rating lower than an A-, with a B+ rating). The film’s relatively mixed word of mouth should lead to front-loading for Eternals going forward, though at the same time the film will also get a boost from the rest of this November’s line-up likely not providing the strongest competition and from some relative built-in back-loading as a result of the film’s lengthy run-time (which limited the film’s opening weekend showtimes per location a bit).
Eternals grossed an estimated $7.6 million from domestic IMAX screens this weekend, which represented 10.7 percent of the film’s overall weekend performance. All combined premium formats (including IMAX) made up 37 percent of this weekend’s overall performance.
Eternals was a bit more impressive internationally this weekend with an estimated $90.7 million from 46 markets. That places the film’s global launch at $161.7 million. According to Disney, Eternals opened 76 percent stronger than Shang-Chi and 26 percent ahead of Black Widow in the same combined international markets. International debuts for Eternals this weekend included $14.4 million in South Korea, $7.1 million in the United Kingdom, $6.7 million in France, $5.7 million in Mexico, $5.0 million in Australia, $4.6 million in Italy, $4.3 million in Germany, $4.2 million in Brazil, $3.8 million in Taiwan, $3.7 million in Japan, $3.4 million in Hong Kong and $3.0 million in Spain. Eternals grossed an estimated $6.0 million from international IMAX screens, which places the film’s global IMAX total at $13.6 million. This coming week, Eternals will open in Russia on Monday (November 8) and in Indonesia and the United Arab Emirates later in the week.
After leading the box office each of the past two weeks, Warner Bros. and Legendary’s Dune was down one spot to place in second this weekend with an estimated $7.62 million. While Dune declined a sizable 51 percent from last weekend, that also represented a very respectable hold given that Dune lost its IMAX screens to Eternals this weekend (especially given how strong Dune had been performing on IMAX). Furthermore, this weekend’s hold is a good sign for Dune being able to continue to stabilize going forward. With a 17-day total of $83.95 million, Dune is currently in good shape to eventually reach the $100 million domestic mark.
Internationally, Dune grossed an estimated $11.1 million this weekend from 75 markets. Through Sunday, respective estimated totals for Dune stand at $246.5 million internationally and $330.4 million globally. Estimated totals by market for Dune through Sunday include $36.7 million in China, $30.2 million in France, $23.0 million in the United Kingdom, $21.0 million in Russia, $20.9 million in Germany, $9.5 million in Spain, $9.0 million in South Korea, $8.6 million in Italy, $6.0 million in the Netherlands, $5.8 million in Japan, $5.5 million in Taiwan and $4.7 million in Mexico.
United Artists Releasing and MGM’s No Time To Die took in an estimated $6.18 million this weekend to claim third place for a third consecutive frame. No Time To Die was down just 20 percent from last weekend. In addition to continuing to benefit from good word of mouth, No Time To Die and a number of other holdovers in the marketplace benefited from last weekend’s grosses for non-horror / Halloween films being deflated somewhat as a result of Halloween falling this past Sunday. The 31-day total for No Time To Die stands at $143.15 million. That brings the current total gross to opening weekend ratio of the film to 2.59 to 1 and ranks No Time To Die as the sixth highest grossing film domestically since the re-opening of theatres.
No Time To Die passed the $500 million international mark after the film grossed an estimated $27.2 million internationally this weekend from 72 markets. Through Sunday, respective totals for No Time To Die stand at an impressive $524.3 million internationally and at $667.5 million globally. Estimated totals by market for No Time To Die (in markets being handled by Universal) include $122.1 million in the United Kingdom, $67.7 million in Germany, $49.3 million in China, $30.0 million in France, $21.7 million in Japan, $20.1 million in the Netherlands, $12.1 million in Russia, $10.8 million in (German-Speaking) Switzerland, $9.1 million in Italy, $8.7 million in Spain and $8.0 million in Austria. No Time To Die will open in Australia this coming Thursday (November 11).
Sony’s Venom: Let There Be Carnage also held up very nicely this weekend, as the film was up one spot and down just 22 percent from last weekend to claim fourth place with an estimated $4.47 million. With a 38-day total of $197.01 million, Venom: Let There Be Carnage is now on the verge of becoming just the second film to reach the $200 million domestic milestone since the re-opening of theatres (Shang-Chi and the Legend of the Ten Rings being the first). Internationally, Venom: Let There Be Carnage grossed an estimated $11.4 million this weekend from 54 markets. Respective totals for the film stand at $227.6 million internationally and at $424.6 million globally. Estimated totals by market for Venom: Let There Be Carnage through Sunday include $31.5 million in Russia, $22.8 million in Mexico, $22.1 million in the United Kingdom, $17.8 million in South Korea, $12.5 million in France, $11.1 million in Brazil, $9.8 million in Germany, $9.2 million in Spain and $8.0 million in Italy.
After last weekend’s sizable second weekend decline over Halloween weekend, Disney and 20th Century’s well-received Ron’s Gone Wrong bounced back over this weekend’s post-Halloween frame by taking fifth place with an estimated $3.60 million. That was up three spots and down a very slim 4 percent from last weekend. This weekend’s hold for Ron’s Gone Wrong is even more impressive when considering that the film was playing in 910 fewer locations than it was last week. The 17-day domestic total for Ron’s Gone Wrong stands at a modest $17.57 million. Internationally, Ron’s Gone Wrong grossed an estimated $4.8 million this weekend from 49 markets. That brings the film’s international total to $28.9 million and current global haul to $46.5 million.
Also holding up very well this weekend was Disney and Searchlight’s The French Dispatch. The Wes Anderson directed anthology film placed in sixth with $2.60 million, which was essentially unchanged from last weekend’s $2.602 million tenth place performance. The French Dispatch was aided by playing in 417 additional locations this weekend (for a location count of 1,205). The 17-day domestic total for the film stands at $8.47 million. Internationally, The French Dispatch has grossed an estimated $11.1 million to date from just 16 markets (including $3.8 million in the United Kingdom and $2.1 million in France), for a current global total of $19.6 million.
While the post-Halloween frame certainly helped a number of holdovers this weekend, it didn’t help out Universal’s Halloween Kills, which fell five spots and a very sharp 73 percent from last weekend to land in seventh with an estimated $2.35 million. Obviously, last weekend’s performance for Halloween Kills was inflated by the Halloween holiday. Halloween Kills has grossed a very respectable $89.72 million through 24 days, though the film has also been very front-loaded in general with a current total gross to opening weekend ratio of just 1.82 to 1.
In addition to the mentioned strong hold of The French Dispatch, the specialty market had additional relative good news this weekend with the estimated $2.15 million debut of NEON and Topic Studios’ Spencer from a semi-wide 996 locations. That was good enough for eighth place among all films this weekend and gave Spencer a solid per-location average of $2,158 for the frame. The Princess Diana drama directed by Pablo Larraín and starring Kristen Stewart as Princess Diana has received very good critical reviews and there is a tremendous amount of early awards season buzz surrounding Stewart’s performance. Spencer will hope to hold up well in the weeks ahead thanks in part to the critical buzz surrounding both the film and Stewart’s performance.
Meanwhile, last weekend’s three new wide releases claimed places ninth through eleventh in their respective second weekends of release. Disney and Searchlight’s Antlers was down a sizable 53 percent to claim ninth with an estimated $2.00 million, Focus’ Last Night in Soho declined a sharp 57 percent to place in tenth with an estimated $1.80 million and Funimation’s My Hero Academia: World Heroes’ Mission was down a very sharp (but expected) 74.5 percent to land in eleventh with $1.59 million. Respective ten-day totals stand at $9.77 million for My Hero Academia: World Heroes’ Mission, at $7.64 million for Last Night in Soho and at $7.60 million for Antlers.