The weekend box office report is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
Weekend Estimates Update:
Paramount’s Jackass Forever was off to a nice first place start this weekend with an estimated $23.50 million. The fourth Jackass film (and fifth installment of the franchise when including 2013’s Jackass Presents: Bad Grandpa) opened towards the higher end of pre-release expectations, which had ranged anywhere from the mid-teen millions to mid-twenty millions heading into the weekend. While Jackass Forever didn’t come close to matching the $50.35 million start of 2010’s Jackass 3D and also opened below the $32.06 million debut of Bad Grandpa, Jackass Forever hadn’t been expected to reach those same box office heights as a result of the different theatrical landscape the film found itself in with the passing of time (and the COVID-19 pandemic). Jackass Forever also performed well with the film’s modest production budget in mind. Jackass Forever was directed by Jeff Tremaine and reunited members of the Jackass cast, including Johnny Knoxville and Steve-O.
Jackass Forever started out with $9.60 million on Friday (including an estimated $1.65 million from Thursday preview shows that began at 7PM), declined a respectable 12.5 percent on Saturday to take in $8.40 million and is estimated to decrease 34.5 percent on Sunday to gross $5.50 million. Pre-release buzz for Jackass Forever had been feeling somewhat muted, but really started to pick up over the past week or two (over the years, the Jackass films have tended to over-perform / break late). Jackass Forever likely got at least a small boost from its strong critical reviews this weekend. Jackass Forever also looks to be going over well with audiences, as the film received a solid B+ rating on CinemaScore (making it the third Jackass film to receive a B+ rating on CinemaScore). Looking back, 2006’s Jackass: Number Two and 2010’s Jackass 3D were both quite front-loaded towards opening weekend, but going forward Jackass Forever will hope to display holding power more in line with that of 2002’s Jackass: The Movie and 2013’s Bad Grandpa, especially given the relatively smaller opening weekend performance of Jackass Forever for a Jackass sequel. Internationally, Jackass Forever grossed an estimated $5.2 million from 9 select markets, including debuts of $2.8 million in the United Kingdom and $1.8 million in Australia. The film’s global start stands at $28.7 million.
Lionsgate’s Moonfall was off to a far less promising start this weekend with an estimated second place take of $10.01 million. While the expensive Roland Emmerich directed sci-fi adventure film starring Halle Berry and Patrick Wilson was able to open in line with its modest expectations, Moonfall performed quite poorly with its price-tag in mind. A few weeks back, it felt as though Moonfall could potentially find itself in a race for first place this weekend with Jackass Forever, but as buzz started to pick up for Jackass Forever closer to release, the anticipation for Moonfall appears to have cratered at the same time. Mixed critical reviews (that have been more negative than positive on the average) also didn’t help matters for Moonfall this weekend. The lackluster C+ CinemaScore rating received by Moonfall suggests that the film isn’t going over very well with audiences either, though on the other hand Moonfall did register a healthy estimated opening weekend to Friday ratio of 2.93 to 1. After starting with $3.42 million on Friday (including an estimated $0.70 million from Thursday preview shows that began at 6PM), Moonfallincreased an encouraging 18 percent on Saturday to take in $4.02 million and is estimated to fall 36 percent on Sunday to gross in $2.57 million. Moonfall received a boost this weekend from grossing an estimated $1.4 million from domestic IMAX screens (which represented 14 percent of the film’s overall gross), though that IMAX boost was largely balanced out by Moonfall not playing in Canada this weekend.
While it was down two spots from last weekend to place in third, Sony’s Spider-Man: No Way Homearguably had this weekend’s most impressive performance, as the superhero event film declined a slim 13 percent to gross an estimated $9.60 million (in its eighth weekend no less). Making this weekend’s hold even more impressive is that Spider-Man: No Way Home lost its IMAX screens to Moonfall this weekend and also had a weaker average showtimes per-location hold in general than the film had experienced each of the past few weekends. In addition to continuing to benefit from its strong critical reviews and exceptional word of mouth, as well as its event film status, Spider-Man: No Way Home (and many holdovers in general) also received a boost this weekend from the re-opening of theatres in the Canadian province of Ontario (this past Monday). Spider-Man: No Way Home likely also received another boost by serving as this weekend’s top alternative choice for the segment of moviegoers who weren’t interested in seeing either Jackass Forever or Moonfall. With a massive 52-day gross of $748.95 million, Spider-Man: No Way Home is now just $11.56 million away from surpassing the $760.51 million lifetime domestic gross of 2009’s Avatar to move into third place on the all-time unadjusted domestic list.
Internationally, Spider-Man: No Way Home grossed an estimated $15.6 million this weekend from 63 markets. That brings the film’s international total to $1.027 billion and current global haul to $1.776 billion. Total grosses for Spider-Man: No Way Home through Sunday by market include $122.5 million in the United Kingdom, $75.1 million in Mexico, $62.6 million in South Korea, $62.0 million in France, $56.3 million in Australia, $54.8 million in Brazil, $46.9 million in Germany, $46.4 million in Russia, $36.4 million in India, $31.7 million in Japan, $30.3 million in Spain, $27.4 million in Italy and $25.7 million in Indonesia.
Paramount’s Scream was down two places from last weekend to land in fourth with an estimated $4.73 million. Scream continued to stabilize this weekend, as the horror sequel declined a very solid 34.5 percent. The re-opening of theatres in the Canadian province of Ontario likely helped Scream more than other holdovers this weekend, as this week represented the first opportunity for moviegoers in Ontario to catch Scream. With a healthy 24-day gross of $68.94 million, Scream has surpassed last year’s The Conjuring: The Devil Made Me Do It to become the third highest grossing horror film domestically since re-opening (behind only last year’s A Quiet Place Part II and Halloween Kills). Internationally, Scream grossed an estimated $4.3 million this weekend, which brings the film’s international total to $51.4 million and current global haul to $120.3 million.
Universal’s Sing 2 rounded out the weekend’s top five with an estimated $4.17 million. Sing 2 continued to hold up exceptionally well this weekend, as the computer animated sequel declined a very slim 11 percent from last weekend. The 47-day total for Sing 2 stands at $139.58 million, which gives the film a strong current total gross to opening weekend ratio of 6.25 to 1. With very little new competition for family audiences entering the marketplace in the near future, Sing 2 should continue to hold up very well going forward. Internationally, Sing 2 grossed an estimated $14.0 million from 63 markets this weekend. As with last weekend, this weekend’s international performance was driven by the United Kingdom, where Sing 2grossed $6.6 million for the frame and has grossed $17.0 million to date. Respective total grosses for Sing 2 stand at $152.0 million internationally and $291.5 million globally.
Estimated grosses for other holdovers in the marketplace this weekend included $1.18 million for Disney and 20th Century’s The King’s Man (to place in sixth) and $1.01 million for Universal’s Redeeming Love (to follow in seventh). The King’s Man was down just 29 percent from last weekend, while Redeeming Lovedeclined a respectable 43 percent. Respective totals stand at $35.81 million for The King’s Man through 47 days and at a modest $8.08 million for Redeeming Love through 17 days. With its international run now running down, The King’s Man took in an estimated $2.7 million internationally this weekend from 40 markets. Respective totals for The King’s Man stand at $84.9 million internationally and $120.7 million globally.
On the platform front, NEON’s The Worst Person in the World was off to a promising launch with an estimated $135,042 from 4 locations in New York and Los Angeles. That gave The Worst Person in the World a per-location average of $33,760 for the frame, which represented the second largest per-location average for a platform release since the re-opening of domestic theatres (behind only last year’s Licorice Pizza). The Norwegian-language film directed by Joachim Trier and starring Renate Reinsve has received terrific critical reviews (the film currently boasts a 99 percent Tomatometer on Rotten Tomatoes) and this past week received BAFTA nominations for Best Foreign Language Film and Best Actress (for Reinsve). In addition to the very strong critical buzz for the film, The Worst Person in the World was also helped out this weekend by Trier and Reinsve both being in attendance for Q&A’s at select screenings in New York City. This coming Friday (February 11), The Worst Person in the World is scheduled to expand to an estimated 50 locations, before receiving additional expansions each of the following two weekends.