Weekend box office information is provided by Daniel Garris, courtesy of BoxOfficeReport.com.
As had been widely expected, Warner Bros. and New Line’s Don’t Worry Darling debuted in first place at the domestic box office this weekend with an estimated $19.20 million. The Olivia Wilde directed thriller starring Florence Pugh, Harry Styles, Gemma Chan, Chris Pine and Wilde opened in line with consensus expectations, which had tended to range from the high-teen millions to low-twenty millions heading into the weekend. Don’t Worry Darling was also off to a nice start with the film’s relatively modest production budget in mind. At the same time, given the high amount of buzz that had surrounded the film, there had been hope that Don’t Worry Darling could break out at the box office, which ultimately didn’t happen this weekend. Don’t Worry Darling opening in the same neighborhood as the $15.82 million three-day / $18.47 million four-day holiday weekend start of 2013’s One Direction: This Is Us, in addition to the film’s significant front-loading towards Thursday and Friday (more on that in a bit), strongly suggests that Don’t Worry Darling was driven in large part this weekend by fans of Styles.
Don’t Worry Darling started out with $9.55 million on Friday (including an estimated $3.1 million from Thursday previews shows that began at 3PM and select early access IMAX sneaks on Monday), declined a very sharp 38.7 percent on Saturday to take in $5.85 million and is estimated to decrease 35.0 percent on Sunday to gross $3.80 million. The film’s estimated opening weekend to previews ratio of 6.19 to 1 and estimated opening weekend to Friday ratio of 2.00 to 1 are obviously concerning signs for Don’t Worry Darling going forward. Don’t Worry Darling hasn’t gone over with critics, which looks to have limited the film’s break-out chances. With a modest B- CinemaScore rating, the film looks to only be going over slightly better with audiences, though it should be noted that Don’t Worry Darling received a healthy A- CinemaScore rating from moviegoers under 18. The audience breakdown for Don’t Worry Darling skewed 66 percent female and 34 percent male. Moviegoers under 18 made up 16 percent of the film’s overall audience. Don’t Worry Darling grossed an estimated $0.60 million from select IMAX screenings (including the film’s early access IMAX live Q&A screenings on Monday).
Don’t Worry Darling was less impressive internationally with an estimated $10.8 million debut from 61 international markets. That places the film’s global launch at $30.0 million. International debut for Don’t Worry Darling this weekend included $3.1 million in the United Kingdom, $0.98 million in Italy, $0.97 million in Mexico, $0.89 million in France and $0.63 million in Germany. Don’t Worry Darling will open in Australia on October 6 and in November will open in Japan (November 11) and in South Korea (November 23).
After last weekend’s stronger than expected first place start, Sony’s The Woman King held up nicely in its second weekend by declining a very solid 41.5 percent to take second place with an estimated $11.15 million. This weekend’s hold for the Gina Prince-Bythewood directed action epic starring Viola Davis was even more impressive than it looks, given that The Woman King took a significant hit to its average showtimes per location this weekend, including losing its IMAX screens to Avatar and (to a lesser extent) Don’t Worry Darling. The Woman King is clearly benefiting from both its exceptional critical reviews and very strong word of mouth (the film received a perfect A+ rating on CinemaScore). The ten-day total for The Woman King stands at a promising $36.30 million. The film is already quickly approaching the $42.40 million final domestic gross of 2018’s Widows, which also starred Davis. With its second weekend decline now out of the way, going forward The Woman King is likely to stabilize even more next weekend than it did this weekend. Internationally, The Woman King debuted with an estimated $1.0 million in Brazil this weekend. The Woman King will open in France this coming week and will open in a number of international markets throughout October, including Germany on October 6, the United Kingdom on October 7, Spain on October 14 and Australia and Mexico on October 27.
Disney’s re-issue of 20th Century’s Avatar started out in third with an estimated $10.00 million. The re-release of James Cameron’s 2009 blockbuster film performed in line with expectations and delivered the largest domestic opening weekend for a re-issue since way back in April of 2013 (Jurassic Park 3D). Avatar also achieved this weekend’s gross from a relatively modest 1,860 locations, which gave the film a very solid per-location average of $5,376 for the frame. That was the strongest per-location average of any film in wide release this weekend and suggests that Avatar would have opened at least somewhat higher this weekend with a wider release. Also of note is that Avatar didn’t have Thursday preview shows; further limiting the amount of showtimes for the film this weekend. With that said, Avatar was helped out in a big way this weekend by 93 percent of the film’s grosses coming from higher-priced 3D screens, including 27 percent from IMAX 3D. All IMAX screens represented 29 percent ($2.9 million) of this weekend’s domestic total.
The re-issue of Avatar started out with $3.33 million on Friday (without previews, as mentioned), increased a healthy 23.3 percent on Saturday to take in $4.10 million and is estimated to decrease 37.2 percent on Sunday to gross $2.58 million. The audience breakdown for Avatar skewed 56 percent male, 44 percent female, 57 percent over 25 and 43 percent under 25. After this weekend’s performance, the lifetime unadjusted domestic gross for Avatar stands at $770.51 million. This weekend’s performance of Avatar is also a strong indication of there still being a high level of interest in the world of Avatar, leading up to the long-awaited release of Disney and 20th Century’s Avatar: The Way of Water on December 16.
Internationally, Avatar grossed an estimated $20.5 million this weekend from 50 international markets; placing the global start of the re-issue at $30.5 million. International starts for Avatar this weekend included $2.9 million in France, $1.5 million in Italy, $1.3 million in Germany, $1.3 million in the United Kingdom, $1.3 million in South Korea, $1.3 million in Mexico, $0.9 million in Australia and $0.8 million in India. In the coming week, Avatar will open in Spain. Avatar grossed an estimated $3.1 million from international IMAX screens this weekend. Avatar remains the highest grossing film of all-time globally in IMAX, with a current lifetime global IMAX take of $264 million.
Meanwhile, fellow Disney and 20th Century release Barbarian continued to hold up very well, especially for a horror film, with an estimated fourth place take of $4.80 million. That was down a slim 26.2 percent from last weekend. Following last weekend’s healthy second weekend hold, Barbarian was able to stabilize even further this weekend thanks in part playing in 550 more locations this weekend than last weekend (for a total of 2,890 locations). Barbarian continues to outpace expectations with a 17-day domestic take of $28.43 million. That already gives the film an estimated total gross to opening weekend ratio of 2.70 to 1. Internationally, Barbarian has grossed an estimated $1.5 million from select international markets, for a current global take of $29.9 million. Barbarian will open in Australia on October 20 and in the United Kingdom on October 28.
This weekend also saw A24’s Pearl and Disney and Searchlight’s See How They Run continue to perform very similarly to one another with respective estimated weekend grosses of $1.92 million and $1.90 million. Both films had nice second weekend percentage holds, as Pearl was down 38.7 percent and See How They Run was down 36.8 percent. As was the case last weekend, studio estimates for the two films are close enough that obviously we’ll have to wait for actuals to determine the final weekend rankings for both. Respective ten-day totals stand at $6.65 million for Pearl and at $6.11 million for See How They Run.
Weekend estimates for additional holdovers in the marketplace include $1.82 million for Sony’s Bullet Train (down 28.8 percent), $1.77 million for Warner’s DC League of Super-Pets (down 19.0 percent) and $1.56 million for Paramount’s Top Gun: Maverick (down 30.4 percent). Respective total domestic grosses stand at a massive $711.57 million for Top Gun: Maverick through 122 days, at $99.25 million for Bullet Train through 52 days and at $90.04 million for DC League of Super-Pets through 59 days.