8th UPDATE, Monday 8:03 AM: We already told you that Warner Bros’ Wonder Woman was beating the second weekends of Batman V. Superman: Dawn Of Justice ($51.3M) and Suicide Squad ($43.5M), two movies which opened higher than the Patty Jenkins-directed movie. Wonder Woman is coming in higher for the weekend with $58.2 million, notable in that it reps a 43% dip from the pic’s opening weekend. That’s a rare hold for any superhero tentpole movie, which typically ease between 50%-60% in their second weekends.

Wonder Woman
Warner Bros.

Out of all the titles in the WB/DC, Disney/Marvel, Sony/Marvel and Fox/Marvel universe, Wonder Woman is one of six movies with a second weekend that isn’t steeper than -50% — in fact she’s arguably the second best hold. That list includes Spider-Man (-38%), Wonder Woman (-43%), The Amazing Spider-Man (-44%), Thor (-47%), Iron Man (-48%) and Spider-Man 2 (-49%).

Meanwhile Universal’s Tom Cruise The Mummy is coming in $600,000 lower than the $32.2M reported with $31.6M. Note, the industry average yesterday was also around $32M. We’ll have more updates later.

7th UPDATE, Sunday AM 9:36 AM: For previous weekend updates and deep-dive analysis on The Mummy bombing, click here

Warner Bros./DC’s Wonder Woman continues to be the popular ticket with her second Saturday of $24.3M +53% over Friday. This puts the Patty Jenkins-directed movie on course for a second weekend of $57.2M, which by the way is more than what Batman v. Superman: Dawn of Justice and Suicide Squad both made in their second weekends (respectively $51.3M and $43.5M). That’s remarkable when you consider that both titles posted bigger openings ($166M, $133.6M) than Wonder Woman ($103.2M).

Should these figures maintain their pace into tomorrow, Wonder Woman‘s second weekend will dip 45%, which is an amazing hold for a superhero movie beating the 50%-60% average decline we typically see for Marvel fare in its second weekend. The Gal Gadot movie should stand at $205M by EOD today in U.S./Canada. Among all WB/DC superhero features’ second weekends at the B.O., Wonder Woman will file behind Dark Knight ($75.1M) and Dark Knight Rises ($62.1M).

In updated ComScore/Screen Engine PostTrak audience polls, women continue to lead the charge into Wonder Woman screenings at 55% with women over 25 numbering 32%, and women under 25 repping 23% of all moviegoers. Thirty-two percent of those under 25 are watching Wonder Woman in a group — with two to four friends. The DC female superhero movie still has an awesome 75% definite recommend.

Universal

Universal’s The Mummy was down 4% on Saturday with $11.5M from its opening day of $12M. This puts the Tom Cruise movie slightly higher in its opening at $32.2M per Universal, but it’s still a failure at the domestic box office with a lackluster audience response of B-, and an even worse Rotten Tomatoes score of 17% (it keeps going lower). For all the rah-rah that Universal is emoting today about The Mummy being Cruise’s biggest global opening at $174M and that the movie was tailor-made for an overseas crowd, make no mistake, this is an upsetting start for their Dark Universe series stateside. The Mummy‘s opening ranks lower than the domestic debuts of all the Brendan Fraser Mummy movies and its spinoff The Scorpion King ($36M) which starred Dwayne Johnson. This is definitely not what Universal wanted. This is definitely not how you start a franchise; domestic sets the tenor for the rest of the world. You can read our deconstruction of what went wrong with The Mummy here.

One rival business affairs studio executive provided a brilliant reality check about The Mummy’s global results, explaining that “the marketplace has moved to day-and-date openings globally. Mummy is opening in more then 60 territories and on greater then 48,000 screens worldwide. That’s a natural evolution that’s happened in the business. Because of the day-and-date opening, number of territories, and number of screens, of course, it will be Cruise’s largest worldwide opening. But what does that mean? It’s not the result of the picture’s strength or Cruise’s drawing power, rather it is driven by the new opening paradigm in the marketplace. And it certainly has nothing to do with profitability, which is what matters.”

Uni points to The Mummy‘s $141M overseas opening being higher than Wonder Woman‘s $125M foreign debut last week. Keep in mind that Wonder Woman was in slightly fewer markets, numbering 55, and screens at 34,775. A few weeks ago, Disney misfired with Pirates of the Caribbean: Dead Men Tell No Tales domestically, and excelled overseas. Mummy is a different scenario in that it isn’t expected to leg out to the $800M-plus global number that Pirates 5 is gunning toward. While both titles were panned by critics, stateside audiences loved Pirates 5 with an A- CinemaScore, and dismissed Mummy with a B- grade and low 70% positive on PostTrak. Meanwhile, Pirates 5 stands at $600.2M worldwide and still has yet to open in Japan, the franchise’s most lucrative market.

From a numbers, critical and audience perspective, The Mummy smells in some ways like Cruise’s Oblivion: That movie cost a reported $120M (which is the number being floated around for Mummy, but many say its much higher, close to $195M before P&A), also received a B- CinemaScore, and didn’t get a warm response from critics. Oblivion opened to $37M and churned a 2.4 multiple with a final domestic of $89.1M. Should the same multiple hold for Mummy, it will end its stateside run north of $70M.

Nonetheless, Mummy is a blip next to their other great auteur hits this year from Uni, i.e. Blumhouse’s Split and Get Out which grossed a combined $524.4M worldwide off of combined budgets of $13.5M before P&A. All in the studio has five films already that have grossed over $100M through six months at the B.O., and Universal is hitting a global $3B and overseas $2B milestones today; record paces for the studio. Despicable Me 3 is next for them. They’ll be fine.

Despite the blemish of Mummy this weekend, Universal vows it will continue to forge ahead and commit millions to its other Dark Universe titles including Bride of Frankenstein under Bill Condon’s watch and Depp as The Invisible Man. As we mentioned in our deconstruction of Mummy, perhaps the takeaway for the studio from Mummy is too few cooks (meaning screenwriters) in the kitchen, and the necessity of keeping a title under a great director’s watch (and Condon definitely has that track record with credits that count $3 billion at the global B.O., largely generated by Beauty and the Beast and the last two Twilight movies). That process certainly worked for Jordan Peele in making Get Out. 

In third place is DreamWorks Animation/20th Century Fox’s Captain Underpants which grew 39% between Friday and Saturday with $5M and a second weekend of $12.3M, -48% and 10-day of $44.6M.

A24’s horror movie It Comes at Night lost $350K between Friday’s $2.45M and Saturday’s $2.1M with a revised estimated weekend take of $6M in sixth placeBad word of mouth here with a D CinemaScore is what’s overpowering any positive reviews for this movie (86% certified fresh), curbing its greater box office potential.

A24’s The Witch had a similar reaction: Great reviews at 91% certified fresh and a C- CinemaScore. That movie had a reputation for being an arthouse horror film, rather than one for the genre fans. Witch opened to $8.8M and churned a 2.9 multiple of $25.1M, which essentially gives you a sense here of the bar A24 was shooting for with It Comes at Night. However, industry sources figure that since It Comes at Night is a 2,500 theater release, its P&A can’t be under $15M. And even if this movie opened to $15M (an appropriate target for a film with this low budget and P&A spend), it would still stand lose $5M-$10M at the end of the day.

Bleecker Street’s Kate Mara war drama Megan Leavey is still on track to do $3.8M over three days in eighth place.

Studio reported Sunday estimates for the weekend of June 9-11:

1.). Wonder Woman  (WB), 4,165 theaters / $15.9M Fri. /$24.3M Sat/$17M Sun/3-day cume: $57.2M (-45%)/Total:$205M/ Wk 2

2.). The Mummy (Uni), 4.035 theaters / $12M Fri. (includes $2.66M) /$11.5M Sat/$8.7M Sun/3-day cume: $32.2M/Wk 1

3.). Captain Underpants  (DWA/20TH), 3,529 theaters (+95)/ $3.6M Fri. /$5M Sat/$3.7M Sun/3-day cume: $12.3M (-48%)/Total: $44.6M/Wk 2

4.). Pirates Of The Caribbean: Dead Men Tell No Tales  (DIS), 3,679 theaters (-597) / $3M Fri. /$4.4M Sat/$3.2M Sun/3-day cume: $10.7M (-52%)/Total:$135.8M/ Wk 3

5.). Guardians of the Galaxy Vol. 2  (DIS), 2,911 theaters (-596) / $1.7MFri. /$2.7M Sat/$1.9M Sun/3-day cume: $6.2M (-37%)/Total:$366.4m/ Wk 6

6.). It Comes at Night  (A24), 2,533 theaters / $2.45M Fri. (includes $700 previews) /$2.1M Sat/$1.46M Sun/3-day cume: $6M/Total: Wk 1

7.). Baywatch (FOX), 2,832 theaters (-815) / $1.35M Fri./ $1.9M Sat/ $1.32M Sun/3-day cume: $4.6M (-48%)/Total:$51M/ Wk 3

8.). Megan Leavey (BST), 1,956 theaters  / $1.3M Fri  /$1.5M Sat/$1M Sun/3-day cume: $3.8M  / Wk 1

9.). Alien: Covenant (FOX), 1,814 theaters (-846) / $500k  Fri.  /$790K Sat/$510K Sun/3-day cume: $1.8M (-56%)/Total: $71.2M/Wk 4

10.). Everything, Everything (WB/MGM), 1,546 theaters (-829) / $540K Fri. /$635K Sat/$445K Sun/3-day cume: $1.62M (-51%) /Total:$31.7M/  Wk 4

11.). My Cousin Rachel (FSL), 523 theaters  / $278K Fri. /$411K Sat/$265K Sun/3-day cume: $954k / Wk 1

Notables

Beatriz at Dinner (RSA), 5 theaters  / $42K Fri. /PTA: $30k/3-day cume: $150k / Wk 1