The final numbers are in for the trio of newcomers this weekend — The Dark Tower ($19.1M), Kidnap ($10M) and Detroit ($7.1M) — and all three pictures underwhelmed, sending the Top 10 box office down 21.6% from last weekend. For the calendar year to date, box office is off 2.9% from 2016.
Next weekend, moviegoers will see a spinoff prequel and an animated sequel opening: Annabelle: Creation will open wide as will Open Road’s animated family film The Nut Job 2. However, neither is expected to inject much life into the box office. Here are the final numbers for the three-day:
1.). The Dark Tower (SONY/MRC), 3,451 theaters / 3-day cume: $19.1M / Per screen average: $5,550 / Wk 1
2.) Dunkirk (WB), 4,014 theaters (+266) / 3-day: $17.1M / Per screen: $4,269 / Total cume: $133M / Wk 3
3.). The Emoji Movie (SONY), 4,075 theaters (0) / 3-day: $12M (-51%) / Per screen: $2,946 / Total: $49.1M / Wk 2
4). Girls Trip (UNI), 2,582 theaters (-66) / 3-day cume: $11.4M (-42%) / Per screen: $4,416 / Total: $85.4M / Wk 3
5.). Kidnap (AVR), 2,378 theaters / 3-day cume: $10M / Per screen: $4,212 / Wk 1
6). Spider-Man: Homecoming (SONY/MARVEL), 3,116 theaters (-509) / 3-day: $8.8M / Per screen: $2,839 / Total: $294.9M / Wk 5
7). Atomic Blonde (FOC), 3,326 theaters (+22) / 3-day: $8.1M (-55%) / Per screen: $2,453 / Total $34M / Wk 2
8). Detroit (ANPA), 3007 theaters (+2987) / 3-day: $7.1M (+1935%) / Per screen: $2,370 / Total: $7.6M / Wk 2
9.) War for the Planet of the Apes (FOX), 2,704 theaters (-670) / 3-day: $6.16M / Per screen: $2,281 / Total: $130.4M / Wk 4
10). Despicable Me 3 (UNI/ILL), 2,445 theaters (-585) / 3-day cume: $5.4M / Per screen: $2,221 / Total: $240.9M / Wk 6
11). Baby Driver (SONY), 1,424 theaters (-537) / 3-day: $2.5M / Per screen: $1,808 / Total: $97M / Wk 6
12). Valerian And The City of A Thousand Planets (STX/EURO), 1,795 theaters (-1,758) / 3-day: $2.39M / Per screen: $1,334 / Total: $36.1M / Wk 3
13). Wonder Woman (WB), 1,307 theaters (-344) / 3-day: $2.28M / Per screen: $1,749 / Total: $399.4M / Wk 10
14). The Big Sick (LGF), 1,005 theaters (-584) / 3-day: $2.1M / Per screen: $2,512 / Total: $33.9M / Wk 7
15). Jab Harry Met Sejal (YRF), 325 theaters / 3-day: $1.28M / Per screen: $4,588 / Total: $1.28M / Wk 1
16). An Inconvenient Sequel: Truth to Power, (PAR), 180 theaters (+176) / 3-day: $961K (+670%) / Per screen: $5,340 / Total: $1.1M / Wk 2
17). Cars 3 (DIS), 477 theaters (-384) / 3-day: $539K / Per screen: $1,132 / Total: $147.6M / Wk 8
18). Wolf Warrior 2 (WLGO), 40 theaters (-13) / 3-day: $506K (+131%) / Per screen: $15,843 / Total: $1.1M / Wk 2
19). Guardians of the Galaxy, Vol. 2 (DIS), 68 theaters / 3-day: $453K / Per screen: $1,801 / Total: $388.3M / Wk 14
20). Wish Upon (BGP), 322 theaters (-216) / 3-day: $314K / Per screen: $912 / Total: $13.7M / Wk 7
Anita Busch reported Monday’s final.
For the second weekend in a row, Sony figured out a way to work around the Rotten Tomatoes system to get a lackluster title to open. Last weekend, it was The Emoji Movie, which posted an OK $24.5M in second place. This weekend, it’s their Media Rights Capital co-production The Dark Tower, which is taking No. 1 with a modest take estimated at $19.5M.
By no means can either film be considered a resounding victory — if they had been warmly embraced by critics and audiences, the sky would have been the limit at the box office. Dark Tower is based on fan favorite Stephen King’s novel, and the translation from book to screen was never going to be exact due to the book’s complexities and genre-twisting (some directors, writers, and studios like Bad Robot, Universal and Warner Bros. realized that). We analyzed earlier in the weekend whether Dark Tower would have just been better suited for television from the outset. Sony TV and MRC are already making good to fans with a planned TV version led by former Walking Dead showrunner Glen Mazzara. In regards to the film version, there are low overall positive scores here on ComScore/Screen Engine’s PostTrak showing that 25+ and the leading male demo both gave Dark Tower a 67% grade.
The one positive takeaway here is that while other studios couldn’t figure out financially how to construct Dark Tower, Sony and MRC did. Universal reportedly had the Ron Howard-directed version at $160M and wisely opted not to make it. Sony and MRC saw how risky Dark Tower was in its genre mash-up (which, by the way, never works at the B.O., read Cowboys vs. Aliens, Abraham Lincoln: Vampire Hunter, Pride and Prejudice and Zombies) and partnered 50/50 on this mid-range net $60M budget.
“Dark Tower was an ambitious and bold undertaking made at the right price,” said Sony’s domestic distribution boss Adrian Smith this morning.
There’s also something to be said for gaming the Rotten Tomatoes system: Not every movie is built for critics, and in the old days, middle-brow fare’s box office fate wasn’t dictated by reviewers. What’s occurred in the social media age is a pack-rat reviewer tone, where critics take their cues from their associates. This spills over onto Rotten Tomatoes, and a film lives or dies by this Roman Senate. Get Out, Baby Driver, and even now New Line/Warner Bros.’ Annabelle: Creation did something smart, in that they got their films before a select crop of people, garnered a great RT score, and then sold the pics on that (also, Get Out and Baby Driver can speak for themselves; they were excellent movies and rose to the top propelled by audience buzz). Gaming the Rotten Tomatoes system, you might say? Call it what you will, but it’s distribution’s job to open a movie. In the case of Sony, they held back reviews as late as they could for Dark Tower and Emoji Movie and got them started so they could last the rest of the month. Again, not a wondrous result with Dark Tower, but here it sits in first place.
Talk about an awful weekend at the B.O.: ComScore reports that this weekend at $123M is 46% off from the same weekend a year ago, when Warner Bros./DC’s Suicide Squad conquered as the top opening for August with $133.7M. This weekend was for the taking, and no major studio decided to program a massive, four-quad-appealing tentpole. What a lost opportunity. No thanks to summer, the annual B.O. to date is lagging 3% behind 2016 (which was a banner year at $11.4B) with $7B. Hopefully the fall and holiday seasons can make up the difference.
Warner Bros. Dunkirk, which has been adored by critics and moviegoers, dipped only an estimated 34% in its third weekend with an estimated $17.6M in second. It’s proof that period, when done right, can shine at the box office. Too often, sans any awards momentum, distributors find this period to be a challenge at the multiplex. However, another potential awards contender, Kathryn Bigelow’s Detroit from Annapurna, despite having the best reviews and audiences scores out of this weekend’s wide entries – respectively with an 88% certified fresh and A- CinemaScore – didn’t find that love spill over into its opening weekend, which looks to settle at $7.25M. Not a fantastic start for a movie which cost between $35M-$40M.
How does one critically acclaimed, mass-adored movie rise while the other fails? Dunkirk has a hopeful ending, while it’s dazzling in the Imax format in which the pic was shot. While Detroit, as timely and brilliant as it is in these post-Ferguson times, is rather controversial in its corrupt-cops story, not to mention a harsh depiction of a real incident in which three African-Americans were murdered in 1967 Detroit. This film is meant more for Specialty audiences than commercial ones, and should have found its way to the mainstream audiences via a longer platform and festival momentum. Some like to say that bad box office never works in the favor of awards contenders, but hopefully that’s not the case here, because it would be a shame. Again, Bigelow’s Oscar-winner The Hurt Locker wasn’t a mass-appealing hit at $17M, but it was positioned differently in the market from the onset.
Once moviegoers leave Detroit, they’re amazed. The trick for Annapurna is to keep word-of-mouth alive, much of that coming from advocates from well beyond Hollywood, including Al Sharpton, Texas Congressman Sheila Jackson Lee, and American critic Henry Louis “Skip” Gates Jr. We hear the original 20 runs of Detroit held quite well. Annapurna is completely behind the movie, natch, and wanted to launch Detroit tied to the 50-year mark of when these tragic events occurred. Detroit is a quality film and it’s the type of movie Annapurna wants to be known for as it handles its own product going forward. Remember when Revolution Studios first made its mark in 2001 as an independent production studio turning out mainstream fare? Its debut was the raunchy bachelor disaster Tomcats ($13.6M), which featured a scene where a bunch of guys down Viagra and head to a wedding. Some asked at the time: Are these the types of movies Revolution wants to be known for?
While diversity was present on the marquee with three films starring black actors, Aviron is celebrating a win with its Halle Berry popcorn movie Kidnap, which is estimated to have pulled in $10.2M, according to Aviron. The film, which was shot three years ago and buried beneath Relativity’s financial woes, was rescued by David Dinerstein’s new film label for an estimated $3M and will profit toward the end. Lotus Entertainment handled foreign pre-sales on Kidnap and originally got the project off the ground.
“We’re extremely pleased with the weekend results for Kidnap,” said Aviron chief David Dinerstein this morning. “As Aviron’s first release, it surpassed industry expectations. Positive audience response and the summer play yet to come should result in a solid total box office return.”
There wasn’t any fat on the bones in regard to the number of theaters Kidnap rolled into, which numbered 2,378 venues. Aviron specifically targeted African-American, Hispanic and female moviegoers with a P&A spend in the teens, versus what many say was $40M for Detroit. Again, two very different movies, in that Kidnap is pure escapist entertainment. The pic played broad to Caucasians (46%), African-Americans (25%) and Hispanic audiences (22%). Females under 25 (21%) loved Kidnap the most at 85% positive, while females over 25 (42%) gave the Luis Prieto-directed movie a 73% positive. Kidnap was the little engine that could this weekend.
Another feather in Aviron’s cap this summer was that they handled the marketing on Entertainment Studios’ $43.1M-grossing genre sleeper 47 Meters Down.
Weinstein Co. had a great start with the Taylor Sheridan thriller Wind River posting $41K per theater after four Los Angeles and New York runs minted a total three-day of $164K. See Brian Brooks’ Specialty box office report here.
For previous Friday/Saturday update on box office, go here.
The top 10 based on Sunday AM studio-reported estimates for the weekend of Aug. 4-6:
1.). The Dark Tower (SONY/MRC), 3,451 theaters / $7.7M Fri. (includes $1.8M previews) /$6.75M Sat/ $5M Sun/ 3-day cume: $19.5M /Wk 1
2.) Dunkirk (WB), 4,014 theaters (+266)/ $5M Fri. /$7.3M Sat/$5.3M Sun/ 3-day cume: $17.6M (-34%)/Total: $133.6M/Wk 3
3.). The Emoji Movie (SONY), 4,075 theaters (0) / $3.9M Fri. /$4.9M Sat/$3.6M Sun 3-day cume: $12.35M (-50%) /Total: $49.45M/Wk 2
4). Girls Trip (UNI), 2,582 theaters (-66) / $3.6M Fri. /$4.7M Sat/$3.1M Sun/ 3-day cume: $11.4M (-42%)/Total: $85.4M/Wk 3
5.). Kidnap (AVR), 2,378 theaters / $3.7M Fri. (includes $500K previews) /$3.6M Sat/ $2.9M Sun/ 3-day cume: $10.2M /Wk 1
6). Spider-Man: Homecoming (SONY/MARVEL), 3,116 theaters (-509)/ $2.6M Fri. /$3.6M Sat/$2.6M Sun/ 3-day cume: $8.8M (-34%)/Total: $294.9M/Wk 5
7). Atomic Blonde (FOC), 3,326 theaters (+22)/ $2.4M Fri. /$3.4M Sat/ $2.4M Sun/ 3-day cume: $8.2M (-55%) /Total $34.1M/Wk 2
8). Detroit (ANPA), 3007 theaters (+2987) / $2.6M Fri./$2.6M Sat/$2M Sun/n 3-day cume: $7.25M (+1971%)/Total: $7.8M/Wk 2
9.) War for the Planet of the Apes (FOX), 2,704 theaters (-670) / $1.7M Fri. /$2.5M Sat/$1.8M Sun/ 3-day cume: $6M (-43%) /Total: $130.3M/Wk 4
10). Despicable Me 3 (UNI/ILL), 2,445 theaters (-585) / $1.7M Fri. /$2.2M Sat/ Sun/ 3-day cume: $5.3M (-30%) /Total: $240.8M/ Wk 6
Step (FSL), 29 theaters / $54k Fri. /$54K Sat/$37K Sun/PTA:$5k/ 3-day cume: $145k /Wk 1
Wind River (TWC), 4 theaters / $52k Fri. /$64K Sat/ $48K Sun/PTA:$41k/ 3-day cume: $164k /Wk 1
An Inconvenient Sequel: Truth to Power (PAR), 180 theaters (+176) / $350k Fri. /$342K Sat/$208K Sun/ 3-day cume: $900K (+621%) /Total: $1.05M/Wk 2
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