Over a post-Thanksgiving frame that saw only one new title hit theaters, Encanto easily retained the No. 1 spot at the North American box office with an estimated $12.7M in its sophomore frame. That’s a drop of 53% from the Disney title’s $27.21M three-day opening, which is more or less in line with second-weekend drops experienced by the studio’s prior Thanksgiving-weekend animated releases, including Moana (50%), Ralph Breaks the Internet (55%) and The Good Dinosaur (61%). Encanto‘s domestic tally is now $58M, though it has no real competition in the animated space until Sing 2 hits theaters on December 22.
Internationally, Encanto grossed an estimated $20.7M from 49 territories, including new openings in Australia (where it took in an estimated $800k) and New Zealand. The studio reports that in Colombia, where Encanto‘s story is set, the film is already the sixth-highest-grossing animated release of all time and the highest-grossing animated film of the pandemic era. Overall, international markets dropped by 30% combined from last weekend. Top territories to date include France ($6.5M), Colombia ($5.9M), the U.K. ($4.2M), Russia ($3.5M), Italy ($3.5M), Korea ($3.5M), Spain ($3.4M), Mexico ($3M) and Saudia Arabia ($2M). Its international total is $58.1M and its global tally is $116.1M.
Second place again went to Sony’s Ghostbusters: Afterlife, which took in an estimated $10.35M in its third weekend of release. The audience favorite, which has become a true four-quadrant success story, will officially cross the $100 million mark today, with current projections putting it at $102.19M through end of day Sunday. That’s only ?% shy of the 2016 Ghostbusters reboot at the same point in its pre-pandemic run.
Overseas, Afterlife grossed an estimated $13.1M from 53 markets, bringing its total to $42.9M. In Russia, the film opened at No. 1 with $2.7M. It also debuted in first place in Spain, where it grossed an estimated $1.1M, and in second place in France, where it took in an estimated $2M. Afterlife has $42.9M internationally and $145.09M global.
House of Gucci held onto third place in its second weekend with an estimated $6.77M, bringing the MGM/UA title to $33.64M so far. The Ridley Scott-directed film held reasonably well, dropping 53% from its $14.42M opening frame. Overseas, it grossed an estimated $14.8M from 60 territories, including a $2.77M opening in Russia and a $1.86M opening in Germany. Gucci has $33.64M internationally and $67.23M globally to date.
The weekend’s sole wide opener, Fathom Events’ Christmas with the Chosen: The Messengers, grossed an estimated $4M this weekend from 1,700 theaters for a fourth-place finish, marking the distributor’s highest-grossing and most-attended event ever. Based on the popular faith-based streaming series The Chosen, which follows the life of Jesus and has been billed as the most successful crowd-funded TV series of all time, the film racked up a whopping $1.5 million in pre-sales in the first 12 hours of tickets becoming available. The religious title, which has taken in around $9M since opening on Dec. 1, will screen exclusively in theaters for 10 days before hitting streaming later this month.
Fourth place went to Disney/Marvel’s Eternals, which grossed an estimated $3.9M in its fifth weekend of release. The superhero flick has $156.5M to date in North America and $227.8M internationally, where it took in an estimated $5.8M this weekend. International markets dropped by a combined 52% from last weekend. Top markets are Korea ($26.8M), the U.K. ($19.3M), France ($15.6M), Mexico ($14.9M), Brazil ($12.1M) and Australia ($10.7M).
In its sophomore frame, Sony’s Resident Evil: Welcome to Raccoon City fell 50% to an estimated $2.66M, good for sixth place on the weekend chart. The prequel to the popular horror-action series has taken in just $13.17M to date and is on track to finish well below the franchise’s previous lowest-grossing entry domestically, 2016’s The Final Chapter. Overseas, Raccoon City grossed an estimated $4.2M from 39 markets for an international tally of $11.1M and a worldwide gross of $24.27M.
Dune, which returned to IMAX theaters this weekend for a special one-week run, nabbed seventh place after dropping just 13% to an estimated $1.81M — $1M of that from IMAX screens — bringing the total for the Warner Bros. sci-fi to $104.57M. Overseas, it took in another estimated $5.1M from 69 markets, including a $3.4M No. 1 opening in Australia. Internationally, Dune has $277.6M to date for a total of $382.2M worldwide.
In eighth place was Paramount’s Clifford the Big Red Dog, which grossed an estimated $1.8M. The family title has $45.73M through the end of its fourth weekend. Overseas, it grossed $3.8M across 21 markets this weekend for an international total of $5.5M, with plans to expand to 18 markets next weekend including Russia, Mexico and the U.K.
Coming in at No. 9 was Warner Bros.’ King Richard, which grossed an estimated $1.21M in its third weekend of release for a mild $13.4M total to date. It also tallied an estimated $2.1M overseas for a total of $8.2M internationally and $21.6M worldwide.
Rounding out the top 10 was Funimation’s Sword Art Online Progressive, a Japanese anime title based on the YA novels of the same name. The film grossed an estimated $1.05M from 840 locations.
SPECIALTY RELEASES
Belfast, which is currently in 1,255 theaters in North America, took in an estimated $500k in its fourth weekend, a 48% decrease, giving the Kenneth Branagh-directed drama $5.86M to date. The top market by a long shot was New York, which was responsible for over 9% of the weekend gross.
Mike Mills’ C’mon C’mon expanded to 565 screens and grossed an estimated $462,022. The acclaimed A24 title has a total of $1.14M to date.
Paul Thomas Anderson’s Licorice Pizza had another outstanding weekend in just 4 locations, taking in an estimated $223,328 for a smashing per-screen average of $55,832. The UA release has $761,000 through the end of its second weekend.
NEON’s Oscar-tipped Princess Diana drama Spencer took in an estimated $121,048 from 303 screens, for a total of $6.87M through the end of its fifth weekend.
Focus Features opened Wolf in 308 North American theaters this weekend and took in an estimated $80k. Los Angeles and New York were the top markets, responsible for 19.7% and 14.3% of the weekend gross, respectively.
Sony Classics’ Julia grossed an estimated $30,410 from 116 screens, bringing the total for the Julia Child documentary to $311,434.
Sideshow and Janus Films’ critically-acclaimed Drive My Car, the Japanese drama co-written and directed by Ryusuke Hamaguchi, grossed an estimated $27,300 from four theaters in its second weekend of release, including $13,000 at Los Angeles’ Nuart theater. In New York, the film’s weekend take was up 7% at Film Forum and down just 10% at Lincoln Center. The film, Japan’s Oscar submission for Best International Feature, has $58,879 to date. It expands to additional cities including San Francisco, Washington, D.C., Seattle, Chicago, San Diego, Baltimore and Dallas next weekend.
In its first weekend of release, NEON and Participant Media’s Flee grossed an estimated $25,033 from four screens, for a per-screen average of $6,258.
Sunday’s Studio Weekend Estimates: December 3-5, 2021
| Title | Estimated weekend | % change | Locations | Location change | Average | Total | Weekend | Distributor |
| Encanto | $12,739,000 | -53% | 3,980 | n/c | $3,201 | $57,959,641 | 2 | Walt Disney |
| Ghostbusters: Afterlife | $10,350,000 | -57% | 4,059 | -256 | $2,550 | $102,191,594 | 3 | Sony Pictures |
| House of Gucci | $6,773,404 | -53% | 3,477 | 6 | $1,948 | $33,641,223 | 2 | United Artists |
| Christmas with the Chosen: The Messengers | $4,100,000 | 1,700 | $2,412 | $9,000,000 | 1 | Fathom Events | ||
| Eternals | $3,939,000 | -50% | 3,230 | 65 | $1,220 | $156,528,707 | 5 | Walt Disney |
| Resident Evil: Welcome to Raccoon City | $2,655,000 | -50% | 2,803 | n/c | $947 | $13,173,747 | 2 | Sony Pictures |
| Dune | $1,810,000 | -13% | 1,217 | -49 | $1,487 | $104,572,547 | 7 | Warner Bros. |
| Clifford the Big Red Dog | $1,799,611 | -64% | 3,261 | -31 | $552 | $45,728,000 | 4 | Paramount |
| King Richard | $1,205,000 | -63% | 2,654 | -648 | $454 | $13,402,551 | 3 | Warner Bros. |
| Venom: Let There be Carnage | $1,035,000 | -35% | 1,234 | -303 | $839 | $210,914,422 | 10 | Sony Pictures |
| Belfast | $500,000 | -48% | 1,255 | 127 | $398 | $5,862,990 | 4 | Focus Features |
| C’mon C’mon | $462,022 | 57% | 565 | 463 | $818 | $1,138,825 | 3 | A24 |
| The French Dispatch | $401,000 | -36% | 425 | -25 | $944 | $15,138,596 | 7 | Searchlight |
| Licorice Pizza | $223,328 | -35% | 4 | n/c | $55,832 | $761,126 | 2 | MGM |
| Benedetta | $145,000 | 202 | $718 | $145,000 | 1 | IFC Films | ||
| Ron’s Gone Wrong | $101,000 | -50% | 310 | -140 | $326 | $22,884,600 | 7 | 20th Century Studios |
| Wolf | $81,000 | 308 | $263 | $81,000 | 1 | Focus Features | ||
| Antlers | $50,000 | -14% | 180 | -52 | $278 | $10,579,381 | 6 | Searchlight |
| Drive My Car | $27,300 | 98% | 4 | 2 | $6,825 | $58,879 | 2 | Janus Films |
| Halloween Kills | $9,000 | -52% | 150 | -15 | $60 | $91,986,455 | 8 | Universal |
| The Scary of Sixty First | $8,108 | 1 | $8,108 | $8,108 | 1 | Utopia | ||
| Project Space 13 | $3,000 | 1 | $3,000 | $3,000 | 1 | Circle Collective |
The post WEEKEND BOX OFFICE: <em>Encanto</em> Remains No. 1 w/ $12.7M Over Slow Post-Thanksgiving Frame appeared first on Boxoffice.
from Boxoffice
0 comments:
Post a Comment