Spider-Man: No Way Home cracked the top ten highest-grossing titles of all-time at the domestic box office this weekend. The superhero sequel finished the weekend with $52.7 million from 4,206 locations to hit a total of $609.8 million in North America. It is the first film to cross the $600 million mark at the domestic box office since 2019’s Avengers: Endgame and the first movie not released by Disney to cross $600 million since Universal’s Jurassic World in 2015.
Universal’s Sing 2 added $19.6 million from 3,892 screens in its sophomore frame, a mere 12% drop from its opening weekend, lifting its theatrical run in North America to $89.6 million. The title is now days away from overtaking Disney’s Encanto ($91.3M) as the highest-grossing animated film of the pandemic. The title has earned $54.8 million to date from 48 territories in its overseas run, giving it a global total of $144.5 million.
Ukraine leads the list of new openers for Sing 2 with a $1.2 million first place finish from 212 screens (including previews). France leads the list of overseas markets for the animated title following a $4 million weekend from 753 screens, a slight 2% increase from its opening frame, to reach a $12.6 million total in the market. Other top performers include Mexico ($7.6M), Australia ($5.3M), and Russia ($4.6M). Sing 2 expands to South Korea (January 5), Brazil (January 6), Germany (January 20), and the UK & Ireland (January 28) later this month.
20th Century Studios’ The King’s Man moved up to third place in its sophomore frame with a $4.5 million take from 3,160 screens, a modest 24% drop from last weekend’s debut. The film has earned $19.5 million after two weeks in North America. Internationally, The King’s Man has already earned $28.3 million from 22 markets. The film opened in several key markets this weekend, with third place finishes in France, Mexico, and Spain. A pair of Asian markets lead the top performers with South Korea ($6.6M) and Japan ($4.8M) combining for over $11 million. The UK ($4.6M), Taiwan ($2.8M), and France ($2.2M) round out the film’s top 5 international markets. The King’s Man has earned a total of $47.8 million worldwide to date.
Lionsgate’s American Underdog finished in fourth place over its second weekend in North America. The biopic about former NFL quarterback Kurt Warner’s rise to stardom took in $4 million in its sophomore frame FROM 2,813 locations, reaching a $15 million domestic cume.
Tumbling down to fifth place in only its second weekend, The Matrix: Resurrections suffered a 64% drop to finish its sophomore frame with $3.8 million. The sci-fi sequel opened day-and-date on HBO Max and has only grossed a total of $30.9 million in North America since opening on December 22.
The Matrix: Resurrections is finding better staying overseas, with a 19% drop in its third weekend in Japan, where it has already grossed $9.7 million. The UK registered a 20% drop in its sophomore frame ($7M total) and a similarly strong 23% slide in Germany ($3.9M total). Italy was the weekend’s top opener with a $1 million debut from 603 screens. The Matrix: Resurrections has earned a total of $75.1 million from 76 markets overseas for a $106 million global haul. The film is scheduled to open in China and the Netherlands on January 14.
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Paul Thomas Anderson’s Licorice Pizza kept a place in the top ten for the second consecutive weekend after last weekend’s expansion. The comedy grossed $1.2 million from 786 screens for a $1,589 per-screen average. The back-to-back $1M+ weekends lifted the title to $6.3 million in its sixth weekend in North America.
Sean Baker’s Red Rocket (A24) saw a modest expansion this weekend, earning $106k from 385 screens. The adult-skewing comedy has now earned $709k in its domestic run.
Read Boxoffice Pro’s interview with Sean Baker on Red Rocket.
Pedro Almodóvar’s Parallel Mothers (Sony Pictures Classics) held on to its three screens from last weekend’s debut, netting a $30k sophomore frame for a $10k per-screen average. The film has earned $115k from its first two weekends in North America.
Read Boxoffice Pro’s interview with Pedro Almodóvar on Parallel Mothers.
Ryusuke Hamaguchi’s Drive My Car (Sideshow/Janus) took in $21k from 16 screens for a $1,331 per-screen average in its sixth weekend. Japan’s Academy Awards submission has now earned a total of $324k in North America. It is set to expand to 20 new cities next weekend, with 70 additional runs scheduled throughout February.
Read Boxoffice Pro’s interview with Ryusuke Hamaguchi on Drive My Car.
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