Scream and Spider-Man Still Top Box Office This Weekend

With no “big deal” wide releases opening box office was, as expected, dominated by the handful of holdovers which audiences are seeing theatrically. The top movie last night was, once again, Spider-Man: No Way Home.

Sony and Marvel’s superhero sequel earned another $3.515 million (-32%) for a likely sixth weekend gross of $14 million (-30%) for a $721 million cume. With little tentpole competition (and Morbius now opening in April) and no Oscar season breakouts, the post-holiday legs for No Way Home had been quite impressive. Its 30% drop is better than every relevant big-scale holiday season release (the Star Wars sequels, the Middle Earth flicks, Tron: Legacy, etc.) save for Aquaman, Avatar and Titanic. Its $14 million weekend gross will be damn close to the $14.1 million sixth weekend gross of The Force Awakens.

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If it continues as such, Spider-Man: No Way Home will end with around $765 million-$780 million domestic. That’ll be past the unadjusted domestic total of Avatar ($760 million) and behind only Hi Mom ($835 million in China), Avengers: Endgame ($858 million domestic), The Battle at Lake Changjin ($905 million in China) and Star Wars: The Force Awakens ($937 million domestic) among all single territory cumes. The Tom Holland/Zendaya flick will end the weekend past the inflation-adjusted totals of Black Panther ($700 million in 2018/$715 million adjusted), Jurassic World ($652 million in 2015/$719 million adjusted) and The Avengers ($623 million in 2012/$720 million adjusted). That’ll put it among the top 30 for all-time inflation-adjusted grossers, and the ninth among all films released after the original Star Wars trilogy (two of which only made the top thirty due to reissues).

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Scream earned just $3.7 million (-71%) on its second Friday, setting itself up for an $11.7 million (-61%) weekend and $50 million ten-day cume. Now for the record, that’s a drop right in line with earlier Scream sequels. Scream 2 dropped by 57% from a $33 million debut in December 1997 against the tsunami that was Titanic, Tomorrow Never Dies and (most importantly) Mousehunt. Scream 3 dropped 53% from a $34 million debut in February 2000 while topping the $15 million debut of Leonardo DiCaprio’s The Beach. Scream 4 underwhelmed with an $18.6 million debut and plunged 62% in April 2011. The earlier sequels didn’t have to contend with pandemic-specific variables. It’s a better hold than Ride Along 2 (-64%) and Cloverfield (-68%) and still points toward a domestic finish of over/under $75 million for the $24 million release.

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Universal and Illumination’s Sing 2 is a “Covid curve not required” theatrical hit. The $85 million jukebox musical sequel earned $2.69 million (-25%) on its fifth Friday for a $5.56 million (-30%) weekend and $128.3 million domestic cume. With a current $228 million global cume, it has passed both Encanto ($215 million) and The Croods: A New Age ($227 million) to become the biggest pandemic-era toon. In terms of franchise holds, it has already held better compared to Sing ($271 million in 2016) than did The Secret Life of Pets 2 (from $368 million in 2016 to $160 million in 2019) domestically. All this despite being concurrently available on PVOD over the last two weeks. Given the circumstances; an eventual $140 million domestic cume is about what I would have expected from Sing 2 in non-Covid times.

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Universal’s faith-based drama Redeeming Love earned $1.49 million on Friday for a likely $4 million weekend. The Nthibah Pictures/Mission Pictures/Pinnacle Peak Pictures production concerns a young woman coping with having been sold into prostitution as a child and stars Abigial Cowen and Tom Lewis. It’s directed by D.J. Caruso who made his name with star-driven programmers like Eagle Eye and Disturbia back when there was a market for such things. Gravitas finally unleashed The King’s Daughter, which was shot eight years ago, into 2,170 theaters. Starring Pierce Brosnan, Kaya Scodelario and Benjamin Walker (the latter two have since married and had two kids), the film is based on Vonda N. McIntyre’s 1997 novel The Moon and the Sun, which (amusingly in retrospect) won the Nebula Award for Best Novel that year besting George R.R. Martin’s A Game of Thrones.

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The film was shot way in 2014 with the initial intent of Paramount releasing it on April 10, 2015. The King’s Daughter, about a daughter of royalty who forms a special bond with a mermaid which her father has kidnapped to achieve immortality, is “just a movie.” It’s not excessively good, but nor does it do anything more egregious that merely exist as a singular 97-minute one-and-done story. The $40 million budget is on the screen, even with some dubious special effects work concerning Fan Bingbing’s magical mermaid, and it’s a relic of a time when Hollywood thought they could conquer China and before studio programmers got wiped off the theatrical map by the streaming boom. Granted, it wouldn’t have been a hit even in early 2015, but its $260,000 Friday and likely $590,000 weekend seems right for 2022.

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