The studios Paramount are in great shape
With an estimated $17.6 million from 3,659 theaters, Paramount has a lot to smile about after its spooky flick Smile remained at the top of the chart for a consecutive weekend. A 22% drop is one of the finest holds in the history of the horror genre.
As terrific as the news was here, it was even better abroad. The $17 million gained by Smile throughout 61 markets contributed significantly to the company’s overall profit of $89.1 million (including $40 million in overseas earnings and $81.9 million worldwide).
With an estimated $11.5 million in domestic ticket sales, Sony’s new family picture Lyle, Lyle, Crocodile was beaten in its opening weekend by Smile’s gross. Sony predicts the film will make an additional $1.6 million on Monday due to the Indigenous Peoples’ Day holiday.
It was widely anticipated in Hollywood that Lyle, Lyle, adapted on the children’s book of the same name, would take the weekend box office crown, albeit by a slim margin. The film received an A- CinemaScore from moviegoers and has a 68 percent rating on Rotten Tomatoes from critics.
Unfortunately, David O. Russell’s star-studded film Amsterdam tanked at the box office this weekend. Despite negative reviews, the mystery comedy opened to an estimated $6.5 million at 3,005 theaters. On Rotten Tomatoes, it scored 33%, one of the lowest of directors and stars Christian Bale, Margot Robbie, and John David Washington’s careers. The film received a B CinemaScore from its target audience, which is an improvement.
Disney’s Amsterdam is a New Regency-styled film. In light of hostile critical reception, tracking revised the film’s estimated gross to $10 million. This is because the film’s intended demographic of middle-aged and retirees is susceptible to negative word of mouth. However, $10,000,000 still showed encouraging signs.
Universal, the studio that created Bros., wasn’t entirely destitute. The romantic comedy starring George Clooney and Julia Roberts, Ticket to Paradise, has already made over $60 million overseas ahead of its October 21 U.S. release.
Initially, industry watchers and movie theater owners predicted that Lyle, Lyle, and Amsterdam would make both debuts in the teen range.
After the rerelease of Avatar, the next two highest-grossing movies were The Woman King and Don’t Worry Darling.
The Sony film Woman King grossed $5.31 million in its home country, putting it in fourth place. With an additional $2.5 million in domestic ticket sales, Warner Bros.’ Don’t Worry, Darling grossed $38.5 million in the United States and $69.3 million worldwide.
At the domestic box office, James Cameron’s Avatar in 3D has now made $23.3 million, surpassing the original release by a wide margin. Disney and 20th Century Fox’s release has earned $71.9 million globally.
In its second weekend, Bros. fared far worse than smile. The Nicholas Stoller and Billy Eichner-helmed and -cowritten gay rom-com plummeted to No. 6 or No. 7 at the domestic box office with an estimated $2.2 million after ten days (the film fell a hefty 55 percent). Last weekend, after the film’s disappointing fifth-place opening, Eichner rushed to Twitter to blame homophobia for the film’s dismal performance and urge everyone to see the movie.
In other news, the awards season at the box office begins in earnest with the releases of Todd Field’s Tár and Ruben Ostlund’s Triangle of Sadness, winner of the Palme d’Or.
Tár, starring Cate Blanchett and produced by Focus Features, debuted in four theaters in New York and Los Angeles, where it took in a total of $40,000 in its opening weekend, making it the top location average of the weekend and one of the highest of the year. It topped the box office in three theaters, including the AMC Lincoln Square in New York and the AMC Grove in Los Angeles.
Neon’s Triangle of Sadness is rolling out with a 10-location nationwide rollout for its debut. At least $21,500 per theater is projected for the Woody Harrelson vehicle.