Barbie
Warner Bros.’ comedy declines -43% in its third frame with $53.0M, three-peating in first place.
All time, It’s now earned the:
- #20 opening weekend: $162.0M
- #7 sophomore weekend: $93.0M
- #11 third weekend: $53.0M
With $459.3M total through 17 days, it now stands as the #24 biggest movie of all time.
On the all time list, it ranks between 1977’s Star Wars with $460.9M (including subsequent theatrical re-releases) and 2015’s Avengers: Age of Ultron with $459.0M.
It also ranks #2 of the year so far, behind only April’s The Super Mario Bros. Movie: $574.1M.
However, Barbie is running +17% ahead of Mario through the equivalent 17-day point in release: $390.3M.
Overseas / global
When Margot Robbie originally pitched her vision of a subversive Barbie adaptation, she jokingly told studio executives that it would “make a billion dollars.” Well, it was no joke.
This weekend, Barbie surpassed the 10-digit mark with $572.1M overseas and $1.03B globally.
Globally, that’s already the #45 film of all time.
On the all time list, it ranks between 2017’s Despicable Me 3 with $1.03B and 2016’s Finding Dory with $1.02B.
It also ranks #2 of the year so far, behind only April’s The Super Mario Bros. Movie: $1.45B.
Barbie’s top overseas markets totals are:
- U.K.: $87.9M
- Mexico: $48.9M
- Australia: $41.1M
- Brazil: $39.5M
- China: $31.7M
- Germany: $33.7M
- France: $29.1M
- Italy: $27.9M
- Spain: $26.0M
- Argentina: $13.0M
This weekend, Barbie declined -41% overseas to $74.0M, slightly milder than its -43% domestic drop.
Meg 2: The Trench
Warner Bros.’ shark-themed thriller took a $30.0M bite out of the box office, opening in second place.
That’s -34% below the debut of 2018’s original The Meg: $45.4M, opening in first place.
Audience demographics
Also compared to the The Meg, the sequel’s audience was:
- 19% under 18, slightly younger than the original at 15%
- Rated the film a “B-” CinemaScore, lower than the original at “B+”
- Premium formats made up 40% of the film’s receipts, including 22% from 3D; equivalent stats for The Meg weren’t immediately available
The top five locations nationwide include several unusual ones which are basically never in these types of lists:
- Regal Fresno Riverpark
- AMC Empire NY
- Regal Dania Pointe Ft. Lauderdale
- Wellfleet Drive‐In Boston/Cape Cod
- Regal Warren Moore Oklahoma City
Overseas / global
These kinds of films always earn the vast majority of their money from outside the U.S. and Trench was no exception, opening with $112.0M overseas and $142.0M globally.
That’s a hair (less than +1%) larger than the global opening for 2018’s The Meg: $141.3M. That film also opened in only 42 markets, versus 76 for Trench.
In particular, Trench’s $53.3M China opening is +6% above the original’s $50.3M.
Overseas comprised 79% of the film’s global opening. The original ultimately earned 73% from overseas.
Top overseas market totals are:
- China: $53.3M
- Mexico: $7.6M
- U.K.: $5.1M
- France: $4.5M
- Spain: $3.4M
- Germany: $3.4M
- Italy: $2.6M
- Indonesia: $2.3M
- Malaysia: $2.2M
- Australia: $2.1M
Oppenheimer
Universal’s historical war drama declines only -38% to $28.7M, slipping from second to third place in its third frame.
All time, It’s now consistently improved by earning the:
- Opening weekend outside the top 100: $82.4M
- #79 sophomore weekend: $46.7M
- #73 third weekend: $28.7M
With $228.5M total through 17 days, it now stands as the #172 biggest movie of all time domestically.
On the all time list, it ranks between 2013’s Star Trek Into Darkness with $228.7M and 2015’s The Martian with $228.4M.
It also stands as the #12 biggest R-rated movie of all time domestically, between 1973’s The Exorcist with $233.0M (including subsequent theatrical re-releases) and 2017’s Logan with $226.2M.
Depending on how it holds, Oppenheimer stands a shot at finishing among the top five R-rated film, with a small shot at #1. Currently, that mark has been held for 19 years by 2004’s The Passion of the Christ: $370.7M.
Here’s how Oppenheimer compares to the top five R-rated films ever, through the equivalent 17-day point in wide release:
- -4% behind 2004’s The Passion of the Christ: $240.3M
- -19% behind 2016’s Deadpool: $285.2M
- -7% behind 2014’s American Sniper: $247.7M
- -7% behind 2019’s Joker: $247.2M
- -14% behind 2017’s It: $266.0M
Oppenheimer is also poised to become writer-director Christopher Nolan’s biggest (non-Batman) film.
It’s already exceeded the final totals for both 2014’s Interstellar with $188.0M and 2017’s Dunkirk $190.0M, and potentially closing in on 2010’s Inception with $292.5M.
Here’s how Oppenheimer compares to his other biggest films, through the equivalent 17-day point in wide release:
- +18% above 2010’s Inception: $193.3M
- +89% above 2014’s Interstellar: $120.9M / +21% ahead of its final total: $188.0M
- +71% above 2017’s Dunkirk: $133.0M / +20% ahead of its final total: $190.0M
Oppenheimer is also potentially closing in on another unusual record: highest-grossing film to never reach #1 at a weekend box office.
It already ranks #3 on that metric, behind only:
- 2016’s Sing: $270.3M, peaking at #2 behind Rogue One: A Star Wars Story
- 2002’s My Big Fat Greek Wedding: $241.4M, peaking at #2 below Signs, Barbershop, and Swimfan
Overseas / global
This weekend, Oppenheimer declined only -31% overseas, milder than its -38% domestic drop.
Oppenheimer has earned $324.3M overseas and $552.9M globally.
That beats Dunkirk globally with $530M, plus it may soon beat Interstellar with $648M, though matching Inception with $728M will prove harder.
IMAX comprises $144.2M, or 22% of the film’s global total.
Top overseas markets totals are:
- U.K.: $50.3M
- Germany: $28.2M
- France: $24.1M
- Australia: $18.1M
- India: $16.1M
- Mexico: $14.4M
- Spain: $13.6M
- Netherlands: $11.2M
- Saudi Arabia: $10.1M
- Brazil: $9.6M
Later this month, the film will debut in key markets including China, South Korea, and Italy.
Teenage Mutant Ninja Turtles: Mutant Mayhem
Paramount’s animated action comedy reboot opened in fourth place with $28.0M.
After a midweek Wednesday debut, Mayhem has earned $43.1M after five days. Here’s how that compares to other comparable titles, through the equivalent five-day point in release:
- +3% above 2016’s Teenage Mutant Ninja Turtles: Out of the Shadows – $41.7M
- +1% above 2018’s similar animation style Spider-Man: Into The Spider-Verse – $42.4M
- -46% below 2014’s hit Teenage Mutant Ninja Turtles: $79.8M
All three of the most recent Turtles films opened in first place.
Audience demographics
Here are a few of the Mayhem audience stats, compared to those for the last Teenage Mutant Ninja Turtles release, 2016’s Shadows:
- 60% male, more than Shadows with 54%
- 34% under 18, skewing older than Shadows with 40%
- Rated the film an “A” CinemaScore, higher than Shadows at “A-”
Premium screens comprised 16% of the box office, including 13% from 3D.
Over-indexing markets included L.A., Dallas, Houston, Phoenix, San Antonio, and Austin. Seattle and Toronto under-indexed.
Overseas / global
In 24 markets, representing only 30% of the overseas rollout, Mutant debuted with $8.5M overseas and $36.5M globally.
Top markets are U.K. with $5.0M and Germany with $1.0M.
Read Boxoffice PRO’s interview with Mutant Mayhem director Jeff Rowe here:
Haunted Mansion
Last weekend, Disney’s family horror-comedy failed to spook with a $24.0M third place debut.
That was even lower than 2003’s original The Haunted Mansion with $24.2M, despite two decades of ticket price inflation.
Now in its sophomore frame, the new version drops a steep -63% to $9.0M and fifth place.
Compared to some other family horror-comedies of recent years, that drop is notably steeper than:
- 2015’s Goosebumps: -34%
- 2018’s Goosebumps 2: Haunted Halloween = -38%
- 2016’s Miss Peregrine’s Home for Peculiar Children: -48%
- 2018’s The House with a Clock in its Walls: -53%
Haunted Mansion has earned $42.0M total, through 10 days.
That’s +8% above 2003’s original The Haunted Mansion through the equivalent point in release: $38.9M. (Although keep in mind that’s after two decades of ticket price inflation.)
Through the equivalent 10-day point in release, it’s also running:
- -18% below 2016’s Miss Peregrine’s Home for Peculiar Children: $51.1M
- -6% below 2018’s The House with a Clock in its Walls: $44.8M
- -4% below 2015’s Goosebumps: $43.7M
Overseas / global
Mansion’s holdover markets fell -56% this weekend, a steep drop though still milder than its -63% domestic drop.
Mansion has earned $17.6M overseas and $59.6M globally.
It may fail to reach its 2003 predecessor’s $155.7M global total, although the reboot’s staggered overseas debut hasn’t yet begun in several key markets including U.K., Italy, Australia, and Japan.
Top overseas market totals are:
- France: $3.8M
- Mexico: $2.3M
- Germany: $1.4M
- Spain: $1.1M
Outside the top five
Angel Studios’ faith-based action drama Sound of Freedom takes sixth place with $7.0M in its fifth frame.
With $163.4M after 34 days, Sound is certainly the biggest box office surprise of 2023 so far, beating such expected summer blockbusters as The Flash and the new Mission: Impossible.
Indeed, it’s one of the biggest box office surprises of this entire era.
Paramount’s action-adventure sequel Mission: Impossible – Dead Reckoning Part One takes seventh place with $6.4M in its fifth frame. It’s earned $151.0M through 26 days.
Here’s how that compares through the equivalent point in release, including trailing both of its two Mission: Impossible predecessors:
- -17% below 2018’s Mission: Impossible — Fallout: $183.7M
- -5% below 2015’s Mission: Impossible — Rogue Nation: $160.0M
- +11% above 2021’s No Time to Die: $135.1M
- -15% below 2015’s Spectre: $177.7M
- -68% behind 2022’s Top Gun: Maverick: $480.7M
A24’s horror Talk to Me fell -40% to $6.2M and eighth place in its sophomore frame.
Among horror films, that’s one of the milder sophomore drops of the post-pandemic era. For A24’s horror films specifically, it’s milder than X (-49%) and Men (-64%), and just slightly steeper than Pearl (-39%).
Disney’s adventure sequel Indiana Jones and the Dial of Destiny takes ninth place with $1.5M in its sixth frame. It’s earned $170.6M after 38 days.
Through the same point in release, it’s running -42% below 2008’s Indiana Jones and the Kingdom of the Crystal Skull: $298.4M.
Disney/Pixar’s animated Elemental takes 10th place with $1.2M in its eighth frame. It’s earned $148.2M through 52 days.
Though poised to finish among Pixar’s lowest-grossing theatrical releases ever, it’s exceeded the final totals of 2022’s Lightyear with $118.3M and 2015’s The Good Dinosaur with $123.0M, despite opening below both titles.
Weekend comparisons
Total box office this weekend came in around $174.0M.
Here’s how this weekend compares to last weekend, the same weekend last year, and the same weekend in the last pre-pandemic year of 2019:
|
Weekend |
Total |
This weekend is: |
Leader |
|
Last weekend |
$213.5M |
-18% |
Barbie, second frame ($93.0M) |
|
Same weekend in 2022 |
$92.0M |
+89% |
Bullet Train ($30.0M) |
|
Same weekend in 2019 |
$148.9M |
+16% |
Fast & Furious Presents: Hobbs & Shaw ($60.0M) |
YTD comparisons
Year-to-date box office stands around $6.03B.
Here’s how that compares to last year and the last pre-pandemic year of 2019, through the same point:
|
Year |
YTD total |
2023 YTD now: |
2023 YTD after last weekend: |
Trend |
|
2022 |
$4.88B |
+23.3% |
+15.7% |
Up |
|
2019 |
$7.09B |
-15.0% |
-19.6% |
Up |
Top distributors
Grouped by parent company, the YTD leaders are:
- Disney + 20th Century + Searchlight + Star: $1.59B
- Universal + Focus Features: $1.38B
- Warner Bros.: $761.6M
- Sony Pictures + Sony Classics + Crunchyroll: $713.1M
- Paramount: $611.5M
Sunday’s Studio Weekend Estimates:
| Title | Estimated weekend | % change | Locations | Location change | Average | Total | Weekend | Distributor |
| Barbie | $53,000,000 | -43% | 4,178 | -159 | $12,685 | $459,381,000 | 3 | Warner Bros. |
| Meg 2: The Trench | $30,000,000 | 3,503 | $8,564 | $30,000,000 | 1 | Warner Bros. | ||
| Oppenheimer | $28,700,000 | -39% | 3,612 | -35 | $7,946 | $228,519,000 | 3 | Universal |
| Teenage Mutant Ninja Turtles: Mutant Mayhem | $27,950,000 | 3,513 | $7,956 | $43,023,000 | 1 | Paramount | ||
| Haunted Mansion | $8,971,000 | -63% | 3,740 | n/c | $2,399 | $42,021,000 | 2 | Disney |
| Sound of Freedom | $7,032,000 | -45% | 2,975 | -436 | $2,364 | $163,473,000 | 5 | Angel Studios |
| Mission: Impossible – Dead Reckoning Part One | $6,450,000 | -39% | 2,422 | -769 | $2,663 | $151,003,000 | 4 | Paramount |
| Talk To Me | $6,272,000 | -40% | 2,370 | 30 | $2,646 | $22,135,000 | 2 | A24 |
| Indiana Jones and the Dial of Destiny | $1,521,000 | -62% | 1,190 | -975 | $1,278 | $170,640,000 | 6 | Disney |
| Elemental | $1,211,000 | -65% | 1,160 | -945 | $1,044 | $148,299,000 | 8 | Disney |
| Insidious: The Red Door | $1,100,000 | -66% | 824 | -1,090 | $1,335 | $80,630,000 | 5 | Sony Pictures |
| Theater Camp | $570,000 | -10% | 555 | 260 | $1,027 | $2,426,000 | 4 | Searchlight [Disney] |
| Spider-Man: Across the Spider-Verse | $530,000 | -63% | 435 | -398 | $1,218 | $380,072,000 | 10 | Sony Pictures |
| Transformers: Rise of the Beasts | $283,000 | -23% | 164 | -158 | $1,726 | $157,097,000 | 9 | Paramount |
| Catvideofest 2023 | $115,500 | 41 | $2,817 | $115,500 | 1 | Oscilloscope | ||
| Passages | $64,000 | 3 | $21,333 | $64,000 | 1 | MUBI | ||
| The First Slam Dunk | $62,000 | 68 | $912 | $1,033,000 | 2 | GKIDS | ||
| Asteroid City | $60,000 | -59% | 86 | -38 | $698 | $27,786,000 | 8 | Focus Features [Universal] |
| The Little Mermaid | $51,000 | -81% | 90 | -118 | $567 | $297,103,000 | 11 | Disney |
| Ruby Gillman, Teenage Kraken | $30,000 | -49% | 118 | -55 | $254 | $15,696,000 | 6 | Universal |
| Guardians of the Galaxy Vol 3 | $25,000 | -37% | 33 | -17 | $758 | $358,992,000 | 14 | Disney |
| The Super Mario Bros. Movie | $25,000 | -36% | 152 | 56 | $164 | $574,189,000 | 18 | Universal |
| Shiva Baby | $10,000 | 7 | $1,429 | $10,000 | 123 | Utopia | ||
| Lakota Nation vs. United States | $7,000 | 14% | 16 | n/c | $438 | $36,000 | 4 | IFC Films |
| The Unknown Country | $4,000 | -61% | 3 | n/c | $1,333 | $16,000 | 2 | Music Box Films |
| What Comes Around | $4,000 | 14 | $286 | $4,000 | 1 | IFC Films |
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