Here’s how much money the two major holdovers, Barbie and Oppenheimer, are still making: this was a “top 50” box office weekend of all time, even though the biggest new release opened under $25M.
Marcus Theatres, the fifth-largest circuit in North America, tells Boxoffice PRO that the “Barbenheimer” phenomenon contributed to mid-week figures equal to the opening week of Spider-Man: No Way Home in 2021.
“Our guests have been incredible in showing their enthusiasm for this slate. We’ve had plenty of patrons showing up wearing themed Barbie outfits and sharing their excitement of seeing these movies at our theaters on social media,” says Marcus Theatres’ VP Clint Wisialowski. “These titles are appealing to an incredibly diverse audience which includes some folks we have not seen in quite a while. We are happy to welcome them back.”
Barbie
Last weekend, Hollywood was living in a Barbie world, as Warner Bros.’ comedy opened to $162.0M in first place, the #20 opening of all time.
It also marked the #1 opening of 2023 so far, at +10% ahead of the prior record holder, April’s The Super Mario Bros. Movie with $146.3M.
Now in its sophomore frame, Barbie declines a mild -43% to $93.0M, repeating in first place.
That marks the #7 sophomore frame of all time, an improvement after its #20 rank among all time opening weekends.
After 10 days, Barbie has earned $351.4M. Domestically, that’s already the #67 film of all time.
On the all time list, it ranks between 2011’s Transformers: Dark of the Moon ($352.3M) and 2014’s American Sniper ($350.1M).
It’s also ranks #4 of the year so far, behind only:
- April’s The Super Mario Bros. Movie: $574.1M
- June’s Spider-Man: Across the Spider-Verse: $378.7M
- May’s Guardians of the Galaxy Vol. 3: $358.9M
It will pass Spider-Verse and Guardians within the coming days to claim the year’s #2 spot so far.
Overseas / global
This weekend, Barbie declined -32% overseas, milder than its -43% domestic drop.
Barbie has earned $423.1M overseas and $774.5M globally.
Globally, that’s already the #111 film of all time, and certain to crack the top 100 within days.
On the all time list, it ranks between 1977’s Star Wars with $775.3M (including subsequent theatrical re-releases) and 2021’s No Time to Die with $774.1M.
It also ranks #3 of the year so far, behind:
- April’s The Super Mario Bros. Movie: $1.45B
- May’s Guardians of the Galaxy Vol. 3: $884.8M
Barbie’s top overseas markets totals are:
- U.K.: $61.6M
- Mexico: $41.4M
- Brazil: $33.5M
- Australia: $30.6M
- China: $25.2M
- Germany: $21.2M
- France: $21.0M
- Italy: $20.5M
- Spain: $18.7M
- Argentina: $10.6M
Oppenheimer
Last frame, Universal’s historical war drama blasted to $82.4M and second place.
That marked the #2 runner-up film of all time at a weekend’s box office, behind only 2015’s Inside Out, which debuted with $90.4M behind the sophomore frame of Jurassic World.
It also marked writer-director Christopher Nolan’s highest (non-Batman) opening weekend, ahead of 2010’s Inception, 2014’s Interstellar, and 2017’s Dunkirk.
Now in its sophomore frame, Oppenheimer falls -44% to $46.2M, repeating in second place.
That’s the #81 sophomore frame of all time, an improvement after it debuted outside the top 100 openings of all time.
Compared to Nolan’s other original films, that sophomore drop is steeper than:
- 2010’s Inception (-32%)
- 2014’s Interstellar (-40%)
However, it’s milder than:
- 2017’s Dunkirk (-47%)
After 10 days, Oppenheimer has earned $174.0M. Through the same point in release, that’s:
- +21% above Inception: $142.8M
- +79% above Interstellar: $96.9M
- +71% above Dunkirk: $101.3M
IMAX comprises $47.3M of Oppenheimer’s domestic total, or 27%.
In its opening week alone, Oppenheimer already exceeded the final totals for such other World War II-set films as:
- 2014’s Unbroken: $115.6M
- 2014’s The Imitation Game: $91.1M
- 2014’s Fury: $85.8M
- 2008’s Valkyrie: $83.1M
- 2014’s The Monuments Men: $78.0M
- 2016’s Hacksaw Ridge: $67.2M
- 2019’s Midway: $56.8M
- 2017’s Darkest Hour: $56.4M
- 2012’s Red Tails: $49.8M
- 2016’s Allied: $40.0M
Overseas / global
This weekend, Oppenheimer declined only -26% overseas, milder than its -44% domestic drop.
Oppenheimer has earned $226.3M overseas and $400.3M globally. IMAX comprises $80.7M, or 20%.
Top overseas markets totals are:
- U.K.: $34.8M
- Germany: $17.7M
- France: $17.3M
- Australia: $13.4M
- India: $12.9M
- Mexico: $10.6M
- Spain: $9.2M
- Saudi Arabia: $8.0M
- Netherlands: $6.8M
- Brazil: $6.5M
Haunted Mansion
Disney’s family horror-comedy spooked $24.2M in a third place debut.
That’s exactly the same as 2003’s original The Haunted Mansion, which also opened with exactly $24.2M.
Compared to some other family horror-comedies of recent years, it also opened:
- -16% below 2016’s Miss Peregrine’s Home for Peculiar Children: $28.8M
- -9% below 2018’s The House with a Clock in its Walls: $26.6M
- +2% above 2015’s Goosebumps: $23.6M
The estimated audience for Mansion was 61% female and 58% ages 25+.
Overseas / global
Mansion opened with $9.1M overseas and $33.3M globally – though its staggered overseas debut hasn’t yet begun in several key markets including U.K., Italy, Australia, and Japan.
Top overseas market totals are:
- France: $1.8M
- Mexico: $1.2M
Sound of Freedom
In its fourth frame, Sound declines -37% to $12.4M and fourth place.
With $148.9M after 27 days, Sound is the biggest box office surprise of 2023. Few would have predicted that it would take the title under a month to outpace the domestic theatrical run of some of this year’s most anticipated releases from major studios—including Paramount’s Mission: Impossible – Dead Reckoning – Part I, Universal’s Fast X, Warner Bros.’ The Flash, and Disney’s Elemental.
The film has already exceeded the final totals of almost all of the biggest faith-based films of recent years – in some cases, far exceeded:
- 2014’s Heaven is for Real: $91.3M
- 2018’s I Can Only Imagine: $83.4M
- 2015’s War Room: $67.7M
- 2016’s Miracles from Heaven: $61.7M
- 2014’s God’s Not Dead: $60.7M
- 2014’s Son of God: $59.7M
- 2017’s The Shack: $57.3M
- February’s Jesus Revolution: $52.1M
Mission: Impossible – Dead Reckoning Part One
Last weekend, in its sophomore frame, Paramount’s action sequel fell a steep -65% to $19.3M and fourth place.
That sophomore drop was steeper than for the three most recent Mission: Impossible installments, the three most recent James Bond installments, and star Tom Cruise’s most recent action film.
Now in its third frame, Dead Reckoning falls a milder -45% to $10.7M and fifth place.
Reckoning has earned $139.2M through 19 days.
Here’s how that compares through the same point in release. It’s trailing its immediate Mission: Impossible predecessor, and has just fallen behind its 2015 predecessor as well:
- -16% below 2018’s Mission: Impossible — Fallout: $166.7M
- -2% below 2015’s Mission: Impossible — Rogue Nation: $142.6M
- +13% above 2021’s No Time to Die: $123.0M
- -11% below 2015’s Spectre: $157.9M
- -66% behind 2022’s Top Gun: Maverick: $409.3M
Overseas / global
This weekend, Reckoning declined -43% overseas, just slightly milder than its -45% domestic drop.
Reckoning has earned $309.3M overseas and $448.5M globally.
It’s looking increasing unlikely to match the global totals of:
- Fallout: $786.6M
- Rogue Nation: $688.8M
- Ghost Protocol: $694.7M
- No Time to Die: $759.9M
- Spectre: $879.0M
- Maverick: $1.47B
Reckoning’s top five overseas market totals are:
- China: $45.7M
- South Korea: $28.0M
- U.K. $26.5M
- India: $14.7M
- France: $17.5M
- Japan: $16.1M
- Australia: $12.4M
- Taiwan: $11.7M
- Germany: $10.2M
Outside the top five
A24’s horror-thriller Talk to Me opened in moderate release with $10.0M in sixth place, a solid start for the genre title.
Disney’s adventure sequel Indiana Jones and the Dial of Destiny takes seventh place with a -40% decline to $4.0M. It’s earned $167.0M after 31 days. Through the same point in release, it’s running -42% below 2008’s Indiana Jones and the Kingdom of the Crystal Skull: $290.9M.
Disney/Pixar’s animated Elemental takes eighth place with a -41% decline to $3.4M. It’s earned $144.9M through 45 days. Though poised to finish among Pixar’s lowest-grossing theatrical releases ever, it’s exceeded the final totals of 2022’s Lightyear ($118.3M) and 2015’s The Good Dinosaur ($123.0M), despite opening below both titles.
Sony Pictures’ horror sequel Insidious: The Red Door takes ninth place with a -52% drop to $3.1M, as Talk to Me opens as the first true horror wide release competitor. Door has made $78.0M after 24 days, already out-earning the first, third, and fourth Insidious installments. It’s also running +4% ahead of the second installment, 2013’s Insidious: Chapter 2, through the same point in release: $74.7M. With $174.3M globally, Door also becomes the highest-grossing among the franchise’s five installments, passing fourth installment The Last Key with $168M.
Sony Pictures’ animated superhero sequel Spider-Man: Across the Spider-Verse takes 10th place place with a -50% drop to $1.4M. It’s earned $378.7 through 59 days. That’s +99% higher than the final total of 2018’s Into the Spider-Verse: $190.1M. Within the coming days, it will double – and then more than double – its predecessor.
Weekend comparisons
With $211.5M, this weekend marks the #49 biggest box office weekend ever and the #6 post-pandemic weekend.
With $311.2M total, last frame marked the #4 biggest box office weekend ever, behind only:
- April 26-28, 2019 with $401.9M, led by Avengers: Endgame
- December 18-20, 2015 with $313.0M, led by Star Wars: The Force Awakens
- April 27-29, 2015 with $312.3M, led by Avengers: Infinity War
Notably, those other frames were practically monopolized by one single new wide release, compared to last weekend which was dominated by two: Barbie and Oppenheimer.
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 |
$311.2M |
-32% |
Barbie ($162.0M) |
|
Same weekend in 2022 |
$97,884,255 |
2.16x |
DC League of Super-Pets ($23.0M) |
|
Same weekend in 2019 |
$162.8M |
+30% |
The Lion King, second frame ($76.6M) |
YTD comparisons
Year-to-date box office stands around $5.72B.
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 |
$4.73B |
+20.7% |
+15.7% |
Up |
|
2019 |
$6.85B |
-16.5% |
-19.6% |
Up |
Top distributors
Grouped by parent company, the YTD leaders are:
- Disney + 20th Century + Searchlight + Star: $1.56B
- Universal + Focus Features: $1.32B
- Sony Pictures + Sony Classics + Crunchyroll: $708.9M
- Warner Bros.: $623.3M
- Paramount: $556.3M
- Lionsgate: $348.1M
Sunday’s Studio Weekend Estimates:
| Title | Estimated weekend | % change | Locations | Location change | Average | Total | Weekend | Distributor |
| Barbie | $93,000,000 | -43% | 4,337 | 94 | $21,443 | $351,403,000 | 2 | Warner Bros. |
| Oppenheimer | $46,200,000 | -44% | 3,647 | 37 | $12,668 | $174,060,000 | 2 | Universal |
| Haunted Mansion | $24,200,000 | 3,740 | $6,471 | $24,200,000 | 1 | Disney | ||
| Sound of Freedom | $12,409,300 | -37% | 3,411 | 126 | $3,638 | $148,972,065 | 4 | Angel Studios |
| Mission: Impossible – Dead Reckoning Part One | $10,725,000 | -45% | 3,191 | -1,130 | $3,361 | $139,233,000 | 3 | Paramount |
| Talk To Me | $10,028,632 | 2,340 | $4,286 | $10,028,632 | 1 | A24 | ||
| Indiana Jones and the Dial of Destiny | $4,000,000 | -40% | 2,165 | -720 | $1,848 | $167,084,867 | 5 | Disney |
| Elemental | $3,400,000 | -41% | 2,105 | -615 | $1,615 | $144,983,672 | 7 | Disney |
| Insidious: The Red Door | $3,175,000 | -52% | 1,914 | -640 | $1,659 | $78,082,000 | 4 | Sony Pictures |
| Spider-Man: Across the Spider-Verse | $1,440,000 | -50% | 833 | -836 | $1,729 | $378,796,000 | 9 | Sony Pictures |
| Theater Camp | $635,000 | 126% | 295 | 244 | $2,153 | $1,506,440 | 3 | Searchlight [Disney] |
| The First Slam Dunk | $625,611 | 581 | $1,077 | $625,611 | 1 | GKIDS | ||
| No Hard Feelings | $420,000 | -61% | 1,017 | $413 | $50,173,000 | 6 | Sony Pictures | |
| Transformers: Rise of the Beasts | $355,000 | -69% | 322 | -512 | $1,102 | $156,637,000 | 8 | Paramount |
| The Little Mermaid | $266,000 | -62% | 208 | -412 | $1,279 | $296,910,742 | 10 | Disney |
| The Essential Church | $250,000 | 301 | $831 | $250,000 | 1 | Atlas | ||
| Asteroid City | $151,000 | -51% | 124 | -170 | $1,218 | $27,643,000 | 7 | Focus Features [Universal] |
| Joy Ride | $87,000 | -76% | 66 | -269 | $1,318 | $12,846,173 | 4 | Lionsgate |
| Ruby Gillman, Teenage Kraken | $61,000 | -66% | 173 | -329 | $353 | $15,616,000 | 5 | Universal |
| The Super Mario Bros. Movie | $39,000 | -62% | 96 | -38 | $406 | $574,141,000 | 17 | Universal |
| Guardians of the Galaxy Vol 3 | $33,000 | -74% | 50 | -75 | $660 | $358,945,326 | 13 | Disney |
| Afire | $32,815 | 36% | 44 | 36 | $746 | $124,654 | 3 | Janus Films |
| Bobi Wine: The People’s President | $18,200 | 2 | $9,100 | $18,200 | 1 | National Geographic | ||
| Kokomo City | $16,650 | 1 | $16,650 | $16,650 | 1 | Magnolia Pictures | ||
| The Unknown Country | $10,217 | 3 | $3,406 | $10,217 | 1 | Music Box Films | ||
| Lakota Nation vs. United States | $6,000 | 84% | 16 | 14 | $375 | $22,748 | 3 | IFC Films |
| Sympathy for the Devil | $5,400 | 28 | $193 | $5,400 | 1 | RLJ Entertainment | ||
| The Beasts | $5,000 | 1 | $5,000 | $5,000 | 1 | Greenwich |
Share this post