Warner Bros. DC Comics adaptation Black Adam, starring Dwayne Johnson, opened two frames ago to $67.0M. That was on the higher end of pre-release projections, which were in the $60M-$65M range.
In its second frame, it repeats on top but with a sharp -59% drop to $27.4M. That was a steeper drop than projections, which had it coming in around $29M-$30M.
It was a steeper drop than for several other DC Comics film adaptations which opened in the same range, and also steeper than for several other films starring Johnson in the lead role.
Now In its third weekend, the film repeats on top with a much milder -33% decline to $18.5M.
Through 17 days, it’s now earned $137.3M. Compared to some comparable DC Comics adaptations through the equivalent point in release, that’s:
- +14% above 2019’s Shazam! ($120.4M)
- -47% below 2018’s Aquaman ($260.0M), even though its opening weekend was only +1% ahead of Adam
Compared to other comparable titles starring Johnson through the equivalent point in release, Adam is running:
- -21% below 2019’s Jumanji: The Next Level ($175.485,47)
- -5% behind 2016’s Moana ($144.7M), to the extent that the animated title is a valid comparison
- +2% above 2019’s Hobbs & Shaw ($133.7M)
- +15% above 2015’s San Andreas ($119.1M)
- +76% above 2018’s Rampage ($78.0M)
Compared to comparable superhero titles from rival Marvel Studios which opened in the same range, Adam is running:
- -22% behind 2021’s Shang-Chi and the Legend of the Ten Rings ($176.8M)
- +1% above 2021’s Eternals ($136.0M)
Overseas, Adam has earned $182.3M, for a $319.7M global total. Top market totals include:
- U.K. ($19.3M)
- Mexico ($12.7M)
- France ($12.4M)
- Brazil ($12.2M)
- Australia ($10.0M)
One Piece Film: Red
Crunchyroll’s new anime title One Piece Film: Red opened in second place with $9.4M. That’s in line with pre-release projections, most of which had it around $9M-$11M.
It’s currently the #9 earning film of all time in its native Japan. As the 15th installment in Japan’s One Piece film series, it’s also the installment to receive by far the widest American theatrical release with 2,415 theaters.
2019’s One Piece: Stampede previously opened as an event release in only 504 theaters, earning a cumulative $1.3M.
Red’s opening is:
- -3% below 2019’s Dragon Ball Super: Broly ($9.8M)
- +51% above 2021’s My Hero Academia: World Heroes’ Mission ($6.2M)
- +60% above February 2020’s pre-pandemic My Hero Academia: Heroes Rising ($5.8M)
The Banshees of Inisherin
When Searchlight Pictures’ The Banshees of Inisherin opened in four theaters, it earned $184K for a $46,114 per-theater average. That’s the #2 average of the year so far, behind only March’s Everything Everywhere All at Once ($50,131).
Last weekend, it expanded to 58 theaters, and now in its third frame expands nationwide to 895 theaters. earning $2.0M in seventh place. That’s on the slightly higher end of projections, which had it closer to $1.5M.
Compared to another recent wide expansion opening for a speciality title and awards contender, Banshees opens $90% above October’s TÁR ($1.0M), despite playing in fewer theaters (895 vs. 1,087).
Last weekend, Focus Features’ Armageddon Time opened in six theaters, earning $70.2K for a $11,713 average. That’s the #38 average of the year so far.
Now in its second frame, the film expands wide to 1,006 theaters and earns $810K for 12th place. That’s on the slightly lower end of projections, which had it around $1M.
Horror films post-Halloween
Four horror films reached the box office’s top 10 last week. Now in the post-halloween weekend, those films’ declines range from the mild to the steep:
- Smile (-26%)
- Terrifier 2 (-31%)
- Prey for the Devil (-46%)
- Halloween Ends (-66%)
For comparison, here are the post-Halloween weekend drops for some other pure horror films, excluding horror-comedies like Zombieland: Double Tap or family-friendly “horror” films like Goosebumps:
- 2021’s Halloween Kills (-73%, steeper than for the current sequel Halloween Ends)
- 2021’s Antlers (-54%)
- 2018’s Halloween (-65%, milder than for the current sequel Halloween Ends)
- 2017’s Jigsaw (-61%)
- 2017’s Happy Death Day (-47%)
- 2016’s Ouija: Origin of Evil (-46%)
- 2015’s Paranormal Activity: The Ghost Dimension (-52%)
- 2014’s Ouija (-45%)
- 2013’s Carrie (-46%)
- 2012’s Paranormal Activity 4 (-50%)
- 2012’s Silent Hill: Revelation (-59%)
- 2012’s Sinister (-45%)
Last weekend, United Artists Releasing’s and MGM’s historical drama Till expanded nationwide, earning $2.7 in seventh place. That was below pre-release projections, which were around $4M.
Now in its second frame of wide release, the film declines -32% to eighth place and $1.8M.
Compared to the wide-release sophomore drops for other comparable titles, that’s steeper than:
- 2017’s Hidden Figures (-9%)
- 2015’s Martin Luther King, Jr. biopic Selma (-22%)
- 2013’s 12 Years a Slave (-31%)
However, it’s milder than:
- 2013’s Lee Daniels’ The Butler (-33%)
- 2013’s Jackie Robinson biopic 42 (-36%)
- 2019’s Harriet Tubman biopic Harriet (-37%)
- 2021’s Aretha Franklin biopic Respect (-57%)
- 2014’s James Brown biopic Get on Up (-62%)
Total box office this weekend came in around $57.7M, which is:
- -14% below last weekend’s total ($67.7M), when Black Adam led for a second consecutive frame with $27.4M.
- -10% below the equivalent weekend in 2021 ($64.3M), when Dune led for a second consecutive frame with $15.4M, after debuting day-and-date simultaneously in cinemas and streaming on HBO Max.
- -50% below the equivalent weekend in the last pre-pandemic year 2019 ($115.6M), when Terminator: Dark Fate opened with $29.0M.
Two frames ago marked the first $100M+ overall weekend in 13 frames, since July 22-24 (with $126.2M) when Nope opened at $44.3M. Last weekend, though, the box office once again fell well below $100M – as it does again this frame.
Year-to-date box office stands around $6.17B. That’s:
- +98.5% this same point in the pandemic recovery year of 2021 ($3.11B), down from 2.01x after last weekend. Note: this weekend, the YTD box office fell below double last year’s YTD figure.
- -33.9% behind this same point in 2019, the last pre-pandemic year ($9.35B), up from -34.1% last weekend. The peak was around -29.5%, set in mid-July.
- Universal ($1.39B)
- Paramount ($1.28B)
- Warner Bros. ($903.1M)
- Disney ($880.9M)
- Sony Pictures ($818.3M)
Sunday’s Studio Weekend Estimates:
|Title||Estimated weekend||% change||Locations||Location change||Average||Total||Weekend||Distributor|
|Black Adam||$18,520,000||-33%||3,985||-417||$4,647||$137,365,701||3||Warner Bros.|
|One Piece Film: Red||$9,475,251||2,367||$4,003||$9,475,251||1||Crunchyroll|
|Ticket to Paradise||$8,510,000||-14%||4,066||374||$2,093||$46,734,120||3||Universal|
|Prey for the Devil||$3,875,000||-46%||2,980||n/c||$1,300||$13,643,710||2||Lionsgate|
|Lyle, Lyle, Crocodile||$3,360,000||23%||3,005||-130||$1,118||$36,566,868||5||Sony Pictures|
|The Banshees of Inisherin||$2,001,000||274%||895||837||$2,236||$3,034,102||3||Searchlight Pictures|
|Terrifier 2||$1,220,075||1,245||$980||$9,858,425||5||Iconic Releasing|
|The Woman King||$905,000||-20%||1,075||-371||$842||$65,924,367||8||Sony Pictures|
|Armageddon Time||$810,000||1053%||1,006||1,000||$805||$902,175||2||Focus Features|
|Triangle of Sadness||$410,000||-24%||487||-123||$842||$3,031,159||5||Neon|
|2022 League of Legends World Championship||$302,064||375||$806||$302,064||1||Lexis Partners|
|Minions: The Rise of Gru||$119,000||-4%||442||-89||$269||$369,175,445||19||Universal|
|Amsterdam||$113,000||-45%||370||-165||$305||$14,805,472||5||20th Century Studios|
|The Bad Guys||$108,000||-52%||564||-914||$191||$97,134,600||29||Universal|
|Meet Me in the Bathroom||$85,683||4||$21,421||$85,683||1||Utopia|
|Barbarian||$70,000||-65%||160||-305||$438||$40,727,275||9||20th Century Studios|
|Running The Bases||$13,000||95%||17||-5||$765||$1,500,603||8||UP2U Films|
|RRR: Rise, Roar, Revolt||$10,920||1||$10,920||$13,896,681||33||Sarigama Cinemas|
|Cat Daddies||$3,406||-60%||2||-2||$1,703||$44,999||4||Gray Hat Productions|
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