Weekend Box Office: THE EXORCIST: BELIEVER Possesses $27.2M

© Universal Studios. All Rights Reserved.

The Exorcist: Believer

Universal’s horror sequel pulled in $27.2M over the weekend for a debut in first place.

That’s +50% above the franchise’s last major installment, 2004’s Exorcist: The Beginning with $18.0M—although Believer would actually fall below the earlier film if ticket prices were adjusted for inflation.

Compared some other post-pandemic horror films, Believer debuted:

  • -42% below 2021’s A Quiet Place Part II: $47.5M
  • -38% below March’s Scream VI: $44.4M
  • -32% below 2022’s Halloween Ends: $40.0M (released day-and-date on Peacock)
  • -17% below July’s Insidious: The Red Door: $33.0M
  • -16% below September’s The Nun II: $32.6M
  • -10% below January’s M3GAN: $30.4M
  • -9% below 2022’s Scream: $30.0M

However, it opens above:

  • +11% above April’s Evil Dead Rise: $24.5M
  • +15% above 2022’s The Black Phone: $23.6M
  • +20% above 2022’s Smile: $22.6M
  • +48% above September’s Saw X: $18.3M

Audience demographics

The estimated audience was:

  • 52% male
  • 66% older than 25
  • Only 30% white, versus 41% Hispanic
  • Gave the film a “C” CinemaScore

Overseas / global

Believer began with $17.8M overseas and $45.0M globally, bringing 39% of its debut haul from overseas markets.

Top overseas market totals to date are:

  1. Mexico: $3.9M
  2. U.K.: $2.1M
  3. Italy: $1.2M

Paw Patrol: The Mighty Movie

Last frame, Paramount’s animated sequel took a bite out of the box office with $22.7M in first place.

Now in its sophomore frame, Mighty falls -48% to $11.7M and second place. That’s slightly milder than the sophomore drops for:

  • 2021’s Paw Patrol: The Movie: -49%
  • 2021’s Clifford the Big Red Dog: -51%

After 10 days, Mighty has earned $38.8M. Through the equivalent point in release, it’s running:

  • +61% above Paw Patrol with $24.1M, worse than its +73% opening
  • +41% above Clifford with $27.4M, better than its +37% opening

(That said, both of those films opened day-and-date, simultaneously in cinemas and on streaming,  plus Clifford opened midweek on a Wednesday.)

Overseas / global

This weekend, Mighty fell -47% in overseas holdover markets, one percentage point milder than its -48% domestic drop.

Mighty has earned $48.2M overseas and $87.0M globally, or 55% from overseas.

For comparison, its 2021 predecessor finished with $104.2M overseas and $144.3M globally, or 72% from overseas.

The sequel’s top five market totals to date are:

  1. China: $13.2M
  2. Germany: $5.2M
  3. Mexico: $4.5M
  4. Australia: $4.1M
  5. Brazil: $1.6M

Major markets still to release include Spain, France, U.K., and Japan.

Saw X

Last weekend, Lionsgate’s horror sequel tenth installment saw a debut of $18.3M, putting it in second place. That was above both the eighth and ninth installments of the franchise, but below most of the first seven.

Now in its sophomore frame and facing competition from a fellow horror sequel, Saw X saws off -55% to $8.1M and third place.

Compared to the sophomore drops for the franchise’s nine prior installments, that’s milder than:

  • 2017’s eighth installment Jigsaw: -61%
  • 2010’s seventh installment Saw 3D: -68%
  • 2009’s Saw VI: -63%
  • 2008’s Saw V: -68%
  • 2007’s Saw IV: -67%
  • 2006’s Saw III: -56%

However, it’s steeper than:

  • 2021’s ninth installment, spinoff Spiral: -47%
  • 2005’s Saw II: -47%
  • 2004’s Saw: -39%

After 10 days, Saw X has earned $32.5M. Through the equivalent point in release, it’s running below 2004’s original Saw, despite opening above it:

  • -8% below 2004’s original Saw with $35.3M, worse than its +0.1% opening
  • 2.05x above 2021’s spinoff Spiral with $15.8M, worse than its 2.09x opening
  • +13% above eighth installment Jigsaw with $28.6M, better than its +10% opening

The Creator

Last weekend, 20th Century Studios’ original sci-fi brought in $14.0M, putting it in third place.

Now in its sophomore frame, it declines -57% to $6.1M and fourth place.

Compared to sophomore drops for other sci-fi films of the past decade that opened in a comparable $10M to $20M range, that’s steeper than:

  • 2016’s Passengers: -45%
  • 2019’s Ad Astra: -47%
  • 2018’s Annihilation: -49%
  • 2015’s Jupiter Ascending: -50%

However, it’s milder than:

  • 2017’s Ghost in the Shell: -61%
  • 2014’s Transcendence: -61%
  • 2017’s Valerian and the City of a Thousand Planets: -63%

Overseas / global

This weekend, The Creator fell -44% in overseas holdover markets, milder than its -52% domestic drop.

The Creator has earned $36.9M overseas and $61.8M globally, or 59% from overseas.

Top five overseas market totals to date are:

  1. U.K.: $5.2M
  2. France: $3.6M
  3. Germany: $2.9M
  4. Australia: $2.2M
  5. Spain: $2.0M

Major markets still to release include Japan.

The Blind

Last weekend, Fathom Events’ faith-based drama biopic about “Duck Dynasty” patriarch Phil Robertson opened with $4.3M in fifth place.

This top-five debut surprised many in the industry, especially since it was playing in only 1,715 theaters, less than half the reach of the widest films in the marketplace.

Now in its sophomore frame, it declines a mild -28% to $3.1M, remaining in fifth place.

That sophomore drop is milder than every other major post-pandemic faith-based release aside fromSound of Freedom:

  • 2021’s American Underdog: -33%
  • 2022’s Father Stu: -38%
  • February’s Jesus Revolution: -46%
  • March’s His Only Son: -49%
  • 2022’s Redeeming Love: -50%
  • 2022’s I Heard the Bells: -63%
  • 2022’s Lifemark: -67%

Read Boxoffice PRO’s interview with The Blind director Andrew Wyatt here:

https://www.boxofficepro.com/dawn-of-a-dynasty-director-andrew-hyatt-on-his-duck-dynasty-biopic-the-blind/ 

A Haunting in Venice

Now in its fourth frame, 20th Century Studios’ horror-mystery declines only -25%, the mildest percentage decline of any wide-release holdover this weekend, to $2.7M and sixth place.

After 24 days, Haunting has earned $35.6M. Through the same point in release, that’s below both prior films in Kenneth Branagh’s Hercule Poirot franchise, despite Haunting opening above the second installment:

  • -57% below 2017’s Murder on the Orient Express with $84.8M, worse than its -50% opening
  • -4% below February 2022’s Death on the Nile with $37.1M, worse than its +10% opening

Overseas / global

This weekend, Haunting fell -41% in overseas holdover markets, steeper than its -25% domestic drop.

Haunting has earned $67.0M overseas and $102.7M globally, or 65% from overseas.

For comparison, Nile finished with $91.6M overseas and $137.3M globally, or 66% from overseas.

Haunting’s top five overseas market totals are:

  1. U.K.: $10.1M
  2. Italy: $7.7M
  3. China: $5.8M
  4. France: $5.0M
  5. Spain: $4.1M

The Nun II

Now in its fifth frame and facing competition from two wide horror releases, the Warner Bros. horror sequel falls -46% to $2.5M and seventh place.

Through 31 days, the sequel has earned $81.0M. Through the equivalent point in release, that’s -28% below 2018’s The Nun with $113.4M, better than its -39% opening.

Overseas / global

This weekend, The Nun II fell -50% in holdover overseas markets, steeper than its -46% domestic drop.

The Nun II has earned $167.6M overseas and $248.7M globally, or 67% from overseas.

For comparison, The Nun finished with $248.1M overseas and $365.5M globally, or 68% from overseas.

The sequel’s top five overseas market totals are:

  1. Mexico: $21.6M
  2. Brazil: $10.7M
  3. Indonesia: $9.2M
  4. France: $8.3M
  5. U.K.: $7.9M

Dumb Money

Last frame, Sony Pictures’ comedy didn’t earn much of that titular money upon its wide release, bringing in only $3.3M in seventh place.

Now in its sophomore frame of wide release, it falls a respectable -35% to $2.1M and eighth place.

Versus the sophomore drops of other financial-themed films of the past decade, Money fell steeper than:

  • 2013’s The Wolf of Wall Street: -28%

However, it declined milder than:

  • 2015’s The Big Short: -46%
  • 2016’s Money Monster: -53%

Read Boxoffice PRO’s interview with Dumb Money director Craig Gillespie here:

https://www.boxofficepro.com/get-rich-or-die-laughing-dumb-money-director-craig-gillespie-brings-the-gamestop-meme-stock-saga-to-the-big-screen/

The Equalizer 3

Now in its sixth frame, Sony Pictures’ R-rated action sequel dropped -32% to $1.8M and ninth place.

Through 38 days, it’s earned $88.3M. That’s below both of its two predecessors through the same point in release, despite opening above the original:

  • -7% below 2014’s The Equalizer with $96.6M, worse than its +1% opening
  • -9% below 2018’s The Equalizer 2 with $98.0M, worse than its -4% opening

Overseas / global

This weekend, Equalizer 3 fell -33% in overseas holdover markets, one percentage point steeper than its -32% domestic drop.

The third installment has now earned $78.2M overseas and $167.1M globally, or 46% overseas. For comparison:

  • The first finished with $90.8M overseas and $192.3M globally, or 47% overseas.
  • The second finished with $88.3M overseas and $190.4M globally, or 46% overseas.

The third installment’s top five market totals to date are:

  1. U.K.: $10.3M 
  2. Germany: $8.3M 
  3. France: $7.4M
  4. Australia: $6.3M 
  5. Saudi Arabia: $5.2M

Hocus Pocus: 30th Anniversary

Disney’s theatrical re-release of 1993’s Halloween classic cast a spell with $1.5M in tenth place.

Despite a potential for renewed attention garnered from 2022’s Disney+ release of Hocus Pocus 2, the re-release of the original film opened below the other four big theatrical re-releases that have come to cinemas so far this year. Although, to be fair, the other four all ranked among the biggest films of all time and in some cases benefited from premium format surcharges:

  • -33% below August’s re-release of 1993’s Jurassic Park: $2.3M
  • -41% below September 2022’s re-release of 1975’s Jaws: $2.6M
  • -78% below April’s re-release of 1983’s Return of the Jedi: $7.2M
  • -84% below February’s re-release of 1997’s Titanic: $10.1M

Weekend comparisons

Total box office this weekend came in around $72.7M.

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

$85.6M

-15%

Paw Patrol: The Mighty Movie = $22.7M

Same weekend in 2022

$58.9M

+23%

Smile: $18.5M, second frame

Same weekend in 2019

$150.5M

-51%

Joker: $96.2

YTD comparisons

Year-to-date box office stands around $7.18B.

Through the equivalent point, here’s how that compares to last year and the last pre-pandemic year of 2019:

Year

YTD total

2023 YTD now:

After last weekend:

Trend

2022

$5.67B

+26.4%

+26.4%

Even

2019

$8.62B

-16.7%

-16.1%

Down

Top distributors

Grouped by parent company, the YTD leaders are:

  1. Disney + 20th Century + Searchlight + Star: $1.69B
  2. Universal + Focus Features: $1.57B
  3. Warner Bros.: $1.14B
  4. Sony Pictures + Sony Classics + Crunchyroll: $859.4M
  5. Paramount: $746.2M

Sunday’s Studio Weekend Estimates:

Title  Estimated weekend  % change Locations Location change Average  Total  Weekend Distributor
The Exorcist: Believer $27,200,000   3,663   $7,426 $27,200,000 1 Universal
PAW Patrol: The Mighty Movie $11,750,000 -48% 4,027 38 $2,918 $38,867,000 2 Paramount
Saw X $8,150,000 -55% 3,262   $2,498 $32,554,793 2 Lionsgate
The Creator $6,099,000 -57% 3,680   $1,657 $24,929,046 2 20th Century Studios [Disney]
The Blind $3,126,536 -28% 1,314 -401 $2,379 $10,486,997 2 Fathom Events
A Haunting in Venice $2,732,000 -25% 2,425 -360 $1,127 $35,653,726 4 20th Century Studios [Disney]
The Nun II $2,575,000 -46% 2,492 -379 $1,033 $81,060,000 5 Warner Bros.
Dumb Money $2,150,000 -35% 2,837   $758 $10,635,000 4 Sony Pictures
The Equalizer 3 $1,835,000 -32% 1,526 -658 $1,202 $88,837,000 6 Sony Pictures
Hocus Pocus $1,542,000   1,430   $1,078 $45,643,060   Walt Disney
Expend4bles $1,030,000 -59% 1,818 -1,700 $567 $15,366,200 3 Lionsgate
Barbie $782,000 -45% 808 -494 $968 $634,310,000 12 Warner Bros.
My Big Fat Greek Wedding 3 $620,000 -47% 783 -691 $792 $27,518,000 5 Focus Features [Universal]
Oppenheimer $430,000 -30% 337 -285 $1,276 $323,154,910 12 Universal
Stop Making Sense $423,331 -60% 527 -259 $803 $4,000,378   Cinecom
She Came to Me $360,000   355   $1,014 $360,000 1 Vertical Entertainment
The Royal Hotel $335,000   267   $1,255 $335,000 1 Neon
Teenage Mutant Ninja Turtles: Mutant Mayhem $310,000 -60% 424 -580 $731 $117,997,000 10 Paramount
Gran Turismo: Based on a True Story $275,000 -45% 260 -360 $1,058 $43,268,000 7 Sony Pictures
Dicks the Musical $220,867   7   $31,552 $220,867 1 A24
Strange Way of Life $205,000   276   $743 $205,000 1 Sony Pictures Classics
When Evil Lurks $200,233   659   $304 $200,233 1 IFC Films
Haunted Mansion $118,000 -38% 165 -85 $715 $67,380,350 11 Walt Disney
It Lives Inside $88,000 -88% 246 -1,581 $358 $4,600,194 3 Neon
Talk To Me $69,373 -60% 95 -117 $730 $48,105,234 11 A24
Common Ground $32,949 5% 6 2 $5,492 $88,811 2 Area 23a
Golda $25,913 -22% 45 -31 $576 $4,726,051 7 Bleecker Street
Cat Person $10,000   4   $2,500 $10,000 1 Rialto Pictures
My Sailor, My Love $7,247 -23% 9 -3 $805 $70,125 3 Music Box Films
Fremont $4,091 -38% 10 -2 $409 $252,434 7 Music Box Films
© Universal Studios. All Rights Reserved.
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