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
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:
- Mexico: $3.9M
- U.K.: $2.1M
- 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:
- China: $13.2M
- Germany: $5.2M
- Mexico: $4.5M
- Australia: $4.1M
- Brazil: $1.6M
Major markets still to release include Spain, France, U.K., and Japan.
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
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:
- U.K.: $5.2M
- France: $3.6M
- Germany: $2.9M
- Australia: $2.2M
- Spain: $2.0M
Major markets still to release include Japan.
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:
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:
- U.K.: $10.1M
- Italy: $7.7M
- China: $5.8M
- France: $5.0M
- 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:
- Mexico: $21.6M
- Brazil: $10.7M
- Indonesia: $9.2M
- France: $8.3M
- U.K.: $7.9M
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:
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:
- U.K.: $10.3M
- Germany: $8.3M
- France: $7.4M
- Australia: $6.3M
- 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
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:
This weekend is:
Paw Patrol: The Mighty Movie = $22.7M
Same weekend in 2022
Smile: $18.5M, second frame
Same weekend in 2019
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:
2023 YTD now:
After last weekend:
Grouped by parent company, the YTD leaders are:
- Disney + 20th Century + Searchlight + Star: $1.69B
- Universal + Focus Features: $1.57B
- Warner Bros.: $1.14B
- Sony Pictures + Sony Classics + Crunchyroll: $859.4M
- 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|
|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|
|My Big Fat Greek Wedding 3||$620,000||-47%||783||-691||$792||$27,518,000||5||Focus Features [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|
|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|