Universal’s horror sequel Halloween Ends debuted with $41.2M in first place, with a simultaneous day-and-date release in cinemas and on Peacock. That’s slightly below pre-release projections, which were around the $45M-$50M range.
Its opening is:
- -16% below 2021 prior installment Halloween Kills ($49.4M), which also debuted day-and-date simultaneously in cinemas and on streaming
- -45% below 2018’s Halloween ($76.2M), which debuted with theatrical exclusivity
- -7% below this year’s biggest horror movie, July’s Nope ($44.3M)
- -13% below last year’s biggest horror movie, 2021’s A Quiet Place Part II ($47.5M)
The estimated audience for Ends was 36% Hispanic, versus 33% white. It was also 62% younger than 35.
The word-of-mouth looks poor, with a C+ CinemaScore. Compounded with the film’s streaming availability, it looks like a front-loaded run for the closing chapter of David Gordon Green’s Halloween trilogy.
Overseas, the film debuted with $17.1M in 77 markets, for a $58.4M global opening. Although its domestic opening was down from its predecessor’s debut, the global opening was actually up +4% over Kills ($55.8M).
Top overseas markets for Ends include:
- Mexico ($2.5M)
- U.K. ($2.4M)
- Germany ($1.6M)
- France ($1.2M)
- Australia ($1.0M)
For the past two weekends, Paramount’s horror Smile led the box office: first with $22.6M, on the higher end of pre-release projections, then falling only -18% to repeat in first place with $18.5M.
That marked the mildest sophomore weekend drop of any major wide-release film of 2022 so far, whether horror or otherwise.
Now in its third weekend, it falls only -33% to $12.4M and second place.
Like for its second weekend, that was a milder drop than expected, especially given the debut of Halloween Ends in the same genre. Projections were in the slightly lower $10M-$11M range.
Through 17 days, Smile has now earned a $71.1M domestic total. That’s:
- +13% ahead of June’s The Black Phone ($62.4M), despite opening -4% behind ($23.6M)
- +14% ahead of January’s Scream ($62.0M), despite opening -24% behind ($30.0M)
- +33% ahead of 2021’s The Conjuring: The Devil Made Me Do It ($53.4M), despite opening -6% behind ($24.1M)
Overseas, Smile’s second weekend actually increased +19% in holdover markets. Now in its third frame, it declines only -16%.
The film has now earned $66.4M overseas in 61 markets, for a $137.5M global total. Top overseas market totals include:
- U.K. ($8.1M)
- Germany ($6.6M)
- Mexico ($6.1M)
- France ($4.8M)
- Australia ($3.4M)
- Spain ($3.5M)
- Brazil ($2.5M)
Lyle, Lyle, Crocodile
Last weekend, Sony Pictures’ family musical Lyle, Lyle, Crocodile had a green lead character but didn’t see much green, opening in second place with $11.5M, below pre-release projections of around $15M.
This weekend, it falls -35% to $7.4M and third place, slightly higher than projections around $6.5M to $7M.
That drop was milder than:
- Last October’s main animated release, 2021’s The Addams Family 2 (-42%, released day-and-date simultaneously in cinemas and for online rental)
- 2021’s Clifford the Big Red Dog (-51%, released day-and-date simultaneously in cinemas and streaming on Paramount+)
- July’s DC League of Super Pets (-52%)
However, its drop was slightly steeper than for April’s The Bad Guys (-32%).
Overseas, Lyle has only opened in a few markets so far, earning $3.9M overseas for a $26.4M global total.
Last weekend, 20th Century Studios’ period crime film Amsterdam opened in third place with $6.5M, below pre-release projections which were in the $8M-$10M range.
This weekend, with poor word-of-mouth, it falls a sharp -55% to $2.8M.
Compared to the sophomore weekend drops in wide release for writer-director David O. Russell’s other films, that’s steeper than:
- 2015’s Joy (-40% on New Year’s weekend, then -56% the weekend after that)
- 2013’s American Hustle (-34%, though technically the initial drop was a mere -2% on Christmas weekend)
- 2012’s Silver Linings Playbook (-30%)
- 2010’s The Fighter (-38%)
Compared to other adult-skewing crime films with large ensemble casts, it’s also steeper than:
- 2021’s House of Gucci (-51%)
- 2013’s Gangster Squad (-49%)
- 2015’s The Big Short (-14% on New Year’s weekend, then -32% after that)
Top Gun: Maverick
Paramount’s Top Gun: Maverick declined only -15% to $685K. That’s the #70 largest twenty-first weekend of all time.
After earning “only” the #41 opening weekend of all time ($126.7M), it remained within the top-20 of all time on each respective weekend for months. More recently, though, it’s started to fall back back to earth, with the:
- #29 sixteenth weekend ($3.1M)
- #40 seventeenth weekend ($2.2M)
- #55 eighteenth weekend ($1.6M)
- #59 nineteenth weekend ($1.1M)
- #73 twentieth weekend ($805K)
- Now, the #70 twenty-first weekend ($685K)
One of the few films to ever record a higher twenty-first weekend? 1986’s original Top Gun, which ranks #6 all time on that measure with $2.4M.
Overseas, Maverick stands at $766.9M, for $1.48B globally. That makes it by far the top film of 2022 so far, both globally and domestically. The runner-up globally is Jurassic World: Dominion with $1.00B.
Specialty Box Office: TÁR, Triangle of Sadness, Till, Decision to Leave
Last weekend, Focus Features’ TÁR, starring Cate Blanchett, opened in four theaters in New York City and Los Angeles with $158K, for a $39,655 per-theater average. That was the #3 per-theater average of 2022 so far.
It ranked behind only March’s Everything Everywhere All at Once ($50,131, from $501K in 10 theaters) and May’s Doctor Strange in the Multiverse of Madness ($41,337, from $187.4M in 4,534 theaters).
In its second weekend, TÁR expanded to 36 theaters but dropped -77% to $36K.
TÁR expands to a wider release on October 28.
Triangle of Sadness
Last weekend, Neon’s Triangle of Sadness opened with $214K in 10 theaters, for a $21,460 average. That was the #15 per-theater average of 2022 so far.
This weekend, it expanded slightly to 31 screens, increasing +57% to $336K.
Triangle won the Palme d’Or, the top prize at the Cannes Film Festival.
United Artists Releasing’s and MGM’s historical drama Till opened with $240K in 16 theaters, for a $15,059 average.
That opening per-theater average is below several comparable films real-life African-American figures from American history:
- -26% below 2016’s Hidden Figures ($20,620, from $515,499 in 25 theaters)
- -50% below 2015’s Selma ($30,076, from $571,450 in 19 theaters)
- -69% below 2013’s 12 Years a Slave ($48,617, from $923,715 in 19 theaters)
The estimated audience for Till was 55% female and 47% black (versus 30% white).
[Read Boxoffice PRO’s feature on the film, including quotes from director Chinoye Chukwu, here.]
The film will expand nationwide on October 28.
Decision to Leave
MUBI’s Decision to Leave earned 90,729 in three theaters, for a $30,243 average. That marks the #9 per-theater average of 2022 so far.
The film won Park Chan-wook Best Director at the Cannes Film Festival.
Total box office this weekend came in around $76.7M, which is:
- +30% above last weekend’s total ($58.8M), when Smile led for a second consecutive frame with $18.5M.
- -29% below the equivalent weekend in 2021 ($108.9M), when No Time to Die opened with $55.2M.
- -45% below the equivalent weekend in the last pre-pandemic year 2019 ($141.3M), when Joker led for a second consecutive frame with $55.8M.
Year-to-date box office stands around $5.86B. That’s:
- 2.11x this same point in the pandemic recovery year of 2021 ($2.77B), down from 2.19x after last weekend.
- -33.8% behind this same point in 2019, the last pre-pandemic year ($8.85B), down from -33.4% last weekend. The peak was around -29.5%, set in mid-July.
- Universal ($1.32B)
- Paramount ($1.25B)
- Disney ($880.9M)
- Sony Pictures ($797.9M)
- Warner Bros. ($762.8M)
Sunday’s Studio Weekend Estimates:
|Title||Estimated weekend||% change||Locations||Location change||Average||Total||Weekend||Distributor|
|Lyle, Lyle, Crocodile||$7,400,000||-35%||4,350||$1,701||$22,757,353||2||Sony Pictures|
|The Woman King||$3,700,000||-29%||2,565||-777||$1,442||$59,746,217||5||Sony Pictures|
|Amsterdam||$2,891,000||-55%||3,005||$962||$11,959,234||2||20th Century Studios|
|Don’t Worry Darling||$2,185,000||-38%||2,734||-590||$799||$42,403,454||4||Warner Bros.|
|Barbarian||$1,411,000||-36%||1,805||-355||$782||$38,961,777||6||20th Century Studios|
|Terrifier 2||$850,000||6%||700||-186||$1,214||$2,295,000||2||Bloody Disgusting|
|Top Gun: Maverick||$685,000||-15%||902||-225||$759||$715,755,567||21||Paramount|
|Minions: The Rise of Gru||$418,000||-21%||1,215||184||$344||$368,354,300||16||Universal|
|Bullet Train||$410,000||-37%||604||-314||$679||$103,096,865||11||Sony Pictures|
|DC League of Super Pets||$370,000||-30%||881||-430||$420||$93,115,890||12||Warner Bros.|
|Triangle of Sadness||$336,576||57%||31||21||$10,857||$657,051||2||Neon|
|See How They Run||$301,000||-24%||525||-250||$573||$9,311,420||5||Searchlight Pictures|
|The Invitation||$275,000||-36%||545||-480||$505||$25,027,709||8||Sony Pictures|
|Decision to Leave||$90,729||3||$30,243||$90,729||1||MUBI|
|Running The Bases||$38,000||-30%||142||-75||$268||$1,445,996||5||UP2U Films|
|Cat Daddies||$11,500||1||$11,500||$11,500||1||Gray Hat Productions|
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