Weekend Box Office: MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE Scores $56M 3-Day, $80M 5-Day Debut

Photo Credits: Paramount Pictures

Mission: Impossible – Dead Reckoning Part One

After debuting midweek on Wednesday, Paramount’s action sequel led the box with with a $56.2M opening weekend and a $80.0M five-day total. Its five-day total is +3% ahead of the prior Mission: Impossible installment, 2018’s Fallout.

Here’s how Reckoning compares to five comparable titles: the two most recent Mission: Impossible installments, the two most recent James Bond installments, and star Tom Cruise’s most recent action film.


Reckoning opening weekend

Reckoning five-day

2018’s Fallout

-8% ($61.2M)

+3% ($77.5M)

2015’s Rogue Nation

+1% ($55.5M)

+15% ($69.5M)

2021’s No Time to Die

+1% ($55.2M)

+18% ($67.4M)

2015’s Spectre

-20% ($70.4M)

-3% ($83.0M)

2022’s Top Gun: Maverick

-55% ($126.7M)

-54% ($176.3M)

Audience demographics

Reckoning’s audience was an estimated 60% male, 55% ages 35+, and 51% white, and gave the film an “A” CinemaScore.

Here’s how that compares to the last Mission: Impossible film and the last James Bond film:



Ages 35+








2018’s Fallout





2021’s No Time to Die





37% of the audience experienced Reckoning in a premium format, including 13% from IMAX.

Biggest domestic markets

Reckoning over-indexed in the west and northeast, while it under-indexed in the Midwest and southeast regions.

Over-indexing markets include New York City, San Francisco, Toronto, Washington D.C., Phoenix, Boston, Salt Lake City, Austin, and Vancouver. Under-indexing markets include Philadelphia and San Antonio.

Canada earned 10.7% of the domestic market share of 10.7%.

Overseas / global

Reckoning opened with $155M overseas and $235M globally, which Paramount is calling the biggest opening for the franchise.

Notably, though, its $25.4M China debut is -66% below 2018’s Fallout ($74M).

Reckoning’s top five overseas market totals are:

  1. China: $25.4M
  2. South Korea: $14.3M
  3. U.K. $13.8M
  4. India: $9.0M
  5. Australia: $8.3M

Sound of Freedom

After opening midweek on Tuesday for July 4, Angel Studios’ faith-based action drama earned a $19.6M weekend last frame in third place.

The film continued to hold well: after debuting behind both The Red Door and Dial of Destiny last weekend, it actually beat both films this past Monday, Tuesday, Wednesday, and Thursday.

Now in its sophomore frame, it actually rises +37% to $27.0M and second place.

That’s the best non-holiday sophomore weekend improvement ever for a wide release.

Four films have posted better second weekend improvements, but they were all released during the weekend before Christmas:

  1. 2017’s The Greatest Showman (+76%)
  2. 2005’s Cheaper by the Dozen 2 (+55%)
  3. 2011’s We Bought a Zoo (+41%)
  4. 2017’s Jumanji: Welcome to the Jungle (+38%)

With $85.4M through 13 days, Sound will likely reach $100M later this week or next weekend at the latest – almost certainly the biggest box office surprise of 2023.

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:

  • 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)

It’s also approaching the $91.3M final total of 2014’s Heaven is for Real.

Sound‘s estimated audience demographics are 56% female, 80% ages 25+, and 62% white.

Insidious: The Red Door

Last weekend, Sony Pictures’ horror sequel opened the door to a $33.0M opening in first place.

It also marked the #2 opening in the five-film Insidious franchise, behind only 2013’s Insidious: Chapter 2 with $40.2M.

Now in its sophomore frame, fifth installment The Red Door falls -61% to $13.0M and third place.

Here’s how that compares to the sophomore drops for the franchise’s prior installments:

  • Steeper than 2011’s Insidious (-29%)
  • Milder than 2013’s Insidious: Chapter 2 (-66%)
  • Milder than 2015’s Insidious: Chapter 3 (-68%)
  • Steeper than 2018’s Insidious: The Last Key (-58%)

With $58.0M through 10 days, Door is holding well compared to its predecessors through the same point in release, particularly the sequels.

For example, despite opening below 2013’s second installment, it looks poised to soon overtake it through the equivalent point in release:


Door opened

Door now


2011’s Insidious




2013’s Insidious: Chapter 2




2015’s Insidious: Chapter 3




2018’s Insidious: The Last Key




Overseas / global

Door declined -46% overseas in holdover markets, notably milder than its -61% domestic drop.

The film has now earned $64.5M overseas and $122.6M globally.

That’s already exceeded the global totals of the first installment ($99.8M) and third installment ($120.4M), though it hasn’t yet matched the second ($161.9M) or fourth ($172.8M).

Read Boxoffice PRO’s interview with Insidious: The Red Door director Patrick Wilson here:


Indiana Jones and the Dial of Destiny

Last weekend, in its sophomore frame, the Disney/Lucasfilm action-adventure sequel dropped a sharp -55%.

That was equal to the (also steep) -55% drop for 2008’s predecessor Indiana Kingdom and the Kingdom of the Crystal Skull.

Now in its third frame, Dial falls a further -56% to $12.0M and fourth place.

With $145.3M total through 17 days, Dial is running -41% through Skull through the same point in release: $246.4M.

It’s falling even further behind than its opening weekend, which was -39% behind Skull.

However, Dial is actually holding well versus some other 2023 releases which opened in the same range, through the same point in release.

For example, it’s now running ahead of May’s Fast X and June’s Transformers: Rise of the Beasts, despite opening below both titles:


Dial opened

Dial now


March’s Creed III

+3% ($58.3M)

+13% ($127.7M)


May’s Fast X

-10% ($67.0M)

+12% ($128.8M)


June’s Transformers: Rise of the Beasts

-1% ($61.0M)

+18% ($123.1M)


June’s The Flash

+9% ($55.0M)

+46% ($99.4M)


Overseas / global

Dial fell -47% in overseas holdover markets this weekend, better than its -56% domestic drop.

Dial has earned $157.0M overseas and $302.4M globally. It looks certain to fall short of the global total for 2008’s Crystal Skull: $786.6M.

The top five overseas market totals for Dial are:

  1. U.K.: $21.0M
  2. France: $15.1M
  3. Japan: $12.8M
  4. Germany: $9.9M
  5. Spain: $9.4M


In its fifth frame, the Disney/Pixar animated original declines a very mild -13% to $10.0M and fifth place.

Despite earning the second-worst wide opening in Pixar history, behind only 1995’s Toy Story, Elemental is holding well compared to some other comparable Pixar films from the past decade.

With $125.2M through 31 days, Elemental is holding well compared to some other Pixar films from the past decade through the equivalent point in release.

For example, it’s now running ahead of both 2022’s Lightyear and 2015’s The Good Dinosaur, despite opening below both titles:


Elemental opened

Elemental now


2022’s Lightyear


+8% ($115.5M)


2015’s The Good Dinosaur


+22% ($102.5M)


2017’s Coco


-20% ($157.9M)


2015’s Inside Out


-59% ($306.2M)


2012’s Brave


-40% ($208.7M)


Overseas / global

Elemental fell -23% in overseas holdover markets, a strong number, though still a bit steeper than its -13% domestic drop.

It has now earned $186.4M overseas and $311.7M globally.

That’s already +42% and counting above the final global total for 2022’s Lightyear, with $218.7M.

Elemental’s top five overseas market totals are:

  1. South Korea: $32.6M
  2. Mexico: $16.4M
  3. China: $15.7M
  4. France: $11.9M
  5. Brazil: $10.0M

The China gross looks to fall as much as -90% short of some other Pixar films like Coco, with $177.8M.

Joy Ride

Last weekend, Lionsgate’s R-rated comedy didn’t spark joy, opening with $5.8M in sixth place.

Now in its sophomore frame, it falls -56% to $2.5M and ninth place.

That’s a steeper drop than for the most recent R-rated comedy: June’s No Hard Feelings (-48%).

However, it’s milder than for the most recent mainstream comedy about Asian-Americans: 2022’s Easter Sunday (-56%).

Compared to the drops for some other similar R-rated comedies about female friends, which opened in the same under-$10M range:

  • Steeper than 2017’s Rough Night (-41%)
  • Steeper than 2019’s Booksmart (-52%)
  • Milder than January 2020’s Like a Boss (-60%)

Theater Camp

Searchlight Pictures’ comedy opened with $270K in six New York City and Los Angeles theaters, for a $45,000 per-theater average.

That’s the #4 average of 2023 so far, behind only:

  1. June’s Asteroid City: $142,230 
  2. April’s Beau is Afraid: $80,099 
  3. June’s Past Lives: $58,067 

AMC Lincoln Square and Alamo Brooklyn were the two highest-grossing locations, in both cases ranking #2 behind only Dead Reckoning. At the Angelika, Camp actually ranked #1.

The film expands into further cities next weekend, before peaking at a projected 600-800 theaters nationwide in August.

Read Boxoffice PRO‘s interview with Theater Camp directors Molly Gordon and Nick Lieberman here:

On With the Show: Crowd-Pleaser THEATER CAMP Brings the Stage to the Big Screen This Summer

Weekend comparisons

Total box office this weekend came in around $139.4M.

Here’s how that compares to last weekend, the same weekend last year, and the same weekend in the last pre-pandemic year of 2019:



This weekend is:


Last weekend



Insidious: The Red Door ($30.3M)

Same weekend in 2022



Thor: Love and Thunder, second frame ($46.6M)

Same weekend in 2019



Spider-Man: Far from Home, second frame ($45.3M)

YTD comparisons

Year-to-date box office stands around $4.94B.

Here’s how that compares to last year and the last pre-pandemic year of 2019, through the same point:


YTD total

2023 YTD now:

2023 YTD after last weekend:












Top distributors

Universal and Disney rank in first and second place, by about double any other distributor.

Grouped by parent company, the YTD leaders are:

  1. Disney + 20th Century + Searchlight + Star: $1.49B
  2. Universal + Focus Features: $1.15B
  3. Sony Pictures + Sony Classics + Crunchyroll: $674.5M
  4. Paramount: $493.2M
  5. Lionsgate: $345.6M
  6. Warner Bros.: $271.0M
  7. MGM + United Artists + Amazon Studios: $233.1M

Sunday’s Studio Weekend Estimates:

Title  Estimated weekend  % change Locations Location change Average  Total  Weekend Distributor
Mission: Impossible — Dead Reckoning Part One $56,200,000   4,327   $12,988 $80,004,000 1 Paramount
Sound of Freedom $27,000,000 37% 3,265 313 $8,270 $85,498,581 2 Angel Studios
Insidious: The Red Door $13,000,000 -61% 3,188   $4,078 $58,086,000 2 Sony Pictures
Indiana Jones and the Dial of Destiny $12,000,000 -56% 3,865 -735 $3,105 $145,359,865 3 Walt Disney
Elemental $8,700,000 -13% 3,235 -205 $2,689 $125,289,287 5 Walt Disney
Spider-Man: Across the Spider-Verse $6,050,000 -25% 2,577 -446 $2,348 $368,798,000 7 Sony Pictures
Transformers: Rise of the Beasts $3,420,000 -33% 2,041 -434 $1,676 $152,765,000 6 Paramount
No Hard Feelings $3,300,000 -39% 2,053 -633 $1,607 $46,590,000 4 Sony Pictures
Joy Ride $2,575,000 -56% 2,820   $913 $10,616,997 2 Lionsgate
The Little Mermaid $2,350,000 -36% 1,615 -465 $1,455 $293,916,557 8 Walt Disney
Asteroid City $1,160,000 -49% 713 -398 $1,627 $26,349,000 5 Focus Features [Universal]
Ruby Gillman, Teenage Kraken $1,000,000 -65% 1,761 -1,647 $568 $14,414,000 3 Universal
The Flash $720,000 -68% 778 -945 $925 $106,807,000 5 Warner Bros.
Past Lives $537,882 -47% 386 -390 $1,393 $9,478,885 7 A24
Guardians of the Galaxy Vol 3 $480,000 -52% 405 -330 $1,185 $358,509,353 11 Walt Disney
Theater Camp $270,000   6   $45,000 $270,000 1 Searchlight [Disney]
The Blackening $262,000 -57% 216 -220 $1,213 $17,459,982 5 Lionsgate
Psycho-Pass Providence $211,000   419   $504 $211,000 1 Crunchyroll [Sony]
The Boogeyman $150,000 -77% 225 -425 $667 $43,147,054 7 20th Century Studios [Disney]
The Super Mario Bros. Movie $70,000 -12% 161 -23 $435 $573,908,000 15 Universal
Afire $39,200   4   $9,800 $39,200 1 Janus Films
Photo Credits: Paramount Pictures