Paw Patrol: The Mighty Movie
Paramount’s animated sequel took a bite out of the box office with $23.0M, putting it in first place.
That’s +75% above 2021’s Paw Patrol: The Movie’s $13.1M debut, although that film’s theatrical earnings were hurt by opening simultaneously in cinemas and on streaming on Paramount+.
It’s also +38% above the opening weekend box office of 2021’s Clifford the Big Red Dog: $16.6M. Same deal: that film also opened day-and-date, not to mention having a curtailed debut weekend by opening midweek on a Wednesday.
Audience demographics
Compared to both its 2021 predecessor and Clifford, here’s how it stacks up on several key metrics:
|
Film |
CinemaScore |
Female |
12 and under |
White |
Hispanic |
Black |
|
Mighty Movie |
A |
52% |
46% |
46% |
30% |
16% |
|
Paw Patrol |
A- |
54% |
47% |
41% |
34% |
20% |
|
Clifford |
A |
57% |
42% |
32% |
45% |
14% |
Overseas / global
Mighty began with $23.1M overseas and $46.1M globally, making 50% of its debut gross from overseas markets.
For comparison, its 2021 predecessor finished with $104.2M overseas and $144.3M globally, or 72% from overseas.
The sequel opened in a few select markets, including Australia and New Zealand, last weekend.
Its top market totals to date are:
- China: $5.3M
- Australia: $2.8M
- Mexico: $2.8M
- Germany: $2.4M
Major markets still to release include Brazil, South Korea, Spain, France, U.K., and Japan.
Saw X
Lionsgate’s horror sequel tenth installment saw a debut of $18.0M, enough to land second place. That’s above both the eighth and ninth installments franchise installments, but below most of the original seven.
For context, Saw X even opened below even the original Saw, despite the original having no franchise yet and ticket prices being much lower 2004.
Listed here in reverse chronological order, Saw X debuts:
- 2.05x above 2021’s ninth installment, spinoff Spiral: $8.7M
- +8% above 2017’s eighth installment Jigsaw: $16.6M
- -25% below 2010’s seventh installment Saw 3D: $24.2M
- +27% above 2009’s Saw VI: $14.1M
- -40% below 2008’s Saw V: $30.0M
- -43% below 2007’s Saw IV: $31.7M
- -46% below 2006’s Saw III: $33.6M
- -43% below 2005’s Saw II: $31.7M
- -1% below 2004’s Saw: $18.2M
The Creator
20th Century Studios’ original sci-fi created $14.0M, landing in third place.
That’s within the $10M to $20M range of some other sci-fi films to hit theaters in the past decade, including:
- 2019’s Ad Astra: $19.0M
- 2017’s Ghost in the Shell: $18.6M
- 2015’s Jupiter Ascending: $18.3M
- 2016’s Passengers: $14.8M
- 2018’s Annihilation: $11.0M
- 2014’s Transcendence: $10.8M
However, it was below the $20M to $30M range of a few other comparable titles, including:
- 2017’s Blade Runner 2049: $32.7M
- 2013’s Elysium: $29.8M
- 2019’s Terminator: Dark Fate = $29.0M
- 2014’s Edge of Tomorrow: $28.7M
- 2019’s Alita: Battle Angel = $28.5M
- 2016’s Arrival: $24.0M
Audience demographics
The Creator’s audience was an estimated 69% male and 78% ages 25+.
Premium screens comprised 49% of its earnings, including 25% from PLF and 20% from IMAX.
Overseas / global
The film opened to $18.3M overseas and $32.3M globally, or 56% from overseas.
Top overseas market totals to date are:
- U.K.: $2.8M
- France: $2.0M
- Germany: $1.1M
- Australia: $1.0M
Major markets still to release include South Korea and Japan.
The Nun II
Last weekend, Warner Bros. horror sequel earned a three-peat, leading the box office with $8.5M.
Now in its third frame, it falls -45% to $4.6M and fourth place.
Through 24 days, the sequel has earned $76.7M. That’s -29% below The Nun through the same point in release: $109,011,923.
However, that’s an improvement over its opening weekend, which came in -39% below The Nun.
Overseas / global
This weekend, The Nun II fell -45% in holdover overseas markets, equal to its -45% domestic drop.
The Nun II has earned $154.4M overseas and $231.2M globally, or 66% 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: $20.7M
- Brazil: $9.7M
- Indonesia: $9.1M
- U.K.: $7.3M
- Italy: $7.1M
The Blind
Fathom Events’ drama biopic about “Duck Dynasty” patriarh Phil Robertson opened on Thursday with $839K, good for first place at the box office for that day.
In its first full weekend, it earned $4.1M for fifth place, a top five debut that few saw coming.
That’s despite playing in only 1,717 theaters, less than half the reach of the widest films in the marketplace. For comparison, Paw Patrol is playing in 3,989.
Read Boxoffice PRO’s interview with The Blind director Andrew Wyatt here:
A Haunting in Venice
Now in its sophomore frame, 20th Century Studios’ horror-mystery falls -40% to $3.8M and sixth place.
Through 17 days, Haunting has earned $31.6M. Through the same point in release, that’s below both prior film in Kenneth Branagh’s ‘Hercule Poirot’ franchise, despite opening above the second installment:
- -57% below 2017’s Murder on the Orient Express with $74.3M, worse than its -50% opening
- -3% below February 2022’s Death on the Nile with $32.7M, worse than its +10% opening
Venice first fell below Nile through the equivalent point in release last Monday, their respective 10th days of release.
Overseas / global
This weekend, Haunting fell -52% in overseas holdover markets, steeper than its -40% domestic drop.
Haunting has earned $58.2M overseas and $89.8M globally, or 64% 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.: $8.4M
- Italy: $6.9M
- China: $5.6M
- France: $4.2M
- Spain: $3.1M
Dumb Money
Sony Pictures’ comedy didn’t earn much of that titular money.
Now in its third weekend, after two weekends of first platform and then moderate release, the film expanded wide to 2,837 theaters and earned $3.5M in seventh place.
(In particular, few would have projected it opening wide below The Blind.)
Compared to some other financial-themed films of the past decade, Money opened:
- -81% below 2013’s The Wolf of Wall Street: $18.4M
- -76% below 2016’s Money Monster: $14.7M
- -66% below 2015’s The Big Short: $10.5M
Read Boxoffice PRO’s interview with Dumb Money director Craig Gillespie here:
The Equalizer 3
Now in its fifth frame, Sony Pictures’ R-rated action sequel dropped -43% to $2.7M and eighth place.
Through 31 days, it’s earned $85.9M. That’s below both of its two predecessors through the same point in release, despite opening above the original:
- -8% below 2014’s The Equalizer with $93.7M, worse than its +1% opening
- -9% below 2018’s The Equalizer 2 with $94.7M, worse than its -4% opening
Overseas / global
This weekend, Equalizer 3 fell -43% in overseas holdover markets, equal to its -43% domestic drop.
The third installment has now earned $72.4M overseas and $158.3M globally, or 45% 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.: $9.9M
- Germany: $7.4M
- France: $7.0M
- Australia: $6.0M
- Saudi Arabia: $4.9M
Barbie
Warner Bros.’ comedy has now spent 11 weekends in the box office in the top 10.
Now in its 11th frame, Warner Bros.’ comedy declines -55% to $1.4M and tenth place, marking its steepest percentage decline yet.
With $633.0M total through 73 days, it ranks as the #11 biggest movie of all time domestically, between 2015’s Jurassic World with $653.4M and 2012’s The Avengers with $623.3M.
Overseas / global
This weekend, Barbie fell -38% in overseas markets, considerably milder than its -55% domestic drop.
Barbie has earned $800.3M overseas and $1.433B globally, or 55% from overseas.
Globally, that’s the #14 film of all time, ranking between 2019’s Frozen II with 1.45B and 2015’s Avengers: Age of Ultron with $1.40B.
Barbie’s top overseas market totals are:
- U.K.: $122.9M
- Germany: $59.1M
- Australia: $57.0M
- Mexico: $54.3M
- France: $50.3M
It’s also earned $35.2M in China.
Weekend comparisons
Total box office this weekend came in around $84.2M.
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 |
$51.6M |
+63% |
The Nun II: $8.5M, third frame |
|
Same weekend in 2022 |
$63.9M |
+31% |
Smile: $22.6M |
|
Same weekend in 2019 |
$94.5M |
-10%% |
Abominable: $20.6M |
YTD comparisons
Year-to-date box office stands around $7.07B.
Here’s how that compares to last year and the last pre-pandemic year of 2019, through the equivalent point:
|
Year |
YTD total |
2023 YTD now: |
After last weekend: |
Trend |
|
2022 |
$5.59B |
+26.4% |
+25.8% |
Up |
|
2019 |
$8.43B |
-16.1% |
-16.2% |
Up |
Top distributors
Grouped by parent company, the YTD leaders are:
- Disney + 20th Century + Searchlight + Star: $1.67B
- Universal + Focus Features: $1.54B
- Warner Bros.: $1.13B
- Sony Pictures + Sony Classics + Crunchyroll: $851.8M
- Paramount: $729.9M
Sunday’s Studio Weekend Estimates:
| Title | Estimated weekend | % change | Locations | Location change | Average | Total | Weekend | Distributor |
| PAW Patrol: The Mighty Movie | $23,000,000 | 3,989 | $5,766 | $23,000,000 | 1 | Paramount | ||
| Saw X | $18,000,000 | 3,262 | $5,518 | $18,000,000 | 1 | Lionsgate | ||
| The Creator | $14,000,000 | 3,680 | $3,804 | $14,000,000 | 1 | 20th Century Studios [Disney] | ||
| The Nun II | $4,675,000 | -45% | 2,871 | -665 | $1,628 | $76,760,000 | 4 | Warner Bros. |
| The Blind | $4,119,438 | 1,717 | $2,399 | $4,982,024 | 1 | Fathom Events | ||
| A Haunting in Venice | $3,800,000 | -40% | 2,785 | -520 | $1,364 | $31,615,091 | 3 | 20th Century Studios [Disney] |
| Dumb Money | $3,500,000 | 44% | 2,837 | 2,221 | $1,234 | $7,300,000 | 3 | Sony Pictures |
| The Equalizer 3 | $2,700,000 | -43% | 2,184 | -1,086 | $1,236 | $85,928,000 | 5 | Sony Pictures |
| Expend4bles | $2,495,000 | -69% | 3,518 | $709 | $13,257,815 | 2 | Lionsgate | |
| Barbie | $1,430,000 | -55% | 1,302 | -1,332 | $1,098 | $633,082,000 | 11 | Warner Bros. |
| My Big Fat Greek Wedding 3 | $1,200,000 | -61% | 1,474 | -1,604 | $814 | $26,409,000 | 4 | Focus Features [Universal] |
| Stop Making Sense | $1,040,691 | 21% | 786 | 522 | $1,324 | $3,008,637 | Cinecom | |
| Teenage Mutant Ninja Turtles: Mutant Mayhem | $800,000 | -51% | 1,004 | -747 | $797 | $117,506,000 | 9 | Paramount |
| It Lives Inside | $767,500 | -71% | 1,827 | -178 | $420 | $4,270,680 | 2 | Neon |
| Blue Beetle | $710,000 | -61% | 948 | -1,006 | $749 | $71,035,000 | 7 | Warner Bros. |
| Oppenheimer | $650,000 | -60% | 622 | -837 | $1,045 | $322,500,000 | 11 | Universal |
| Gran Turismo: Based on a True Story | $500,000 | -67% | 620 | -1,010 | $806 | $42,805,000 | 6 | Sony Pictures |
| Bottoms | $241,386 | -60% | 207 | -438 | $1,166 | $11,612,000 | 6 | MGM |
| Haunted Mansion | $200,000 | -60% | 250 | -355 | $800 | $67,194,867 | 10 | Disney |
| Talk To Me | $173,174 | -59% | 212 | -208 | $817 | $47,962,933 | 10 | A24 |
| The Kill Room | $87,105 | 355 | $245 | $87,105 | 1 | Shout! Factory | ||
| Amerikatsi | $37,589 | -55% | 26 | -13 | $1,446 | $345,353 | 4 | Variance Films |
| Common Ground | $37,000 | 4 | $9,250 | $37,000 | 1 | Area 23a | ||
| Golda | $32,790 | -65% | 76 | -65 | $431 | $4,681,375 | 6 | Bleecker Street |
| Story Ave | $9,852 | 1 | $9,852 | $9,852 | 1 | Kino Lorber | ||
| Scrapper | $9,379 | -50% | 20 | -13 | $469 | $176,258 | 6 | Kino Lorber |
| My Sailor, My Love | $8,902 | -70% | 10 | -27 | $890 | $57,465 | 2 | Music Box Films |
| Fremont | $7,009 | -76% | 12 | -22 | $584 | $244,745 | 6 | Music Box Films |
| Jules | $6,084 | -56% | 23 | -5 | $265 | $1,921,666 | 8 | Bleecker Street |
Share this post