In a week devoid of any major releases, we still saw some major changes at the box office, with familiar faces like Kong: Skull Island, Power Rangers, and Get Out (RIP) all falling from the Top 10 in favor of new releases or aggressively expanding art films. Of course, not everything was different; if you read these box office reports every weekend, I’ll bet you can name the top three movies (in order) with minimal effort. Here’s the weekend box office projections as of Sunday afternoon:
Despite being supported by a blindingly charismatic cast and some of the best action directors in the business, Paramount’s Star Trek franchise has somewhat been an exercise in diminishing returns after 2009’s big screen reboot. Last year’s Star Trek Beyond may have captured some of the fun of a standalone episode of the series, but it was a surprising disappointment with audiences: the film’s $158 million gross was nearly $100 million less than the first entry in the series and failed to break even on the studios $185 million investment. Those are the kind of numbers that make a studio think long and hard about investing in a sequel.
Audiences don’t turn their back on family. That’s the lesson to be learned from this past weekend, anyways, when The Fate of the Furious proved that this is one franchise showing no signs of slowing down. It was never a question of whether The Fate of the Furious would take the top spot this weekend, but even the most optimistic of projections couldn’t have expected the global domination that this movie undertook. Here’s the box office estimates as of Sunday afternoon:
Welcome to the calm before the storm. With a handful of blockbuster movies already released, and more on the way, the second weekend in April was a relatively quiet affair, with a few old favorites dominating the weekend yet again and a few new releases grabbing whatever box office they could before things get fast and furious at your local multiplex. Let’s take a look at the projected grosses through Sunday afternoon.
Up until last week, I was a proud resident of New York City, which meant — like most New Yorkers — I avoided Times Square like the plague. Even transferring between trains at Times Square could be a frustrating exercise in crowd management; when it comes to actually getting behind the wheel myself, I would gladly drive around the entire island of Manhattan twice before I would risk driving anywhere between Union Square and Central Park. That makes the New York setting of The Fate of the Furious an exercise in wish fulfillment for me. Forget street racing and international espionage; I just want to experience what it’s like to drive through Times Square at more than five miles an hour.
In a parallel universe where Paramount Pictures doesn’t alienate its fanbase, we might be talking about Ghost in the Shell as the big winner of this weekend and the de facto start of a new wave of Japanese Hollywood adaptations. Instead, DreamWorks Animation and The Boss Baby blew up the box office, no doubt delighting a handful of DreamWorks executives who watched the Ghost in the Shell controversy unfold with glasses of champagne in hand. After all, nobody’s going to boycott a movie about a baby who wears a suit.
After several weeks of limited movement, a handful of new releases prompted a pretty thorough shakeup of the Box Office Top 10. While Beauty and the Beast continued its unstoppable assault on the domestic box office, we also said hello this weekend to three new movies and goodbye to a handful of old favorites from the first few months of the year. Let’s start with the estimated numbers as of Sunday afternoon.
It might be a tale as old as time, but audiences have proven there’s still a few petals left on that old flower. Despite being projected to open at somewhere between $214–245 million worldwide, Beauty and the Beast knocked the pants off those projections, eclipsing $350 million at the international box office and setting a March record for domestic releases along the way. Let’s take a look at how things shook out this past weekend with some of the expected grosses.
With Hugh Jackman’s Logan opening in theaters this weekend, the top spot of this list was never in doubt. The questions were always whether audiences would respond well to the first major R-rated superhero movie. Was the big opening of Deadpool an abberation or a sign of things to come? If today’s numbers are any indication, the answer is, maybe a little bit of both.
If I were a Marvel sales rep, I would get down on my knees every day and thank Thanos for the series of events that led to Baby Groot. Baby Groot might just be the pinnacle of Hollywood marketing; not only is his cute visage the perfect thing to slap on every action figure, lunch box, and stuffed animal from here to the moon, it’s also a character that sidesteps typical customer cynicism. If fans felt for one moment that Baby Groot was a thinly veiled attempt to sell them more junk, they would push back on James Gunn and Marvel with all their strength. But instead, we are treated to one of the baddest killing machines in the galaxy who happens to be totally adorable, too.
When you’re in the business of making movies as large as those in the Marvel Cinematic Universe, even the first few days of production are a pretty big deal for fans. This is doubly so when you’re launching Avengers: Infinity War, a superhero crossover event unlike anything audiences have ever seen before on film. So last night, when Marvel released a brand new production video complete with new cast interviews and some key concept art, people rightfully lost their minds. You think you’ve seen movie hype? You ain’t seen nothing yet.
For most people, the decision to make a sequel to 2015’s Fifty Shades of Grey is probably the punchline to a bad joke. But have you actually stopped and looked at the box office numbers for Fifty Shades of Grey recently? We’re not talking about $100 million at the global box office; we’re not even talking about $200 million. We’re talking about $571 million worldwide, more than Mad Max: Fury Road and Creed combined and the eleventh highest-grossing movie of the year. With those kind of numbers, you pretty much have to make a sequel. I don’t blame them.
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