In box office news that isn’t related to Universal, Paramount’s A Quiet Place part II earned another $4 million (-32%) in weekend six for a likely $5.7 million holiday haul and $146 million domestic cume by tomorrow. The film is continuing to chug along right alongside F9 and should still end its run with $155-$160 million, which is awfully close to the first film’s $188 million finish. It’s well over $250 million worldwide on a $61 million budget, although overseas updates have not yet arrived.
Allowing me to skip around, The Conjuring: The Devil Made Me Do It opened very well in Germany this weekend, nabbing $1.2 million and bringing its overseas cume to $112 million (which is about where A Quiet Place 2 is sans updates). The $39 million New Line horror sequel will earn $1.6 million over the holiday as it leaves HBO Max for a $62.5 million domestic and current $173.7 million global total. That’s below the $228 million cume of Annabelle Comes Home, but it’s still 4.45x its $39 million budget.
Meanwhile, Lionsgate and Millennium’s The Hitman’s Bodyguard’s Wife earned $3 million (-39%) in weekend three for a likely $4.1 million Fri-Mon gross and $32.48 million 18-day cume. That’s an obviously disappointing result for a $60 million-plus sequel to a $30 million movie that earned $75 million domestic and $172 million worldwide in 2017. Whether it can make up any of the difference overseas is an open question. Between this and Spiral ($23 million domestic), Lionsgate’s summer-of-Samuel L. Jackson is 0/2. Your move, The Protégé.
Walt Disney’s Cruella topped $200 million worldwide this weekend, technically meaning it has doubled its $100 million budget. The Emma Stone flick is still arguably a box office disappointment, but A) there’s no guarantee it would have broken out in non-Covid times and B) there’s still maybe $25 million in Disney+ “Premier Access” revenue (guestimate based on Nielsens and Samba ratings) that goes 100% to the Mouse House to be accounted for. The film has legged out to $77.3 million domestic from a $26.5 million Memorial Day launch.
Sony’s Peter Rabbit: The Runaway is way below Peter Rabbit ($110 million domestic and $350 million global), but $35 million domestic and $127 million worldwide thus far on a $45 million budget is still in the realm of “good enough.” Alas, Warner Bros.’ In the Heights will have $27.3 million at the end of day 25 as part of a $35 million global cume. In better WB news, Godzilla Vs. Kong earned $1.3 million in Germany and (rough estimate) around $6 million in Japan.
That compares to the $6.25 million debut of King of the Monsters which eventually led to a $25 million cume, but Godzilla Vs. Kong has better word of mouth than any of the previous MonsterVerse movies. Come what may, the $165 million monster mash should have over/under $450 million worldwide by tomorrow if not today. All due respect to Paramount’s A Quiet Place 2, but it’s notable the extent to which movie theaters have been kept alive almost entirely by Warner Bros. and Universal.
A24’s Zola opened on Wednesday as one of the big arthouse/indie darlings of the season. Absent Covid-specific circumstances, this well-reviewed and buzzy comedy/thriller (based on an infamously viral non-fiction Twitter thread) likely would have platformed in conventional circumstances. However, especially with the Arclight currently closed and the new normal of buzzy flicks using their theatrical releases as glorified marketing campaigns for the swift (probably closer to a month than 90 days, natch) PVOD release, A24 went wide into 1,468 theaters.
Cue a $1.14 million Fri-Sun/$2.27 million Wed-Mon holiday launch. That’s fine considering the under-$5 million budget and the expectation that the Taylour Paige/Riley Keough caper (which is quite a bit of fun, natch) will do well on PVOD thanks to folks who might have seen it in theaters in non-pandemic circumstances. Searchlight’s buzzy and acclaimed Summer of Soul: Or When the Revolution Could Not Be Televised had a one-week exclusive theatrical run at the El Capitan last week, and it expanded into 752 theaters alongside its concurrent launch on Hulu this weekend.
The (joyful and insightful) concert documentary, about the 1969 Harlem Cultural Festival that took place in comparative anonymity (especially in the history books after the fact) alongside the Woodstock festival, earned $650,000 over the Fri-Sun frame for an $850,000 “debut weekend. It earned 99% fresh on Rotten Tomatoes (and a 100% “verified audience score”) and an A+ from Cinemascore. I made the Sophie’s Choice to watch it on Hulu (preceded by appropriate amounts of self-flagellating) this past Friday, so I had time to watch it and Steven Soderbergh’s terrific HBO Max original No Sudden Move.