Paramount/Skydance’s Top Gun: Maverick held throughout the week, and it’s holding at a brilliant steady in weekend 2. The sequel’s -32% ease is the best for a wide release that opened to $100M+, ahead of the -40% weekend 2 posted by Star Wars: The Force Awakens in December 2015 as well as 2004’s Shrek 2 (-33%).
Top Gun 2 clocked $86M, which will put it at $291.6M EOD today; easily the best Tom Cruise has ever seen at the domestic box office, and Skydance’s as well (beating Star Trek Into Darkness‘ $228.7M). The Joseph Kosinski-directed movie cashed in a second Friday at $25M, $5M ahead of where we saw it on Friday afternoon. The sequel’s global stands at $548.6M, and it will need to topple Mission: Impossible – Fallout ($791.6M) to become both Cruise and Skydance’s top grossing movie ever around the world.
EntTelligence reports 6.5M moviegoers came out to see Top Gun 2 in its second weekend, taking its running admissions count to north of 22M. The average ticket price for the movie has dipped from $12.68 to $12.53. Premium large format ticket sales continue to drive per EntTelligence with a 32% share, the same as last weekend. Imax reports that their auditoriums eased 21% in weekend 2, repping close to 13% of weekend 2 ticket sales or $11M for a near $40M running cume. Next weekend all Imax screens cede to Universal’s Jurassic World Dominion. On Saturday, EntTelligence reports that 51% came out to see Top Gun 2 before 7PM.
The sequel is playing broadly. In weekend 2 PostTrak exits, Top Gun 2 is seeing 38% over 45, with the 25-34 crowd delivering the best attendance at 24%, followed by 45-54 at 20%. Still a marvelous audience response here at five stars and a 75% definite recommend. Men over 25 were big over the weekend at 43% (95% grade), then women over 25 at 38% (93% grade), with men under 25 at 11% (95%) and women under 25 at 8% (82% grade). Paramount reports that the under 35 demo gained 3% in weekend 2 from weekend 1, now standing at 49%.
Spots RelishMix about the sequel’s social media, “Exit chatter continues to fly positive for the film, for the cast, and the experience — with mentions of how ‘expectations were exceeded’ and those who waited 36-years for a Hollywood sequel that fans are calling an ‘instant classic’ and cinematic ‘big-screen thrill ride’; claiming, ‘I like streaming at home, but nothing beats seeing a great big movie in the theater’ as fans are pushing to spread-the big-screen Imax message. Social shout outs go out to Iceman, Rooster, Phoenix, Payback, Fanboy, Hangman and remembrances of Goose. Coming off of Cannes, new social speculation swirls around big nominations odds — and potential to include this tentpole to extend Oscar fan viewership. Some of the topical chatter touches on how well Top Gun may spike military recruitment — plus discussions whether this is the end of an era of manned battle flights, as AI pilots and drones continue to emerge.”
The new cast members to the franchise haven’t let up in pushing the film to fans:
Glen Powell’s muscle beach:
Top Gun 2 is leading all titles during the 22nd weekend of the year to an overall estimated haul of $119.6M, which is -31% from the same pre-pandemic weekend in 2019. How do we continue to be off in a marketplace where there’s a big movie leading the charge? Same old answers: It boils down to the lack of product, and how studios are continuing to be cautious. During the May 31-June 2, post-Memorial Day weekend, there were three new studio titles appealing to a variety of demos: Godzilla: King of the Monsters (which was No. 1 with $47.8M), Rocketman with $25.7M, and horror movie Ma with $18M.
Then there was weekend 2 of Aladdin in the No. 2 spot, with $42.8M. For the rest of the summer, studios seem to be bobbing and weaving around major blockbusters on the calendar, i.e., no one is going wide against Jurassic World Dominion on June 10, Lightyear on June 17, Minions: The Rise of Gru on July 1, or Thor: Love and Thunder on July 8.
That type of booking by the majors signifies their current belief that it’s a one picture per weekend marketplace. They’re even practicing that distribution method into August with smaller movies, and that’s a time when more can feasibly be booked on the calendar.
What’s optimistic is that just because summer ends, that doesn’t mean people stop going to the movies, as evident in last October. But we need product. People are coming; they just need a reason. Hopefully the turnaround in older demos here by Top Gun: Maverick will provide others with confidence to put more on the schedule, because there’s plenty of opportunity out there.
Other great things occurring at the box office sans any major studio wide entries: A24’s Everything Everywhere All at Once crossed $60M in its 11th weekend with $2M. When will the Daniels’ movie quit? Not yet. “It’s going to be around for a while,” says one insider close to the pic. Some rivals see possibly another $10M in U.S./Canada. With a weekend decline of -17%, that’s the lowest for a movie in the top 10 this weekend. After becoming A24’s highest grossing title stateside, Everything Everywhere All at Once will also become the studio’s overall top global grossing movie this week, surpassing Hereditary‘s $80.2M.
The other prolific opening of the weekend is NEON’s moderate (Comscore had it originally listed on the calendar as wide) release of David Cronenberg’s kinky dystopian surgery movie Crimes of the Future, which grossed $1.1M in tenth place at 773 locations in 146 markets, or a $1,4K theater average.
The pic scored a six minute standing ovation at its Cannes Film Festival world premiere. It’s Cronenberg’s first movie since 2014’s Maps to the Stars. A 78% fresh rating from critics on Rotten Tomatoes, and a divided result from those who bought tickets at 51%. I hear that the movie did OK in big cities on the coasts and Canada, but the further you got away from those markets, the more ticket sales became smaller.
No surprise, as Cronenberg has a cult appeal. His biggest opening at the box office belongs to one of few major studio distributed movies on his resume, that being 20th Century Fox’s The Fly, which opened to $7M and legged out to $40.4M in late summer 1986. After that, the filmmaker’s second-biggest opening at the box office was his 1983 Stephen King feature adaptation of The Dead Zone, with $4.55M; and these were major studio titles back in their heyday.
Here’s what’s interesting, and again, granted, it’s pretty small. But when you get into Cronenberg’s core, die-hard, gritty genre titles at the domestic box office, the opening here for Crimes of the Future ranks behind 1988’s Dead Ringers ($3M opening at 1,042 theaters; which Crimes of the Future arguably plays as a call-and-echo piece to) and 1983’s Videodrome ($1.19M at 600 theaters). So by Cronenberg’s own slide rule, Crimes of the Future is par for the course.
Social media corp RelishMix observed, “Neon took a simple approach for Crimes of the Future on social, with materials predominately built onto channels for the studio, with YouTube views at 4M+ views for owned-and-earned videos for the three trailer/spots — plus there are seven Facebook videos in place as the film platforms out from the Cannes premiere.”
Among the Cronenberg devotees on social, RelishMix reports, “Chatter runs positive, as horror fans are definitely drawn to see the latest psychological mind-and body-bender by the horror maestro, ‘I love that even a 79-year-old Cronenberg can still shake up the squares better than anyone else.’ — and the cast with Viggo Mortensen’s very selective roles and Kristen Stewart fanatics, too.”
As major studios leave gaps at the box office in their bookings, Indian cinema is taking advantage of those auditoriums. Lokesh Kanagaraj’s Vikram centers around Amar, a policeman who is deployed for secret assignments. He’s been sent to get a gang of masked men who might be responsible for a series of serial killings. However, Amar himself might not be all that he’s cracked up to be. Some 131 markets with prints in Hindi, Telugu, and Tamil are seeing good numbers in NYC, LA, Dallas, San Francisco, Boston, DC, Atlanta and Detroit. Estimated outlook is $1.77M.
Trumpets for Disney this weekend: Doctor Strange in the Multiverse of Madness clicks to $909.4M WW, the second highest-grossing MPA movie of the pandemic era after Spider-Man: No Way Home ($1.89 billion) and the highest-grossing title YTD. It’s also the tenth highest-grossing MCU movie of all-time. Who needs China and Russia to get to a billion nowadays?
1.) Top Gun: Maverick (Par) 4,751 (+16) theaters, Fri $25M (-52%), Sat $35.8M, Sun $25.2M, 3-day $86M (-32%), Total $291.6M/Wk 2
2.) Doctor Strange in the Multiverse of Madness (Dis) 3,765 (-40) theaters, Fri $2.6M (-43%), Sat $3.8M, Sun $2.77M, 3-day $9.25M (-42%)/Total $388.7M/Wk 5
3.) Bob’s Burgers Movie (20th/Dis) 3,425 theaters, Fri $1.3M (-76%), Sat $1.9M, Sun $1.22M, 3-Day $4.5M (-63%), Total $22.2M/Wk 2
4.) The Bad Guys (Uni) 2,869 (-75) theaters, Fri $940K (-25%), Sat $1.37M, Sun $1M, 3-day $3.34M (-24%), Total $87.2M/Wk 7
5.) Downton Abbey- A New Era (Foc) 3,451 (-379) theaters, Fri $990K (-46%), Sat $1.18M, Sun $830K, 3-day $3M (-48%), Total $35.7M/Wk 3
6.) Everything Everywhere All at Once (A24) 1,434 (+247) theaters, Fri $567K (-18%), Sat $808K, Sun $646K, 3-day $2M (-17%), Total $60.5M/Wk 11
7.) Vikram (Ind) 465 theaters, Fri $875K, Sat $541K, Sun $354K, 3-day $1.77M/Wk 1
8.) Sonic the Hedgehog 2 (Par) 2,092 (-237) theaters Fri $445K (-33%), Sat $710K, Sun $570K, 3-day $1.725M (-30%), Total $188.3M/Wk 9
9.) The Lost City (Par) 811 (-216) theaters, Fri $400K (-18%), Sat $595K, Sun $385K, 3-day $1.38M (-34%), Total $104M/Wk 11
10.) Crimes of the Future (NEON) 773 theaters, Fri $515K, Sat $340K, Sun $245K, 3-day $1.1M/Wk 1