Halloween adjacent weekends have rarely been good ones at the box office, and even less so during the pandemic, when there aren’t a lot of solid movies in cinemas. Saturday night is largely party night, not movie night. All titles this weekend are expected to gross $69M, just 7% up from last year’s $64.3M, but at a great drop from last weekend, when New Line/DC’s Black Adam propelled industry ticket sales, -40%. Pre-pandemic, the last weekend of October rang up $107.6M in 2019 and $105.7M in 2018, per Box Office Mojo.
The annual spooky effect on moviegoing is forcing Black Adam to be -59% in weekend 2 with $27.7M, a hold that’s steeper than a few of Dwayne Johnson movies in weekend 2, i.e. Rampage (-44%), Skyscraper (-54%), and San Andreas (-53%), and some DC films (i.e. The Batman, -50%; Justice League, -56%), yet better than others such as Green Lantern (-66%) and 2016’s Suicide Squad (-67%).
Halloween adjacent weekends have rarely been good ones at the box office, and even less so during the pandemic, when there aren’t a lot of solid movies in cinemas. Saturday night is largely party night, not movie night. All titles this weekend are expected to gross $69M, just 7% up from last year’s $64.3M, but at a great drop from last weekend, when New Line/DC’s Black Adam propelled industry ticket sales, -40%. Pre-pandemic, the last weekend of October rang up $107.6M in 2019 and $105.7M in 2018, per Box Office Mojo.
Despite this, Black Adams is flying past $100M by EOD with $111.1M, Johnson’s 18th movie to fly past the century mark at the domestic box office. Duly note that the 10-day gross of Black Adam is ahead of Johnson’s Fast & Furious spinoff Hobbs & Shaw ($108.3M) by 3%. That’s commendable. Worldwide, Black Adam stands at $250M.
Also not overindexing, no thanks to Halloween syndrome, is Lionsgate’s PG-13 horror film Prey for the Devil at 2,980 theaters, which made $2.8M on Friday (including Thursday previews) for what looks to be a $7.02M start third place. That’s close to where Lionsgate was projecting the film. It arrives in an already horror-laden marketplace, with Halloween Ends set to finish its third weekend with $60M-plus, and Paramount’s slasher sleeper Smile going to $92M-plus by tomorrow. Prey for the Devil, despite being a slightly different kind of exorcism film in its female-driven conceit, isn’t spreading the spirit all over this land, with a C+ CinemaScore, 68% Rotten Tomatoes audience score, and 64%/2 1/2 stars on Comscore/Screen Engine’s Posttrak.
Those who decided to buy tickets to date were 62% between 18-34, and evenly split between 51% females, 49% males. Demographic breakdowns were 33% Men over 25, 30% women over 25, 21% women under 25, and 16% under 25. Diverse audiences were 38% Hispanic and Latino, 33% Caucasian, 12% Black and 11% Asian. Top ten theaters came from West and Southwest.
RelishMix measured the social media universe for Prey for the Devil at 62.1M across Facebook, Twitter, YouTube, Instagram, and TikTok spurred by 29.4M for the latter on Lionsgate’s official channel. That outpaced the pic’s 20.8M YouTube views on eight studio-owned videos before opening.
United Artists Releasing’s third weekend expansion of Till at 2,058 locations notched an A+ CinemaScore and 91% positive on PostTrak, mostly women at 61%; with $1.03M on Friday and $2.81M for the weekend, and a running total of $3.6M for the Eon Production. That’s the third film this year to get an A+ CinemaScore. Black moviegoers gave Till 94% on PostTrak. Much older audience here at 84% over 25, 63% over 35 and close to have over 45 with 27% over 55. Diversity demos were 38% Caucasian, 42% Black, 11% Latino and Hispanic and 9% Asian/other. Till saw most of its box office coming from the Southeast, Northeast and Midwest.
Says UAR Distribution Boss Erik Lomis about Till, “The film’s tremendous word of mouth and exit polling bodes well for a long-term run of the film at the box office. Overall, the marketplace for upscale drama is still recovering, and that had a drag on all films overall.”
Trafalgar Releasing has the concert movie, Coldplay Music of the Spheres Live Broadcast from Buenos Aires, booked at 829 runs in 179 markets across only two showtimes. Friday’s was live and Saturday was a rebroadcast. It posted solid core runs in NYC, Los Angeles, Philly, San Francisco, DC, Seattle, Miami, Orlando, Baltimore, Salt Lake City and Toronto, with $673K on Friday for a $1.015M weekend. Clearly, older-skewing movie here, as Trafalgar’s younger skewing BTS Permission to Dance on Stage saw a $6.8M opening back in March at 803 theaters.
Focus Features’ fourth weekend wide expansion of Todd Field’s TAR at 1,087 made $340K on Friday, for a $1.02M 3-day and running total of $2.48M. Critics love the return of Field’s directing after a 16 year break at 94% certified fresh, Cate Blanchett is arguably a lock for Best Actress at the Oscars, but audiences couldn’t take the 2 hour and 38 minute movie about a Type A Personality classical conductor at 72% positive on PostTrak, 42% definite recommend. The movie skewed 54% female, older at 81% over 25, 59% over 35 and close to half over 45 and 34% over 55. TAR played best in New York and LA, however ticket sales got lighter the farther you got away from each metropolis.
Roadside Attractions’ abortion movement feature Call Jane, from filmmaker Phyllis Nagy didn’t fare that well with $240,7k at 1,070 theaters. That’s $225 per theater. Audiences gave it 77% positive, and a 51% recommend. Older women showed up at 61% overall with 73% over 25, 55% over 35 and 40% over 45.
James Gray’s Armageddon Time, also from Focus, was booked in six NYC and LA theaters at Lincoln Square, Union Square, Alamo Drafthouse Brooklyn, Century City, The Grove and Burbank AMC for $35K on Friday, $72K opening weekend in a light $12K per theater. We heard Lincoln Square and Grove were the strongest of the bunch.
Sunday estimates :
1.) Black Adam (NL) 4,402 theaters, Fri $7.5M (-72%), Sat $11.9M, Sun $8.33M 3-day $27.7M (-59%)/Total $111.1M/Wk 2
2.) Ticket to Paradise (Uni) 3,692 (+149) theaters, Fri $3.1M (-51%), Sat $4M, Sun $2.8M 3-day $10M (-37%)/Total $33.7M/Wk 2
Great hold here for this older female skewing title.
3.) Prey for the Devil (LG) 2,980 theaters, Fri $2.8M, Sat $2.46M Sun $1.73M 3-day $7.02M, Wk 1
4.) Smile (Par) 3,221 (-75) theaters, Fri $1.58M (-39%), Sat $2.2M Sun $1.2M 3-day $5.05M (-40%),total $92.3M/Wk 5
5.) Halloween Ends (Uni) 3,419 (-482) theaters, Fri $1.16M (-55%), Sat $1.62M, Sun $1.05M 3-day $3.83M (-52%)/Total: $60.3M/ Wk 3
6.) Till (UAR) 2,058 (+1,954) theaters, Fri $1.037M (+712%), Sat $1.01M, Sun $760K, 3-day $2.81M (+673%)/Total $3.6M/Wk 3
7.) Lyle, Lyle Crocodile (Sony) 3,135 (-401) theaters, Fri $725k, Sat $1.22M Sun $880K 3-day $2.83M (-33%)/Total: $32.56M/Wk 4
8.) Terrifier 2 (Iconic) 1,550 (+795) theaters, Fri $575,5K (+5%), Sat $727,5K, Sun $500K 3-day $1.8M (+3%), Total $7.7M/Wk 4
9.) The Woman King (Sony) 1,446 (-412) theaters Fri $300K (-42%), Sat $500k, Sun $310K 3-day $1.11M (-41%) /Total $64.5M/Wk 7
10.) Tar (Focus) 1,087 theaters (+946), Fri $340K (+113%), Sat $390K, Sun $290K 3-day $1.04M (+100%), Total $2.48M/Wk 4
Notable:
Coldplay Music of Spheres Live (TRAF) 833 theaters, Fri $673K, Sat $342K, 3-day $1.015M/Wk 1
Triangle of Sadness (NEON) 610 (+330) theaters, Fri $180K Sat $199K Sun $170K 3 day $549K (-9%)/Total $2.28M/Wk 4
Banshees of Inisherin (Sea) 59 (+55) theaters, Fri $210K (+211%), Sat $185K Sun $145K 3-day $540K (+117%)/Total $790,7K/Wk 2
The top two grosses for the Martin McDonagh directed and written movie came from Canada with the single screen art house, the Park in Vancouver, as the highest gross in North America followed by the Varsity in Toronto. Five out of the top ten grosses came from the Alamo Drafthouse. Other highlights include the Coolidge Corner in Boston, Cinema 21 in Portland, Uptown in Seattle, and the Jacob Burns in Pleasantville NY. Angelika and Lincoln Square in New York are also ranking in the pic’s top ten.
Call Jane (RSA) 1,070 theaters, Fri $88K Sat $89K Sun $63K 3-day $240,7K/Wk 1
Armageddon Time (Foc) 6 theaters, Fri $35K Sat $20K Sun $17K, PTA $12K, 3-day $72K/Wk 1