Universal’s The Odyssey remained muscular after a near $26M Friday and $34.6M Saturday, posting Christopher Nolan’s best second weekend ever at the domestic box office with $87M.

That’s also, as we told you before the weekend got underway, the best second weekend for a R-rated movie after Deadpool & Wolverine ($96.8M) and ahead of It‘s second frame ($60.1M). The Odyssey is already Universal’s second highest grossing R-rated movie after Nolan’s Oppenheimer ($330M) and ahead of Ted ($218.8M).

With a running a domestic total of $286.3M, The Odyssey became the highest grossing R-Rated movie of the year, ahead of Curry Barker’s Obsession ($259.8M).

Global for the Matt Damon, Anne Hathaway, Tom Holland, John Leguziamo, Robert Pattinson, Charlize Theron vehicle stands at $639.6M after a massive second global frame of $215.3M. Meanwhile, Disney/Pixar’s Toy Story 5 crossed $1 billion, becoming the highest grossing movie of the year with $1.022B ahead of Super Mario Galaxy Movie ($1.011B) and Michael ($1.01B).

All enhanced formats — Imax, PLFs and 70MM — drove 57% of Odyssey‘s second weekend. That’s a greater percentile share than last weekend’s 53%.

Broken out we have Imax at 27% (5% from Imax 70MM and 22% digital), with PLFs at 19% (Dolby reps 4% of that figure). Of the 34 Imax 70MM screens this weekend, the top six so far are the TCL Chinese Theatre (with a massive $254K through EOD Saturday), Regal LA Live ($159K), Regal Irvine Spectrum ($146K) in Orange County, then Regal Opry Mills ($135K) in Nashville, AMC Lincoln Square NYC ($127K) and Regal UA Colorado Center in Denver ($121,6K). Top grossing pure 70MM theatre is the Alex Theatre in Glendale, CA ($83K) with the top grossing 35MM theater for the Nolan pic coming from Nitehawk Cinema in Prospect Park in NYC.

Speaking of the TCL Chinese Theatre, we hear that when it comes to actual sales plus pre-sales (through week 5), The Odyssey has become the all-time best grossing movie at the historic venue with $2.48M, topping Oppenheimer‘s run which counted $2.38M.

The takeaway here for the industry (specifically filmmakers and reps who prod studios to boost their theater counts), is that a minority of screens are driving the majority of a tentpole’s gross. A movie doesn’t need a massive 4,000-plus footprint to rake in a ton.

This weekend, The Odyssey is over indexing in the Northeast, West and most of Canada. Top markets were L.A., NYC, San Fran, Dallas, Toronto, DC, Chicago, Houston, Atlanta, and Seattle. AMC rang up 26% of the weekend ($15.2M so far), Regal close to 20% ($11.6M), and Cinemark 12.7% ($7.4M).

Guys are still dominant at 52% in weekend 2 according to Screen Engine/Rentrak’s PostTrak, but a little less so versus pic’s opening weekend where dudes repped 59%. The over-25 crowd remains consistent at 76% with half of the audience being 18-34. Definite recommend scores are still high with men at 84% and women at 82%.

Among the new stuff that’s counter programming, Bleecker Street’s Crosswalk and LD release of Broadway capture Hadestown is the best with $9.69M opening at 1,949 sites, which is the second biggest ever Broadway live capture pic opening after Disney’s Hamilton last September ($10.1M). That’s without any PLF screens. The pic played best in East, South, Midwest and Mountain with the AMC Dine-In Disney Springs in Florida the top-grossing theater with $25K+. Hadestown originally was set to play a five night only event, but now Bleecker is adding additional bookings and showtimes. This past week it was announced that Crosswalk and LD are doing George Michael: The Faith Tour which is debuting later this year in Imax.

IFC’s noir Motor City pulled in an estimated $850K on Friday (including previews) and went to $471K on Saturday resulting in a $1.625M opening at 1,600 for the distrib’s TIFF acquisition. Rotten Tomatoes audience score on the avant garde film is 64%, not far from its 66% fresh critics score. This is a really clever innovative noir. Hopefully more audiences can find it.

Neon’s Nicolas Winding Refn movie, Her Private Hell, did $270K on Friday (including Thursday previews) and then $105K on Saturday, for a $530K opening outside the top 10 at 670 locales. That start is just under Refn’s last film, 2016’s Neon Demon, starring Elle Fanning which debuted to $589K at 783 theaters and ended its run at $1.3M, that Amazon theatrical release distributed by the late Broad Green Pictures (this was back in the day when Amazon didn’t have a theatrical distribution arm). Refn has been working it, tub thumping his first movie in ten years. How’s that? “I fell down a rabbit hole with streaming,” he says in the IG post below, while emphasizing “polarization is success.”

In addition, the Her Private Hell cast — Sophie Thatcher, 2x Emmy nominee Charles Melton and Havana Rose Liu — has been out there doing interviews since Cannes. One of the mega takeaways from the movie is its classical score from 85-year old Italian composer Pino Donaggio who worked on several Brain De Palma films. No RT audience score.

No CinemaScores or PostTrak audience exits for Hadestown, Her Private Hell or Motor City.

The overall three-day marketplace in North America sans a major studio wide entry stands around $140.6M, -25% off from a year ago, when Disney/Marvel Studio’s opened Fantastic Four: First Steps.

Chart as of Sunday AM:

11. Jana Nayagan (PMP) 415 theaters, Fri  $260K Sat $280K Sun $200K 3-day $740K/Total $1.35M/Wk 1
The movie in Tamil, Hindi, and Telugu is posting big numbers in Toronto, Seattle, Vancouver, Dallas, NYC and Austin. The H. Vinoth directed and written action movie stars Joseph Vijay and follows ideological enemies — one a populist, another an authoritarian–who meet again after a child’s fear awakens old conflicts, and pulls an ex-cop into a struggle beyond vengeance.

Notables:

Her Private Hell (NEON) 675 theaters, Fri $275K, Sat $150K, Sun $105K, 3-day $530K/Wk.

 

via Deadline