Wednesday, July 26, 2017
Box Office
Box Office

dunkirk 4 Weekend Box Office: Dunkirk Heads for $45M $50M U.S. Debut; Valerian Bombing

Elsewhere, Universal’s ‘Girls Trip’ is breaking the R-rated comedy curse with a projected $25 million-plus opening.

‘Dunkirk’ Delivers $5.5M from Thursday Previews, ‘Valerian’ and ‘Girls Trip’ Each with $1.7M

Christopher Nolan’s Dunkirk is easily winning the Friday box-office battle for a projected $45 million-$50 million debut, marking the best opening for a World War II movie in recent times.

Dunkirk is expected to earn $17 million or more on Friday, including $5.5 million in Thursday night previews. The critically acclaimed film, from Warner Bros., is playing in 3,720 locations and is getting a wide berth in Imax theaters and on 70mm screens.

Other comparisons used in our weekend preview below include:

  • Mission: Impossible – Rogue Nation – $4m Preview / $55.5m Opening
  • Mad Max: Fury Road – $3.7m Preview / $45.4m Opening
  • Interstellar – $3.5m Preview / $47.5m Opening
  • The Magnificent Seven – $1.75m Preview / $34.7m Opening
  • Fury – $1.2m Preview / $23.7m Opening
  • Unbroken – $850k Preview / $30.6m Opening

Nolan’s last film, Interstellar, debuted to nearly $50 million over the long Thanksgiving holiday in 2014, including $47.5 million for the three-day weekend. The Dark Knight Rises (2012) was his biggest opening ($160.9 million), followed by 2008’s The Dark Knight ($158.4 million), 2005’s Batman Begins ($73 million, including a three-day weekend of $48.7 million) and 2010’s Inception ($62.8 million).

Dunkirk, recounting one of World War II’s most famous battles, stars Fionn Whitehead, Mark Rylance, Kenneth Branagh, Cillian Murphy, Tom Hardy, Jack Lowden, One Direction’s Harry Styles and Aneurin Barnard. At 107 minutes, it is the shortest film of Nolan’s career, outside of his first movie. The production budget was reportedly $150 million or more.

Overseas, Dunkirk has earned $8.6 million in its first two days after beginning to roll out in select markets on Wednesday.

Elsewhere, Universal’s Girls Trip is laughing loudly in North America. The femme-centric pic looks to earn $11 million or more from 2,591 theaters on Friday, including $1.7 million in previews, for an opening in the $26 million range — the best showing of the year so far for an R-rated comedy, a genre that’s been decidedly challenged.

Directed by Malcolm D. Lee, who also produced alongside Will Packer, Girls Trip stars Regina Hall, Tiffany Haddish, Jada Pinkett Smith and Queen Latifah as lifelong friends who go to New Orleans for a wild weekend of fun.

The news isn’t good for the weekend’s third new release, Luc Besson’s Valerian and the City of Thousand Planets. The sci-fi epic, costing at least $180 million to produce, is projected to gross $7 million on Friday from 3,553 theaters and $17 million for the weekend.

From Besson’s EuropaCorp and U.S. distributor STX Films, the film stars Dane DeHaan and Cara Delevingne as a duo who must travel through space and time to save the universe. EuropaCorp put together financing for the movie and provided marketing funds.

At that pace, Valerian won’t be able to beat holdovers Spider-Man: Homecoming and War for the Planet of the Apes. Among other holdovers, Universal and Illumination’s Despicable Me 3 jumped the $200 million mark at the domestic box office on Thursday.

Finally, as of Wednesday, Wonder Woman was up to $383.5 million domestically. Expected to bring in another $4 million or so this weekend, it will top Guardians of the Galaxy Vol. 2 and become the second highest grossing film of 2017 so far.

This weekend’s forecast is directly below. This post will be updated on Friday morning with Thursday night preview results followed by Friday estimates on Saturday morning, and a complete weekend recap on Sunday morning.

  • Dunkirk (3,720 theaters) – $51.0 M
  • Girls Trip (2,591 theaters) – $26.0 M
  • War for the Planet of the Apes (4,100 theaters) – $24.8 M
  • Spider-Man: Homecoming (4,130 theaters) – $21.7 M
  • Valerian and the City of a Thousand Planets (3,553 theaters) – $17.0 M
  • Despicable Me 3 (3,521 theaters) – $10.5 M
  • The Big Sick (2,597 theaters) – $5.2 M
  • Baby Driver (2,503 theaters) – $5.1 M
  • Wonder Woman (1,971 theaters) – $4.2 M
  • Wish Upon (2,154 theaters) – $2.8 M

* Valerian budget courtesy CNC.

war for the planet of the apes Box office report: Planet of the Apes wins the war against Spider Man for No. 1
Twentieth Century Fox’s “War for the Planet of the Apes.”
Twentieth Century Fox.

War for the Planet of the Apes has won the box office this weekend.

The latest in the Planet of the Apes franchise has brought in an estimated $56.5 million in its first weekend of release, while also playing well with fans (an A- on CinemaScore). However, despite coming out on top, War omanaged to beat its closest rival, Spider-Man: Homecoming, by only an estimated $11.3 million. In fact, this weekend’s opening figures hew closer to that of 2011’s Rise of the Planet of the Apes ($54.8 million) as opposed to its most recent predecessor, 2014’s Dawn of the Planet of the Apes ($72.6 million). This estimated $16.1 million shortfall is in keeping with a recent trend that sees familiar blockbuster franchises not perform as well as they used to. Internationally, War for the Planet of the Apes has earned $46 million, bringing the movie’s current worldwide earnings to $102.5 million.

The newest Planet of the Apes movie follows Caesar (played once again by Lord of the Rings‘ Andy Serkis) as he embarks on a quest to avenge his fellow apes after their forces are decimated in a deadly battle against an army of humans lead by Woody Harrelson’s ruthless Colonel. As Caesar grapples with his emotions, he finds himself facing off against the Colonel in a fight that will decide the fates of both their species (and the planet a large).

In second place this week is Spider-Man: Homecoming with estimated earning of $45.2 million, bringing the movie’s domestic total to $208.3 million after only 10 days in theaters. Internationally, the Columbia Pictures and Marvel Studios production has been performing just as well, bringing in an additional $261 million, bringing the worldwide total for the movie starring Tom Holland, Michael Keaton, and Zendaya to $469.4 million so far.

However, despite debuting to critical and fan acclaim (an A on CinemaScore), the film’s second week sees a steep 61.4 percent drop in its earnings — not unlike 2007’s Spiderman 3 (61.5 percent) and 2014’s The Amazing Spider-Man 2 (61.2 percent), though in the case of the former, the movie actually ended up pulling in a higher figure ($58.2 million) in its sophomore frame than Homecoming. In terms of actual earnings, the Tom Holland-led movie seems to be following the 2004’s Spider-Man 2, which also earned $45.2 million in its second week out.

At No. 3 is Illumination and Universal’s Despicable Me 3, with the animated feature film bringing in an estimated $18.9 million this week. This brings the movie’s domestic total to $188 million — which is much lower than predecessors Despicable Me 2 ($276 million) and Minions ($262.4 million) at this point in the movie’s box office run. However, combined with its international earnings of $431.4 million so far, DM3‘s worldwide earning currently sits at $619.4 million, which is more than Despicable Me overall earnings ($543 million) by the end of its run.

In fourth place is Edgar Wright’s critically acclaimed Baby Driver, earning an estimated $8.75 million. With another steady 32.7 percent drop in its domestic haul, this continues to be Wright’s highest earning movie, with a domestic box office total of $73.2 million, and a worldwide one of $96.3 million. By comparison, Wrights’ previous movies Scott Pilgrim vs. the WorldThe World’s EndHot Fuzz, and Shaun of the Dead earned, respectively, $47.7 million, $46.1 million, $80.6 million, and $30 million by the end of their entire runs. The impeccably-scored heist movie stars Ansel Elgort, Lily James, Jon Hamm, Kevin Spacey, and Jamie Foxx.

Cracking the top 5 is none other than the Kumail Nanjiani and Zoe Kazan-starring The Big Sick with an estimated $7.6 million. Following its successful opening in limited release, and slowly building buzz, the movie’s current domestic total sits just above $16 million. Silicon Valley‘s Nanjiani and Ruby Sparks‘ Kazan star as a Pakistani comedian and an American grad student who fall in love, but then break up when he can’t tell his conservative Muslim parents that he does not want an arranged marriage. But when Kazan’s Emily falls ill and is put in a coma, Nanjiani’s character starts to bond with her parents, played by Ray Romano and Holly Hunter.

Elsewhere in the top 10, DC’s Wonder Woman saw a small drop in its earnings (29.9 percent) as it earned an estimated $6.9 million, bringing its domestic total to $380.7 million, cementing its status as, domestically, the highest-grossing DC Extended Universe movie. In terms of its worldwide earnings, WW has brought in $764.9 million, placing it firmly behind Batman v Superman ($873.3 million), in which the titular character actually also appeared.

In seventh place is newcomer Wish Upon with an estimated $5.6 million. The Broad Green-produced horror movie has not played well with critics or fans (a C on CinemaScore), despite starring Ryan Phillippe as Jonathan Shannon, a father who gifts his 17-year-old daughter Clare (Joey King) with a music box that (unbeknownst to him) will grant her seven wishes courtesy of its dark powers. Despite some initial hesitation, Clare begins to use the box’s dark powers to improve her life — only, as she discovers, each one also causes the people close to her to die quite violently. Maze Runner‘s Ki Hong Lee and newly-minted Emmy nominee Shannon Purser also star.

Outside the top 10, and in limited release, Lady Macbeth debuted to an estimated $68,813 opening, with a per theater average of $13,763 from only 5 locations. The movie, which is set in 1865 rural England, tells the story of Katherine, a young woman who is stuck in a loveless marriage with an older man, but then begins an affair with one her own age, leading both to commit murder to preserve their newfound lives.

Elsewhere, Endless Poetry opened in two locations with an estimated $28,000, and a PTA of $14,000. Directed by Alejandro Jodorowsky, the French-Chilean drama explores his early adulthood and the events which prompted his decision to become a poet.

Per ComScore, overall box office is down 0.4 percent from the same frame last year. Check out the July 14-16 box office figures below.

1 – War for the Planet of the Apes – $56.5 million
2 – Spider-Man: Homecoming – $45.2 million
3 – Despicable Me 3 – $18.9 million
4 – Baby Driver – $8.75 million
5 –  The Big Sick – $7.6 million
6 – Wonder Woman – $6.9 million
7 – Wish Upon – $5.6 million
8 – Cars 3 – $3.2 million
9 – Transformers: The Last Knight – $2.8 million
10 – The House – $1.8 million

war for the planet of the apes and spider man  homecoming 2017 Box Office: War for the Planet of the Apes Stomping Past Spider Man With $57M

‘War for the Planet of the Apes,’ ‘Spider-Man: Homecoming’

Elsewhere, supernatural horror film ‘Wish Upon’ isn’t scaring up much business, while ‘The Big Sick’ expands nationwide after an impressive limited run at the specialty box office.

Director Matt Reeves’ War for the Planet of the Apes is stomping past holdover Spider-Man: Homecoming at the North American box office, topping Friday’s chart with $22.1 million from 4,022 theaters for a projected $57.5 million debut.

Heading into the weekend, it was unclear whether the final installment in 20th Century Fox’s refurbished trilogy would be able to beat Sony’s Spider-Man, which swung to a stellar $117 million last weekend.

Apes is performing ahead of expectations but will still open behind the 2014 sequel, Dawn of the Planet of the Apes ($72.6 million). It will, however, best the 2011 film, Rise of the Planet of the Apes ($54.8 million). Friday’s haul included $5 million in Thursday-night previews.

Spider-Man: Homecoming grossed around $13.7 million Friday from 4,348 cinemas for a sophomore outing of $47 million-$48 million. That would mean a decline of 60 percent or 59 percent, a bigger drop than the summer’s two other superhero sensations, Wonder Woman, which fell a scant 43 percent, and Guardians of the Galaxy Vol. 2 (56 percent), but certainly in keeping with many other comic book adaptations. Sony’s Spider-Man reboot will finish the weekend with a tidy domestic total of roughly $210 million.

War for the Planet of the Apes has roared to a stellar 94 percent certified fresh rating on Rotten Tomatoes, ahead of Spider-Man: Homecoming (93 percent), Wonder Woman (92 percent) and Guardians of the Galaxy Vol. 2 (81 percent). And it earned an A- CinemaScore from audiences.

The latest Planet of the Apes installment, costing $150 million to produce before marketing, follows Caesar (Andy Serkis) as he and the other apes try to survive the ongoing war with mankind and the wrath of a ruthless human dictator (Woody Harrelson). Chernin Entertainment produced.

Elsewhere, new entry Wish Upon  is having trouble scaring up much business for Broad Green Pictures and Orion. The supernatural horror pic earned an estimated $2.3 million Friday from 2,250 theaters for a projected $5.5 million-$6 million debut, putting it at No. 7. Starring Joey King, Ryan Phillippe and Elisabeth Rohm, the film around a young girl who’s given a music box by her father that grants her every wish, with terrifying consequences. Wish Upon received a C CinemaScore.

There’s major action at the specialty box office as director Michael Showalter’s critical darling The Big Sick, from Amazon Studios and Lionsgate, expands nationwide into 2,597 theaters after a glowing limited run. The romantic comedy grossed an estimated $2.5 million Friday for $7 million-$8 million weekend.

From a script by Kumail Nanjiani and his now-wife, Emily Gordon, The Big Sick draws from their real-life courtship and revolves around a young Pakistani comedian (Nanjiani) and his American girlfriend (Zoe Kazan) who must contend with their cultural differences and two very different sets of parents. Judd Apatow produced.

The Big Sick looks to come in No. 5 behind War for the Planet of the Apes, Spider-Man, Despicable Me 3 and Edgar Wright’s heist thriller Baby Driver. Universal and Illumination’s Despicable Me 3 , playing in 4,155 theaters, is anticipating a $19.4 million weekend for a domestic total of $188.4 million. Baby Driver, Sony’s second big win of the summer, is projected to gross another $8.7 million for a North American cume of $73 million.

Wonder Woman — now in its seventh weekend — will finally fall out of the top five to No. 6 with an estimated $6.5 million weekend for a dazzling domestic total of around $380 million. The Warner Bros. release is enjoying an unheard of hold and is now assured of topping out at $395 million or more.

planet of apes wish upon big sick Box office preview: Apes go to war with Spider Man for top spotWarner Bros. Pictures; Steve Wilkie / Broad Green Pictures; Nicole Rivelli/Lionsgate

It’s a battle of the species at the box office this weekend, but there’s only room for one critter class to stake a claim atop the domestic throne. Can the web-head’s arachnid aerobatics fend off a swarm of primate revolutionaries as Spider-Man: Homecoming and War for the Planet of the Apes square off in the days ahead?

Here’s how the July 14-16 weekend box office showdown could play out.

1 – War for the Planet of the Apes – $55 million 

Quality blockbusters are the name of the game this year, as 2017 has seen the likes of Spider-Man: Homecoming, Wonder Woman, and Logan soar to new heights with critics and audiences across successful theatrical runs. War for the Planet of the Apes continues the precedent set by its contemporary forerunners (2011’s Rise of the Planet of the Apes, 2014’s Dawn of the Planet of the Apes both rubbed film journalists the right way, too), coupling positive reception with continued fan anticipation for one of the most exciting film series of the moment. The last two Apes titles amassed $54.8 million and $72.6 million across their opening weekends, respectively, and as the series’ widest release ever (War opens at 4,022 locations), the latest installment should find a healthy opening between those figures as Homecoming, while cooling off from its $117 million bow, eats into the film’s opening figure thanks to similar demographic appeal.

2 – Spider-Man: Homecoming – $51 million 

Last week’s box office champion swings into its second weekend with healthy midweek numbers bolstering its bid for the No. 2 slot on the forthcoming chart, with the film pulling in between $10 million and $15 million from Monday through Wednesday. As mighty as its freshman outing was, most big-budget superhero films don’t uphold the momentum over their sophomore frame, and drops in the 50-65 percent range are likely. In June, Wonder Woman proved to be an exception to the rule when it shed a soft 43 percent from week one to week two, though that can be attributed to its status as a timely, female-fronted (and directed) action epic at a time when the industry is calling for more women in front of and behind the camera on major studio productions. Homecoming is cut from a more traditional cloth, and like most of its comic book cohorts, will dip to a figure in the $48 million-$55 million range in the days ahead.

3 – Despicable Me 3 – $17 million 

The family animated juggernaut has grossed nearly $500 million worldwide, though its domestic haul is shaping up to be the lowest of the Despicable Me clan to date. Another victim of sequel fatigue in the U.S. (Pirates of the Caribbean: Dead Men Tell No Tales stooped to a new series low upon failing to crack the $200 million domestic mark earlier this summer), Despicable Me 3 has performed well overseas, meaning another edition (beyond the planned Minons sequel) could spring up in the near future.

4 – The Big Sick – $10 million 

After an impressive run in limited release, Kumail Nanjiani’s The Big Sick is shaping up for a solid debut in wide release as it preps to land at just under 2,600 sites this Friday. Having maintained stellar per-theater averages since its June 23 bow (it has fluctuated between $10,971 and $84,315), the Sundance hit needs to make a strong impression on the mainstream market if Amazon and Lionsgate want to translate its enthusiastic reception into Oscar nominations in the months ahead. Critical reviews — which have largely been raves for the Michael Showalter-directed picture — only lay half the foundation for an awards contender’s trajectory, and if audiences support the project the way the industry has, Nanjiani could be looking at his first Academy Award nomination for his original screenplay, based on his real-life courtship with wife (and Big Sick co-writer) Emily V. Gordon. Substantial underground buzz should be enough to launch The Big Sick into wide release with a monetary bang.

5 – Baby Driver – $9 million 

Perhaps the surprise hit of the summer, Baby Driver has racked up an impressive $62.8 million over its 15-day run thus far, landing a $20.6 million opening take well above modest expectations. With an attractive cast (Ansel Elgort, Jamie Foxx, Kevin Spacey, Jon Bernthal, Jon Hamm, Sky Ferreira) and an even flashier marketing campaign, Baby Driver should continue its glacial downshift as a buzzy pop cultural sensation after it lost a mere 36 percent of its audience last week.

Outside the top five, Broad Green’s modestly budgeted horror flick Wish Upon should be able to clear its $12 million production costs by the end of its run, most likely topping off at around $7 million by the end of the three-day stretch ahead.

On the specialty front, Roadside Attractions is revealing its Lady Macbeth in limited release following a well-received turn on the festival circuit last year, which began in Toronto and carried through London and Sundance in subsequent months. Expect the period picture to attract the mature set for a decent per-theater gross by Sunday’s end.

spider man  homecoming Weekend Box Office: Spider Man: Homecoming Scales $117M in Heroic U.S. Bow

Chuck Zlotnick/CTMG
‘Spider-Man: Homecoming’

Sony and Marvel Studios’ reboot swings to the third-best opening of the year so far behind ‘Beauty and the Beast’ and ‘Guardians of the Galaxy Vol. 2.’

‘Spider-Man: Homecoming’ Delivers $117M Opening Domestically, Over $250M Worldwide

Spidey has returned home in style.

Spider-Man: Homecoming opened to $117 million from 4,348 theaters at the North American box office over the weekend in a major victory for Sony Pictures, which made the unorthodox decision to partner with Disney’s Marvel Studios in rebooting the marquee superhero franchise.

The critically acclaimed tentpole exceeded expectations in a needed boost for the ailing summer box office, passing Wonder Woman ($103.3 million) to boast the third-best North American opening of the year so far behind Beauty and the Beast ($174.8 million) and Guardians of the Galaxy Vol. 2 ($146.5 million). It becomes only the eleventh superhero pic to open to $100 million or more, and narrowly marks the second-biggest three-day launch of the franchise behind Spider-Man 3, not adjusting for inflation.

Overseas, Homecoming likewise cast a strong web with an estimated $140 million from its first 56 markets — or roughly 60 percent of the marketplace — for a global start of $257 million. The pic, narrowly beating out holdover Despicable Me 2 to top the foreign chart, took in a huge $25.8 million in South Korea, the third-biggest opening of all time for a Hollywood title, followed by Mexico ($12 million) and the U.K. ($11.8 million). Homecoming has yet to open in a number of major markets, including China.

While many recent tentpoles have been clobbered by critics, Homecoming boasts a 94 percent certified fresh rating on Rotten Tomatoes, as well as nabbing a franchise-best A CinemaScore from audiences. Wonder Woman and Guardians Vol. 2, the two biggest summer hits so far, were likewise embraced by reviewers and ticket buyers. The Spider-Man pic skewed male (60 percent), while 50 percent of the audience was under the age of 25, an impressive stat.

Starring Tom Holland as the whimsical teenage web-slinger, Spider-Man: Homecoming, which cost $175 million to produce, launches a new series of Spider-Man films and spinoffs that will be part of the Marvel Cinematic Universe. (Ergo, that’s why Iron Man, played by Robert Downey Jr., and other members of the Avengers crew show up in Homecoming, and why Holland first appeared as Spider-Man in Disney/Marvel’s Captain America: Civil War.)

Historically, Hollywood studios holding the film rights to Marvel comic book characters — such as Sony with Spider-Man, or 20th Century Fox with its X-Men franchise — have maintained creative ownership of their superhero properties. Sony made the unorthodox decision to team with Kevin Feige’s Marvel Studios after the two Amazing Spider-Man pics lagged well behind the original Spider-Man film trilogy.

“This is a great result, and a gigantic win for Sony and for Marvel,” said Sony president of worldwide marketing and distribution Josh Greenstein. “Spider-Man is one of the most beloved characters in the Marvel Universe, and Homecoming is a fresh take.”

Former Sony Pictures vice chairman Amy Pascal, who helped orchestrate the unique partnership with Marvel before exiting the studio, is a lead producer on Homecoming. The pic, directed by Jon Watts, also stars Michael Keaton, Jon Favreau, Zendaya, Marisa Tomei, Donald Glover and Tyne Daly.

Homecoming‘s ranking in the Spider-Man pantheon changes when adjusting for inflation. In May 2002, Spider-Man made history when opening to a then-record $114.8 million — or $174 million by today’s terms — becoming the poster child for the modern-day superhero pic.

Comparisons to Spider-Man 2 (2004) are complicated by the fact that the sequel debuted over the long July Fourth corridor in 2004, amassing $180.1 million in its first five days, or $256.3 million when adjusted for inflation. That included an official four-day weekend of $115.8 million, or $165 million when adjusted. (Spider-Man 3‘s adjusted opening is $174.7 million.)

The Amazing Spider-Man likewise opened over the July Fourth holiday, opening on July 3, 2012 (a Tuesday) and earning $137 million in its first six days, or $155.7 million when adjusted for inflation. The three-day weekend portion was $62 million, or $70.5 million when adjusted. The Amazing Spider-Man 2 opened to $91.6 million in early May 2014, or $97.2 million when adjusted.

No other movie dared open nationwide opposite Spider-Man: Homecoming.

Among holdovers, Universal and Illumination Entertainment’s Despicable Me 3 declined 53 percent to $34 million from 4,535 theaters for a 10-day domestic total of $149.2 million and global tally well north of $300 million. The animated event film is massive hit overseas, where it grossed another $139 million for a foreign total of $298.4 million and $447.8 million globally. That includes a record-breaking China debut of $66 million, the top launch of all time for an animated film in the Middle Kingdom. (There’s a chance Despicable Me 3 could end up winning the weekend internationally should final numbers vary from Sunday estimates.)

Edgar Wright’s heist thriller Baby Driver — Sony’s second summer win — followed at No. 3 in North America with $12.8 million from 3,226 theaters for a pleasing 12-day total of $56.9 million against a modest $34 million net budget. The pic fell a relatively modest 38 percent in its sophomore outing.

Wonder Woman placed No. 4 in its sixth weekend with $10.1 million for a domestic tally of $368.8 million and $745.8 million worldwide.

Transformers: The Last Knight rounded out the top five with $6.3 million in its third weekend for a lackluster North American total of $118.9 million. Overseas, The Last Knight is faring far better with $357.7 million to date for a worldwide cume of $494.6 million.

At the specialty box office, Michael Showalter’s The Big Sick continued to impress, moving into the top 10 as it expanded into 326 theaters. The Amazon Studios and Lionsgate release grossed $3.7 million to place No. 8. The movie, boasting an early domestic total of $6.9 million, scored another strong theater average of $11,200. The Big Sick is set to expand nationwide Friday.

Among new specialty offerings, filmmaker David Lowery’s A Ghost Story, starring Casey Affleck and Rooney Mara, scared up a strong $108,067 from four cinemas for a theater average of $27,017, the top average of the weekend. A24 is releasing the unique film, made on a shoestring budget of $100,000.

Not to be confused with A Ghost Story, Amazon Studios and IFC’s documentary City of Ghosts also impressed, opening to $16,290 from two cinemas in New York City for a screen average of $8,120. Matthew Heineman directed the doc about Syrian media activist organization Ragga is Being Slaughtered Silently. City of Ghosts premiered at the 2017 Sundance Film Festival.

Next weekend will see even more competition added to the field as Fox releases War for the Planet of the Apes into ~3,800 theaters along with a lot of strong word of mouth, currently holding at a 78 score on Metacritic. Additionally, Broad Green will release the horror film Wish Upon, Roadside will debut Lady Macbeth and, as already mentioned, Lionsgate and Amazon’s The Big Sick will be going wide.

despicable me 3 Box Office: Despicable Me 3, Baby Driver Set Off Fireworks; The House Fizzles

Courtesy of Universal Studios
‘Despicable Me 3’

Universal and Illumination’s ‘Despicable Me 3’ and ‘Baby Driver’ will help fuel a big rebound from last year’s dismal July Fourth; ‘The House’ marks one of the worst wide openings of Will Ferrell’s movie career.

Gru and his trouble-making minions are setting off early July Fourth fireworks at the North American box office, where Despicable Me 3 earned $29.2 million Friday for an estimated three-day debut of $83.5 million before likely racking up more big numbers on Monday and Tuesday, the official holiday

Universal and Illumination Entertainment’s threequel is playing in 4,529 theaters, with Friday’s haul including $4.1 million in Thursday evening previews. Overseas, the movie is projected to earn $91.4 million from 46 markets this weekend for an early foreign total of $112.7 million (it opened in handful of markets early) and worldwide cume of roughly $196 million through Sunday.

In 2013, Despicable Me 2 also opened over the Fourth of July holiday frame, grossing $83.5 domestically for the weekend proper and $143.1 million for the five-day holiday corridor. In 2015, spinoff Minions opened to a huge $115.7 million.

The third installment follows Gru (Steve Carell) as he meets up with his long-lost twin brother, Dru (also voiced by Carell). Together, they take on a diamond thief (Trey Parker). DM3 received an A- CinemaScore, compared to an A for the first two.

Edgar Wright’s Baby Driver, which opened Wednesday, is also going to be a holiday winner. Motoring to a strong $9 million from 3,226 theaters in its first two days, the critically acclaimed movie grossed another $6 million Friday for a projected $27.8 million five-day debut in a big win for Sony/TriStar, Media Rights Capital and Working Title.

Baby Driver, hoping to serve as counterprogramming to popcorn fare, stars Ansel Elgort, Jon Hamm, Kevin Spacey and Jamie Foxx as a group of bank robbers. The film received an A- CinemaScore.

Despicable Me 3 and Baby Driver will help fuel a major rebound from last year’s July Fourth corridor, when The Legend of Tarzan and The BFG both fell flat.

The holiday forecast, however, does show thunderstorms drenching this weekend’s third new nationwide release, New Line and Village Roadshow’s comedy The House. The R-rated comedy, starring Will Ferrell and Amy Poehler, opened to $3.4 million Friday from 3,134 cinemas and isn’t likely to clear much more than $10 million for the weekend, one of the worst openings of Ferrell’s career in a lead role.

The House, about a couple who try to earn money to pay for their daughter’s college by opening an underground gambling establishment, wasn’t screened in advance for critics and is looking at a sixth-place finish

The comedy is getting beat by several holdovers, led by fellow Warner Bros. blockbuster Wonder Woman, now in its fifth weekend. The superhero film earned $4.4 million Friday from 3,404 theaters to place No. 3, finishing the day with a domestic total to $335 million.

Paramount’s troubled Transformers: The Last Knight is slipping to No. 4 in its second weekend. The movie is projected to gross roughly $16 million from 4,132 theaters, a 65 percent drop. It will should hit $100 million domestically on Sunday, but that isn’t number great considering the movie’s net budget of $217 million.

Pixar and Disney’s Cars 3, which is doing less business than the previous installments, is falling off more steeply than many animated tentpoles. Now in its third weekend, the family film, facing competition from Despicable Me 3, is projected to gross $10 million, a 58 percent decline. The movie’s domestic cume through Sunday is estimated to be $121 million.

the mummy Weekend Box Office: The Mummy Entombed With $32M U.S. Debut

Courtesy of Universal Pictures
‘The Mummy’

The Tom Cruise-led ‘Mummy’ reboot fared far better overseas, opening to nearly $142 million internationally; ‘Wonder Woman’ easily stays No. 1 in North America after falling a scant 45 percent in its second weekend.

One of Hollywood’s most iconic monsters was no match for an Amazonian princess-turned-superhero at the North America box office over the weekend.

Universal’s The Mummy, starring Tom Cruise, opened to a withering $32.2 million domestically from 4,035 theaters, a dismal start for summer event film that launches Universal’s new Dark Universe of interconnected monster movies. The movie fared far better overseas with a winning $141.8 million from 63 markets, Cruise’s best international opening.

In the U.S., The Mummy was relegated to second place behind Warner Bros.’ box-office sensation Wonder Woman, which fell a scant 45 percent in its second weekend to $57.2 million from 4,165 theaters. That’s one of the lowest drops ever for a superhero tentpole. Generally speaking, a superhero film can fall 60 percent.

Wonder Woman, directed by Patty Jenkins, jumped the $200 million mark domestically on Sunday, its tenth day in release. Overseas, it took in another $58.1 million for a foreign tally of $230 million and $435 million globally. The movie is a much-needed win for Warner Bros.’s DC Extended Universe of superhero titles.

Conversely, The Mummy, costing $125 million to make after rebates, is a rough start for Universal’s monsters-themed Dark Universe..

Plagued by withering reviews and a B- CinemaScore from audiences, The Mummy opened behind any of the openings for the Mummy films starring Brendan Fraser, as well as for spin-off The Scorpion King. Unlike those movies, the reboot decided to fashion itself as an action pic set in modern times.

Universal executives said on Sunday that each Dark Universal title will be its own entity. Up next is Bill Condon’s Bride of Frankenstein. They also said The Mummy‘s global launch was impressive overall.

“Kudos to the filmmakers. I myself have seen the movie five times. And kudos to the cast, especially Tom Cruise,” said Universal domestic distribution president Nick Carpou. “Unfortunately in the U.S., the critical acclaim wasn’t there to the degree that people use that as a guidepost.”

The Mummy‘s ultimate financial standing will largely depend on its foreign showing. Universal notes that the movie’s global debut of $174 million is also a best for the actor. All told, it opened No. 1 in 46 markets. China led with $52.2 million. The Middle Kingdom was one of 46 markets where The Mummy marked Cruise’s top showing to date.

Directed by Alex Kurtzman, the story follows an ancient princess (Sofia Boutella) who is awakened from her crypt beneath the desert, threatening mankind. Cruise plays the man who discovers the tomb of Ahmanet and unleashes her powers. The film cost $125 million to make after tax rebates. Russell Crowe and Annabella Wallis also star.

Captain Underpants, Pirates of the Caribbean: Dead Men Tell No Tales and Guardians of the Galaxy Vol. 2 rounded out the top five.

In its second weekend, DreamWorks Animation’s Captain Underpants slipped 48 percent to $12.3 million for a domestic total of $44.6 million.

Pirates 5 jumped the $600 million mark globally earning $10.7 million domestically and $38.4 million overseas. The movie has earned far more internationally, or $464.4 million. Fellow Disney release Guardians of the Galaxy Vol. 2 rounded out the top five with $6.2 million domestically for a worldwide tally of $833.2 million.

Two other movies from a pair of indie distributors also opened nationwide this weekend: A24’s apocalyptic horror film It Comes at Night and Bleecker Street’s drama Megan Leavey, starring Kate Mara as a young Marine fighting in Iraq with her bomb-sniffing combat dog.

It Comes at Night, opening in 2,500 theaters and coming in No. 6, grossed a solid $6 million from 2,253 theaters despite a D CinemaScore. Directed by Trey Edward Shults (Krisha), the $5 million film stars Joel Edgerton as a man trying to protect his family from an unnatural threat, only to find his plan go awry upon the arrival of another desperate family.

Meagan Leavey, nabbing an A CinemaScore, debuted to $3.8 million from 1,956 cinemas, ahead of expectations.

Additionally, Fox Searchlight’s release of My Cousin Rachel starring Rachel Weisz, delivered an estimated $954k from 523 theaters, a meager $1,824 per theater average.

In limited release, Roadside’s release of Beatriz at Dinner delivered an estimated $150,160 from five theaters for a strong, $30,032 per theater average. Oscilloscope’s Night School debuted at the IFC Center in New York and brought in an estimated $1,600 after playing to several sold out shows over the weekend in the 40 seat auditorium. Freestyle’s release of Miles debuted in two theaters and brought in an estimated $5,176 ($1,676 PTA) while The Orchard’s The Hero debuted with an estimated $48,414 from four screens for a $12,104 average.

Next weekend sees four new wide releases hitting theaters, three of which will be playing in over 3,000 locations. Among them, Disney and Pixar’s Cars 3 is looking to debut in over 3,900 theaters, Entertainment Studios will release 47 Meters Down in ~3,500 theaters and Sony will release the R-rated comedy Rough Night in over 3,000 theaters. Lionsgate’s release of Summit’s All Eyez on Me, telling the story of rapper 2Pac, will also be hitting theaters, debuting in ~2,400 locations.

wonder woman Box Office: Wonder Woman Opens to Historic $100.5M

Clay Enos/Warner Bros.
‘Wonder Woman’

The tentpole lands the top domestic opening of all time for a female director, and launches the first major studio film franchise featuring a female superhero; overseas, ‘Wonder Woman’ takes in $122.5 million for a $223 million global bow.

In a defining moment for Hollywood’s gender problem, Patty Jenkins’ Wonder Woman grossed a winning  $100.5 million from 4,165 theaters in its domestic box office debut, the biggest opening of all time for a female director.

And overseas, Wonder Woman also won the weekend with $122.5 million from 55 markets for a global bow of $223 million, including a No. 1 debut in China with $38 million.

Hollywood studios are notoriously loath to hire female directors, not to mention for a big-budget tentpole featuring a marquee superhero. Wonder Woman‘s performance could put even more pressure on film companies to make women filmmakers more job offers.

The $150 milllion Warner Bros. movie, starring Gal Gadot, also launches the first film franchise featuring a female superhero after both Catwoman and Elektra flopped in the mid-2000’s. Wonder Woman — which has been in development since 1996 — skewed female (52 percent), almost unheard for a superhero title, which usually draws an audience that is 60 percent male.

“Patty’s vision mesmerized the audience. She is a real talent,” said Warners domestic distribution president Jeff Goldstein. “Clearly, this is a movie that is resonating with moviegoers around the globe,”

Wonder Woman becomes the 16th superhero film to cross $100 million in its domestic box-office launch, a list that is topped by the likes of Marvel’s The Avengers ($207 million), Avengers: Age of Ultron ($191.3 million), Captain America: Civil War ($179.1 million), Iron Man 3 ($174 million) and Batman vs. Superman: Dawn of Justice ($166 million). Wonder Woman beat out the openings of the first two Thor and Captain America movies, as well as the first Iron Man.

The previous record-holder for top opening for a female director was Sam Taylor-Johnson’s Fifty Shades of Grey, not adjusting for inflation. That film debuted to $93 million over the four-day Valentine’s Day/Presidents Day weekend in 2015, including a three-day haul of $85 million.

Earning rapturous reviews and an A CinemaScore from audiences, Wonder Woman is a much-needed critical win for Warners and DC Entertainment, whose Man of Steel (2013) and Batman v. Superman: Dawn of Justice (2016) were largely snubbed.

Wonder Woman also restores the luster to the early summer box office after the worst Memorial Day weekend in 18 years. Overall weekend revenue was up 33 percent over the same frame last year.

Jenkins’ movie opens as World War I pilot Steve Trevor (Chris Pine) and his plane crash on Themyscira, the island of the Amazons, where the Princess Diana (Gadot) has been trained by her aunt, the great warrior Antiope (Robin Wright). Soon, Diana leaves the island to try and stop the war, marking the beginning of her transformation into Wonder Woman.

Internationally, Wonder Woman came in ahead of fellow Warners superhero film Man of Steel in many markets, including China. According to Warners, it is also pacing ahead of both Guardians of the Galaxy movies, the first two Iron Man films and the first two Captain America titles.

Wonder Woman snagged the fourth-best Warners opening in both China and Mexico ($8.4 million). It raked in $8.5 million in South Korea and $8.3 million in Brazil. In Europe, the movie debuted to $7.5 million in the U.K., although it lost in Russia and Italy to Pirates of the Caribbean: Dead Men Tell No Tales. Wonder Woman has yet to open in several major markets, including France and Germany.

Imax theaters accounted for $18.3 million globally — the third biggest launch for a DC Comics film — including $9 million domestically.

The weekend’s other new offering, DreamWorks Animation’s Captain Underpants: The First Epic Movie, placed No. 2 behind Wonder Woman with an estimated $23.5 million from 3,434 theaters after costing a modest $38 million to produce.

Based on the popular book series, Captain Underpants tells the tale of two fourth-grade troublemakers (voiced by Kevin Hart and Thomas Middleditch) who hypnotize their mean principal (Ed Helms) into thinking he’s Captain Underpants, a hero from a comic book. The movie’s characters also include Professor Pippy P. Poopypants (Nick Kroll) and a school snitch named Melvin Sneedly (Jordan Peele).

Captain Underpants is the final DWA title that Fox will distribute before Universal takes over all marketing and distribution duties for DWA movies. (NBCUniversal bought DWA last year.)

Among holdovers, Disney’s Pirates of the Caribbean: Dead Men Tell No Tales tumbled 66 percent in its second weekend domestically — the biggest drop of any film in the franchise — to $21.6 million for a domestic total of $114.6 million. But overseas, Pirates 5 continues to find plenty of treasure, earning another $73.8 million and jumping the $500 million mark globally. In addition to Russia, it prevailed over Wonder Woman in Spain and in a number of smaller markets. And in China, the movie’s total has climbed to a mighty $143 million.

Dead Men Tell No Tales placed No. 3 domestically, followed by fellow Disney release, Guardians of the Galaxy Vol. 2, with roughly $9.7 million for a global tally of $816.6 million.

Paramount and Skydance’s Baywatch, which bombed in its U.S. debut last weekend, rounded out the top five with $8.5 million for a domestic total of $41.7 million. The R-rated movie fell nearly 55 percent. Overseas, Baywatch opened to $23.8 million from 31 markets, including a pleasing $5.8 million in the U.K., not all that far behind Wonder Woman.

box office 1 Box Office: Pirates 5 Sails for $77M U.S. Bow; Baywatch Belly Flops

Left, courtesy of Walt Disney Studios Motion Pictures; Right, courtesy of Paramount Pictures
‘Pirates of the Caribbean 5,’ ‘Baywatch’

Overseas, ‘Pirates of the Caribbean: Dead Men Tell No Tales’ found plenty of treasure with a huge $208 million debut for an estimated global launch of $285 million-plus; ‘Baywatch’ marks a rare miss for Dwayne Johnson.

The waters are choppy at the Memorial Day box office.

Disney’s Pirates of the Caribbean: Dead Men Tell No Tales is easily winning the four-day holiday regatta with an estimated $76.6 million from 4,276 theaters, while Baywatch is belly flopping with a projected $22 million in a rare miss for Dwayne Johnson, who stars alongside Zac Efron in Paramount’s R-rated adaptation of the classic TV show.

Pirates 5, returning Johnny Depp in the lead role as the zany Captain Jack Sparrow, is being billed as the final chapter in the storied franchise and is pacing behind the last three installments in the U.S. In terms of Memorial Day openings, it ranks No. 11, not adjusting for inflation. Pirates of the Caribbean 3: At World’s End (2007) remains the holiday record-holder with $139.8 million, while Pirates of the Caribbean 4: On Stranger Tides opened to $90.2 million over the May 20-22 weekend in 2011, a non-holiday.

Final Friday-Monday estimates for all films will be updated tomorrow.

Franchise fatigue among U.S. consumers is a huge concern for Hollywood, and Disney is counting on Pirates 5 doing huge business overseas to make up for any deficit closer to home. The movie, costing north of $200 million to make before a major marketing spend, is already finding plenty of treasure overseas with an  international opening of $208.4 million for an estimated global launch of $285 million through Monday, if not north of $300 million.

China — where the movie’s world premiere was held — leads with $67.8 million, more than the entire runs of the last two films in the franchise, based on the storied Disney theme park attraction. Imax theaters turned in $24 million globally, including $9 million in China.

“We’re making movies for a global audience. This is one of the most prolific franchises in history, and will cross $4 billion in combined box-office revenue today. That is extraordinary by any measure,” said Disney distribution chief Dave Hollis, whose studio is also celebrating crossing $1 billion in 2017 domestic ticket sales, the first studio to do so this year. Hollis added that Pirates 5‘s domestic opening will come in about 15 percent behind Pirates 4, a respectable drop.

Joachim Ronning and Espen Sandberg, who helmed the breakout international darling Kon-Tiki, directed Pirates 5. Starring alongside Depp are Javier Bardem, Brenton Thwaites, Kaya Scodelario, Kevin R. McNally, Golshifteh Farahani, David Wenham, Stephen Graham, Orlando Bloom and Geoffrey Rush.

The franchise has never been a favorite of critics, outside of the first film, with Dead Men Tell No Tales currently sporting a 32 percent fresh rating on Rotten Tomatoes, roughly on par with the last installment, 2011’s Pirates of the Caribbean: On Stranger Tides. Moviegoers liked it far more, giving the film an A- CinemaScore.

Baywatch, directed by Seth Gordon, fared even worse among reviewers, with an 18 percent rating on Rotten Tomatoes.

Paramount and Skydance decided to get a jump on the holiday weekend and launch Baywatch on Thursday. The movie is looking at a five-day debut of just $26.6 million from 3,647 theaters. Adding insult to injury, Disney and Marvel’s Guardians of the Galaxy Vol. 2 is expected to beat Baywatch for the four-day weekend with $26 million, compared to Baywatch‘s estimated $22 million.

Heading into the holiday, pre-release tracking had suggested the comedy would clear $42 million or more for the five days, although some services lowered their estimates to $37 million late last week. Audiences bestowed Baywatch with a B+ CinemaScore. The movie skewed slightly female (52 percent) on Thursday, while 45 percent of ticket buyers were under the age of 25.

“I think reviews did hurt the film, which scored great in test screenings. Maybe it is a brand that relied on a positive critical reaction more than we recognized. But we do feel bullish about the international marketplace, where Baywatch opened this weekend in Taiwan to great numbers and well ahead of 22 Jump Street and Central Intelligence,” Paramount marketing and domestic distribution president Megan Colligan said.

Baywatch opens in earnest overseas next week.

There is certainly precedent for programming Memorial Day with R-rated comedies; The Hangover Part II debuted to $103.4 million over the holiday in 2011, followed by $50.3 million for The Hangover Part III in 2013 and $36 million for Sex and the City 2 in 2010.

Baywatch, costing under than $70 million to produce before marketing, also stars Priyanka Chopra, Alexandra Daddario, Jon Bass, Kelly Rohrbach and Ilfenesh Hadera. It doesn’t debut overseas until June 2.

Last summer, PG-13 action comedy Central Intelligence, starring Johnson alongside Kevin Hart, opened to $35 million over the June 17-19 weekend. And in late May 2015, Johnson’s San Andreas posted a three-day debut of $54.6 million.

Elsewhere, Fox and Ridley Scott’s Alien: Covenant is falling to No. 4 in its second outing with an estimated four day gross of $13.1 million for a domestic total of $60 million.

The weekend wasn’t a complete wash out for Johnson as The Fate of the Furious became only the sixth movie in history to cross $1 billion at the international box office, fueled by a record-breaking $387.4 million in China. Globally, the Universal release has earned $1.22 billion globally.

Fate of the Furious wasn’t the only milestone. Disney’s Beauty and the Beast crossed $500 million domestically, while Disney and Marvel’s Guardians 2 has now eclipsed the first film with a global total of $783 million. Guardians of the Galaxy grossed $733.3 million.

box office Box office preview: Alien: Covenant to hatch atop weekend chart

 ‘Guardians of the Galaxy Vol. 2’ could be dethroned over the May 19-21 frame

Alien: Covenant is poised to launch a Facehugger attack squarely at Guardians of the Galaxy this weekend.

The Ridley Scott-directed Prometheus sequel guns for the peak position on the domestic chart as the superhero sequel enters its third weekend in wide release, while a pair of modestly-budgeted newcomers — Warner Bros.’ literary adaptation Everything, Everything and Fox’s Diary of a Wimpy Kid: The Long Haul— are expected to perform well against what’s shaping up to be a pack of steady holdovers.

Check out May 19-21 weekend box office predictions below.

1 – Alien: Covenant – $43 million

While Scott’s Alien franchise lacks in consistency (it has dabbled in everything from the mindless carnage of the Alien vs. Predator days to the high brow philosophical musings of 2012’s Prometheus), its seemingly bottomless lows (Alien 3, anyone?) are typically outweighed by its soaring highs, and Covenant — a continuation of Prometheus in a planned prequel trilogy leading up to the events in the 1979 original — is shooting for the moon (and beyond) at the weekend box office.

With a budget of $97 million, someone obviously had stellar hopes for the flick, which bows at 3,757 sites (including IMAX) this Friday. While Fox is hoping for a debut in the $40-45 million range, there’s reason to believe the film could push higher — especially given the film has pulled in stronger reviews than the aforementioned Alien Vs. Predator, which overcame negative critical reception to post $38 million over its first three days in 2004. Prometheus was also able to rope in $51 million worth of ticket buyers without the Alien moniker, and Covenant is being touted as a return-to-form for Scott’s space-centric sci-fi series, which should pull in both the curious and the nostalgic.

Still, as 2017 has shown us so far, aging franchises aren’t exactly the safest bets at the box office. Power Rangers quickly tumbled from a solid $40.3 million start in March and Kate Beckinsale’s Underworld series hit a new low in January, as did the Milla Jovovich-led Resident Evil collection later that same month (though the latter has gone on to make a stunning $312 million worldwide). That’s not to say any of those films’ trajectories are on-par with the time-tested legacy Scott and Sigourney Weaver introduced almost 40 years ago, just that mainstream audiences can quickly tire — sometimes for no detectable reason — of that which they’re familiar.

There’s little reason to believe Covenant is headed for a crash-landing, however, as social media activity is healthy for the film, as is the playing field upon which it enters this weekend — Guardians of the Galaxy is prepping for its third go-round with moviegoers and both fellow newcomers are aimed at entirely different demographics, so expect Covenant to gobble up $40-50 million (or more).

2 – Guardians of the Galaxy Vol. 2 – $36 million

It’s time for round No. 3 for Guardians of the Galaxy‘s second Hollywood installment, following its massive $146.5 million opening earlier this month. The film has thus far raked in $646.9 million worldwide, and that total will climb even higher after this weekend when the film enters steady territory (most tentpole comic book films tend to tumble hard from week one to week two, and level out from week three onward). Guardians of the Galaxy should pull in an additional $30-40 million through Sunday.

3 – Everything, Everything – $11 million

As Warner Bros. reels from the disappointing figures posted by the expensive action epic King Arthur, the studio will likely see a few rays of sunshine this weekend when its Nicola Yoon adaptation Everything, Everything opens at roughly 2,800 sites this Friday (with Thursday pre-shows). Warner produced the film alongside MGM on a reported $10 million budget — a number the film should clear over its first three days, given the performance of comparable titles like 2016’s Me Before You, which earned $18.7 million last June. That number seems a bit high for Everything, Everything to clear, though its source material’s status as a similarly popular best-seller — particularly among teens — should push it past the $11 million mark at the close of the week.

4 – Snatched – $10 million

After rising $2 million above initial projections to a healthy $19.5 million premiere thanks to a healthy Mother’s Day push last weekend, Snatched positioned Goldie Hawn back in the good graces of the movie-going public after a 15-year big screen absence. The film has continued to grow at a solid pace, with midweek numbers averaging between $1.2 and $1.9 million. Summer comedies typically hold on stronger than entries from other genres, with Schumer’s own Trainwreck coasting through the middle of 2015 to an impressive $110 million. While Snatched won’t reach that number, it should, given seasonal trends, dip around 40-50 percent (even in the wake of its middling B grade on CinemaScore) over its sophomore frame.

5 – Diary of a Wimpy Kid: The Long Haul – $9 million

Since 2010, three Diary of a Wimpy Kid titles have amassed decent ticket sales on domestic screens, with final totals landing between $49 and $64 million. The Long Haul — the fourth in a line of family-oriented movies based on the popular children’s books — takes a creative risk, though, as it replaces the cast that occupied the first three installments (Zachary Gordon, Steve Zahn, Rachael Harris) with series newcomers Jason Drucker, Alicia Silverstone, and Tom Everett Scott. Those who’ve flocked to see the previous Wimpy Kid films are less likely to care about cast and character than they are about the films’ wacky hijinks, which its theatrical trailer promises plenty of. As the aging series winds down, look for The Long Haul to post between $9 and $12 million this weekend.

Outside the top five, King Arthur: Legend of the Sword looks to pad its disastrous opening weekend (the film cost $175 million to make, earning just $15.4 million on North American screens) throughout week No. 2, though it’s likely to fall hard (a fall in the 50-60 percent range isn’t out of the question) as Covenant swoops in to steal a large chunk of its audience.

Elsewhere, on the specialty front Bryan Cranston leads Wakefield — which traveled the 2016 fall festival circuit to positive reviews — to a single location alongside Jennifer Garner and Beverly D’Angelo in the days ahead, where it should post a decent number given the film’s buzzy premise (a man abandons his family home only to spy on his loved ones in the aftermath) and glowing critical reception.

Guardians of the Galaxy Vol 2 Box Office Preview: Guardians of the Galaxy Vol. 2 to come out on top

 The only new wide release opening this weekend is The Guardians of the Galaxy Vol 2., the first of three Marvel films on the 2017 release calendar. Given fan’s building excitement, and the fact that its nearest competition is The Fate of the Furious, which has been speeding into the top spot the past three weeks, Star-Lord (Peter Quill), Gamora, and the gang should handily land at No. 1 this week.

But here’s how the rest of the Top 10 could play out over the May 5-7 period:

1. The Guardians of the Galaxy Vol. 2 – $150 million+ 

Having already earned more than $160 million overseas, and with the film opening in 4300+ locations in North America, the Guardians of the Galaxy sequel is positioned to do quite well, if not cross the $150 million mark — especially given how much better it’s been doing compared to its predecessor in international markets. Though, that may have a lot to do with the fact that not as many movie-goers were familiar with the ragtag gang when they first made their way to theaters in 2014. But seeing how well the previous film performed ($773 million worldwide, adjusted for inflation), not to mention how recent Marvel sequels Avengers: Age of Ultron and Captain America: Civil War performed in their opening weekends ($191 million, and $179 million, respectively), GoTG V2 should pull in just as impressive figures.

The second film is set three months after the first one and sees Star-Lord finally meet his father, Ego (Kurt Russell), while on the run from the Sovereign, an alien race angered by one of the Guardians’ actions. James Gunn once again serves as director, with Chris Pratt, Zoe Saldana, Bradley Cooper, Vin Diesel, Dave Bautista, and Karen Gillan reprising their roles as Peter Quill, Gamora, Rocket Raccoon, Baby Groot, Drax, and Nebula, respectively.

 2. The Fate of the Furious – $9.5 million

Having crossed the $1 billion mark worldwide and going into its fourth week, F8 is set to slow down, placing No. 2 at the box office this weekend. But while the film’s popularity (it received an A CinemaScore) has given it some legs, its performance has repeatedly mirrored not its direct predecessor Furious 7, but Fast & Furious 6, which means this week’s haul will drop by at least 45 percent, bringing this week’s earnings into the single digits.

3. How to be a Latin Lover – $8.4 million

After pulling in $12 million from 1,118 locations last weekend, the Panthelion — a Lionsgate and Televisa joint venture — romantic comedy will be widening its release by 85 more locations. The movie, which stars Salma Hayek, Eugenio Derbez, Rob Lowe, Raquel Welch, and Kristin Bell, proved to be a sleeper hit, like Derbez’ last film Instructions Not Included, which earned $99 million worldwide at the end of its run. Based on that, expect Latin Lover to see a more steady 30 percent drop in domestic box office sales, for an earning of $8.4 million.

4. The Boss Baby – $6.7 million

Just six weeks old, this animated feature still has long legs as it continually proves to be a family favorite (bringing in an A- on CinemaScore). Expect another 25 percent dip as it moves beyond the $150 million mark in the domestic box office.

5. The Circle – $5 million

After getting largely negative reviews from both critics and the audience (a D+ on CinemaScore), the STX Entertainment film should see a 50 percent drop in the domestic box office, despite starring Beauty and the Beast‘s Emma Watson, Star Wars‘ John Boyega, and Sully’s Tom Hanks, all of whom have proved to be big openers.

Elsewhere, Beauty and the Beast’s popularity continues to reign as the Disney live-action version of the 1991 animated classic nears $500 million at the domestic box office. In addition, last week’s big hit Baahubali 2: The Conclusion, will likely see a 60 percent drop off — much like predecessor Baahubali: The Beginning — from last week’s 420-location $10 million opening, for a $4 million haul this week.

In terms of specialty box office releases, The Weinstein Company’s 3 Generationsopens this weekend. The drama sees Elle Fanning play a transgender teen seeking his mother’s (Naomi Watts) permission to start taking hormone treatments so he can begin his transition. Susan Sarandon also stars in the now PG-13 rated film, which should bring in $300,000 in its first week.

furious 8 Box Office Milestone: Fate of the Furious Crosses $1B Globally

Courtesy of Universal Pictures.
‘The Fate of the Furious’

The eighth outing in the octane-laced action franchise becomes the 30th film to achieve the milestone, and the fourth title Universal title to do so in its original run.

Universal and director F. Gary Gay’s The Fate of the Furious has crossed the $1 billion mark at the global box office in yet another victory for the enduring series.

Fate of the Furious is in rarefied air, becoming the fourth title in the history of the 105-year-old studio to achieve the milestone in its original run after Jurassic World ($1.67 billion), Furious 7 ($1.52 billion) and Illumination’s Minions ($1.16 billion). Jurassic Park also crossed $1 billion in its re-release.

Through Sunday, the eighth outing in the Fast and Furious series has earned $192.7 million domestically and a massive $867.6 million overseas, where it has shattered numerous records (international grosses account for a whopping 82 percent of the bottom line). China leads with $361 million, the top showing of all time for an imported film (Furious 7 was the previous record-holder.)

Fate of the Furious once again stars Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Nathalie Emmanuel, Elsa Pataky and Kurt Russell. Newcomers include Charlize Theron, Helen Mirren and Scott Eastwood. The story follows a villainous superhacker (Theron) who turns Diesel’s character against his crew.

Earlier this month, the movie scored the biggest worldwide launch of all time with $542 million, eclipsing Star Wars: The Force Awakens ($529 million).

So far, Fate of the Furious is the 30th film to earn $1 billion or more globally, and the second movie of 2016 to achieve the milestone after Disney’s Beauty and the Beast, which has grossed north of $1.1 billion to date.

Fate of the Furious is also the highest-grossing film directed by an African-American director.