Weekend Box Office: BARBIE Reaches $1B Global; MEG 2: THE TRENCH Chomps Second Place, TMNT MUTANT MAYHEM Finishes Fourth

Barbie

Warner Bros.’ comedy declines -43% in its third frame with $53.0M, three-peating in first place.

All time, It’s now earned the:

• #20 opening weekend: $162.0M
• #7 sophomore weekend: $93.0M
• #11 third weekend: $53.0M

With $459.3M total through 17 days, it now stands as the #24 biggest movie of all time.

On the all time list, it ranks between 1977’s Star Wars with $460.9M (including subsequent theatrical re-releases) and 2015’s Avengers: Age of Ultron with $459.0M.

It also ranks #2 of the year so far, behind only April’s The Super Mario Bros. Movie: $574.1M.

However, Barbie is running +17% ahead of Mario through the equivalent 17-day point in release: $390.3M.

Overseas / global

When Margot Robbie originally pitched her vision of a subversive Barbie adaptation, she jokingly told studio executives that it would “make a billion dollars.” Well, it was no joke.

This weekend, Barbie surpassed the 10-digit mark with $572.1M overseas and $1.03B globally.

Globally, that’s already the #45 film of all time.

On the all time list, it ranks between 2017’s Despicable Me 3 with $1.03B and 2016’s Finding Dory with $1.02B.

It also ranks #2 of the year so far, behind only April’s The Super Mario Bros. Movie: $1.45B.

Barbie’s top overseas markets totals are:

1. U.K.: $87.9M
2. Mexico: $48.9M
3. Australia: $41.1M
4. Brazil: $39.5M
5. China: $31.7M
6. Germany: $33.7M
7. France: $29.1M
8. Italy: $27.9M
9. Spain: $26.0M
10. Argentina: $13.0M

This weekend, Barbie declined -41% overseas to $74.0M, slightly milder than its -43% domestic drop.

Meg 2: The Trench

Warner Bros.’ shark-themed thriller took a $30.0M bite out of the box office, opening in second place.

That’s -34% below the debut of 2018’s original The Meg: $45.4M, opening in first place.

Audience demographics

Also compared to the The Meg, the sequel’s audience was:

• 19% under 18, slightly younger than the original at 15%
• Rated the film a “B-” CinemaScore, lower than the original at “B+”
• Premium formats made up 40% of the film’s receipts, including 22% from 3D; equivalent stats for The Meg weren’t immediately available

The top five locations nationwide include several unusual ones which are basically never in these types of lists:

1. Regal Fresno Riverpark
2. AMC Empire NY
3. Regal Dania Pointe Ft. Lauderdale
4. Wellfleet Drive‐In Boston/Cape Cod
5. Regal Warren Moore Oklahoma City

Overseas / global

These kinds of films always earn the vast majority of their money from outside the U.S. and Trench was no exception, opening with $112.0M overseas and $142.0M globally.

That’s a hair (less than +1%) larger than the global opening for 2018’s The Meg: $141.3M. That film also opened in only 42 markets, versus 76 for Trench.

In particular, Trench’s $53.3M China opening is +6% above the original’s $50.3M.

Overseas comprised 79% of the film’s global opening. The original ultimately earned 73% from overseas.

Top overseas market totals are:

1. China: $53.3M
2. Mexico: $7.6M
3. U.K.: $5.1M
4. France: $4.5M
5. Spain: $3.4M
6. Germany: $3.4M
7. Italy: $2.6M
8. Indonesia: $2.3M
9. Malaysia: $2.2M
10. Australia: $2.1M

Oppenheimer

Universal’s historical war drama declines only -38% to $28.7M, slipping from second to third place in its third frame.

All time, It’s now consistently improved by earning the:

• Opening weekend outside the top 100: $82.4M
• #79 sophomore weekend: $46.7M
• #73 third weekend: $28.7M

With $228.5M total through 17 days, it now stands as the #172 biggest movie of all time domestically.

On the all time list, it ranks between 2013’s Star Trek Into Darkness with $228.7M and 2015’s The Martian with $228.4M.

It also stands as the #12 biggest R-rated movie of all time domestically, between 1973’s The Exorcist with $233.0M (including subsequent theatrical re-releases) and 2017’s Logan with $226.2M.

Depending on how it holds, Oppenheimer stands a shot at finishing among the top five R-rated film, with a small shot at #1. Currently, that mark has been held for 19 years by 2004’s The Passion of the Christ: $370.7M.

Here’s how Oppenheimer compares to the top five R-rated films ever, through the equivalent 17-day point in wide release:

1. -4% behind 2004’s The Passion of the Christ: $240.3M
2. -19% behind 2016’s Deadpool: $285.2M
3. -7% behind 2014’s American Sniper: $247.7M
4. -7% behind 2019’s Joker: $247.2M
5. -14% behind 2017’s It: $266.0M

Oppenheimer is also poised to become writer-director Christopher Nolan’s biggest (non-Batman) film.

It’s already exceeded the final totals for both 2014’s Interstellar with $188.0M and 2017’s Dunkirk $190.0M, and potentially closing in on 2010’s Inception with $292.5M.

Here’s how Oppenheimer compares to his other biggest films, through the equivalent 17-day point in wide release:

• +18% above 2010’s Inception: $193.3M
• +89% above 2014’s Interstellar: $120.9M / +21% ahead of its final total: $188.0M
• +71% above 2017’s Dunkirk: $133.0M / +20% ahead of its final total: $190.0M

Oppenheimer is also potentially closing in on another unusual record: highest-grossing film to never reach #1 at a weekend box office.

It already ranks #3 on that metric, behind only:

1. 2016’s Sing: $270.3M, peaking at #2 behind Rogue One: A Star Wars Story
2. 2002’s My Big Fat Greek Wedding: $241.4M, peaking at #2 below Signs, Barbershop, and Swimfan

Overseas / global

This weekend, Oppenheimer declined only -31% overseas, milder than its -38% domestic drop.

Oppenheimer has earned $324.3M overseas and $552.9M globally.

That beats Dunkirk globally with $530M, plus it may soon beat Interstellar with $648M, though matching Inception with $728M will prove harder.

IMAX comprises $144.2M, or 22% of the film’s global total.

Top overseas markets totals are:

1. U.K.: $50.3M
2. Germany: $28.2M
3. France: $24.1M
4. Australia: $18.1M
5. India: $16.1M
6. Mexico: $14.4M
7. Spain: $13.6M
8. Netherlands: $11.2M
9. Saudi Arabia: $10.1M
10. Brazil: $9.6M

Later this month, the film will debut in key markets including China, South Korea, and Italy.

Teenage Mutant Ninja Turtles: Mutant Mayhem

Paramount’s animated action comedy reboot opened in fourth place with $28.0M.

After a midweek Wednesday debut, Mayhem has earned $43.1M after five days. Here’s how that compares to other comparable titles, through the equivalent five-day point in release:

• +3% above 2016’s Teenage Mutant Ninja Turtles: Out of the Shadows – $41.7M
• +1% above 2018’s similar animation style Spider-Man: Into The Spider-Verse – $42.4M
• -46% below 2014’s hit Teenage Mutant Ninja Turtles: $79.8M

All three of the most recent Turtles films opened in first place.

Audience demographics

Here are a few of the Mayhem audience stats, compared to those for the last Teenage Mutant Ninja Turtles release, 2016’s Shadows:

• 60% male, more than Shadows with 54%
• 34% under 18, skewing older than Shadows with 40%
• Rated the film an “A” CinemaScore, higher than Shadows at “A-”

Premium screens comprised 16% of the box office, including 13% from 3D.

Over-indexing markets included L.A., Dallas, Houston, Phoenix, San Antonio, and Austin. Seattle and Toronto under-indexed.

Overseas / global

In 24 markets, representing only 30% of the overseas rollout, Mutant debuted with $8.5M overseas and $36.5M globally.

Top markets are U.K. with $5.0M and Germany with $1.0M.

Read Boxoffice PRO’s interview with Mutant Mayhem director Jeff Rowe here:

https://www.boxofficepro.com/raising-shell-director-jeff-rowe-brings-passion-and-nostalgia-to-teenage-mutant-ninja-turtles-mutant-mayhem/ 

Haunted Mansion

Last weekend, Disney’s family horror-comedy failed to spook with a $24.0M third place debut.

That was even lower than 2003’s original The Haunted Mansion with $24.2M, despite two decades of ticket price inflation.

Now in its sophomore frame, the new version drops a steep -63% to $9.0M and fifth place.

Compared to some other family horror-comedies of recent years, that drop is notably steeper than:

• 2015’s Goosebumps: -34%
• 2018’s Goosebumps 2: Haunted Halloween = -38%
• 2016’s Miss Peregrine’s Home for Peculiar Children: -48%
• 2018’s The House with a Clock in its Walls: -53%

Haunted Mansion has earned $42.0M total, through 10 days.

That’s +8% above 2003’s original The Haunted Mansion through the equivalent point in release: $38.9M. (Although keep in mind that’s after two decades of ticket price inflation.)

Through the equivalent 10-day point in release, it’s also running:

• -18% below 2016’s Miss Peregrine’s Home for Peculiar Children: $51.1M
• -6% below 2018’s The House with a Clock in its Walls: $44.8M
• -4% below 2015’s Goosebumps: $43.7M

Overseas / global

Mansion’s holdover markets fell -56% this weekend, a steep drop though still milder than its -63% domestic drop.

Mansion has earned $17.6M overseas and $59.6M globally.

It may fail to reach its 2003 predecessor’s $155.7M global total, although the reboot’s staggered overseas debut hasn’t yet begun in several key markets including U.K., Italy, Australia, and Japan.

Top overseas market totals are:

1. France: $3.8M
2. Mexico: $2.3M
3. Germany: $1.4M
4. Spain: $1.1M

Outside the top five

Angel Studios’ faith-based action drama Sound of Freedom takes sixth place with $7.0M in its fifth frame.

With $163.4M after 34 days, Sound is certainly the biggest box office surprise of 2023 so far, beating such expected summer blockbusters as The Flash and the new Mission: Impossible.

Indeed, it’s one of the biggest box office surprises of this entire era.

Paramount’s action-adventure sequel Mission: Impossible – Dead Reckoning Part One takes seventh place with $6.4M in its fifth frame. It’s earned $151.0M through 26 days.

Here’s how that compares through the equivalent point in release, including trailing both of its two Mission: Impossible predecessors:

• -17% below 2018’s Mission: Impossible — Fallout: $183.7M
• -5% below 2015’s Mission: Impossible — Rogue Nation: $160.0M
• +11% above 2021’s No Time to Die: $135.1M
• -15% below 2015’s Spectre: $177.7M
• -68% behind 2022’s Top Gun: Maverick: $480.7M

A24’s horror Talk to Me fell -40% to $6.2M and eighth place in its sophomore frame.

Among horror films, that’s one of the milder sophomore drops of the post-pandemic era. For A24’s horror films specifically, it’s milder than X (-49%) and Men (-64%), and just slightly steeper than Pearl (-39%). 

Disney’s adventure sequel Indiana Jones and the Dial of Destiny takes ninth place with $1.5M in its sixth frame. It’s earned $170.6M after 38 days.

Through the same point in release, it’s running -42% below 2008’s Indiana Jones and the Kingdom of the Crystal Skull: $298.4M.

Disney/Pixar’s animated Elemental takes 10th place with $1.2M in its eighth frame. It’s earned $148.2M through 52 days.

Though poised to finish among Pixar’s lowest-grossing theatrical releases ever, it’s exceeded the final totals of 2022’s Lightyear with $118.3M and 2015’s The Good Dinosaur with $123.0M, despite opening below both titles.

Weekend comparisons

Total box office this weekend came in around $174.0M.

Here’s how this weekend compares to last weekend, the same weekend last year, and the same weekend in the last pre-pandemic year of 2019:

YTD comparisons

Year-to-date box office stands around $6.03B.

Here’s how that compares to last year and the last pre-pandemic year of 2019, through the same point:

Top distributors

Grouped by parent company, the YTD leaders are:

1. Disney + 20th Century + Searchlight + Star: $1.59B
2. Universal + Focus Features: $1.38B
3. Warner Bros.: $761.6M
4. Sony Pictures + Sony Classics + Crunchyroll: $713.1M
5. Paramount: $611.5M

Sunday’s Studio Weekend Estimates: