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Box Office Week: The Girl on the Train takes #1 with an underwhelming $24.7 mil while Birth of a Nation failed to even match lowered expectations, opening at #6 with $7.1 mil. Finally Finding Dory finally managed to squeak passed $1 bil, becoming the third Disney film of the year to do so.

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RankTitleDomestic Gross (Weekend)Worldwide Gross (Cume)Week #
1The Girl on the Train$24,700,000$41,160,0001
2Miss Peregrine's Home for Peculiar Children$51,053,483$145,090,0672
3Deepwater Horizon$38,518,388$66,318,3882
4The Magnificent Seven (2016)$75,915,393$134,615,3933
5Storks$50,118,494$106,118,4943

Notable Box Office Stories:

  • The Girl on the Train was #1 with a good if disappointing $24.7 mil. The film clearly was trying to ape the success of Gone Girl but far missed the mark, coming in $13 mil less in opening. Now to be fair, Universal was expecting a slightly lower hit here as the budget was lower than Gone Girl ($45 mil compared to $61 mil) but similar release times and source materials suggest Universal was clearly looking for a similar hit. Coming out of the gate the film has earned $41 mil worldwide, but may struggle to approach $100 mil worldwide without an outsized foreign hit, especially since the film earned a B- on Cinemascore. Again to be fair, Gone Girl only got a slightly higher score of B but did have more critical acclaim and potential Oscar buzz at the time. One interesting thing to note is the audience breakdown, with 68% of the audience being female. The film will likely make enough to justify its budget but unless it's a strong VOD hit this isn't going to inspire many other similar Girl films.

  • A lot of the times it's total speculation as to why a film flopped, but with The Birth of a Nation it's pretty clear why it came in #6 with $7.1 mil despite opening on over 2,000 screens. Coming out of Sundance, the film felt like it declared the 10 month Oscar race was already over, especially with the record $17.5 mil sale of the film to Fox Searchlight which has distributed three Best Picture winners in the last 10 years. Then of course the controversy over Nate Parker's rape trial came to light. Now I won't go in to much detail here (it's pretty easy to google all this stuff) but suffice it to say that Parker's actions in that case and his response to questioning about them have been problematic at best and disgusting at worst. Now personally I don't think personal or planned boycotts have really tanked the film as much as Fox Searchlight choosing to pull tons of ads and visual coverage to avoid constantly being tied to Parker. Now a film like Birth of a Nation was never going to be a massive blockbuster in the best of circumstances, but one only needs to compare it to the most obvious parallel, 12 Years a Slave, to see where it could have gone. That film opened to $6.6 mil on half the screens as Nation and went on to make over $100 mil worldwide, due mostly to the buzz of a future Best Picture nom and eventual win. With campaigning being 85% of an Oscar race, the likelihood of Oscar noms for Birth of a Nation have dropped to almost zero, which is what will really kill the film. It seems audiences who did manage to hear about the film (and possibly missed the Parker stuff) love it, giving it an A on Cinemascore, so this film could have had the potential to earn the same if not more than 12 Years a Slave, but I don't see any future where either Parker is forgiven enough by the media or Searchlight finds a way to run the film without a lot of Parker involvement so I doubt this film will even come close to justifying that crazy Sundance pricetag.

  • Woof that was a lot of heavy stuff, so let's talk weird silly fluff aka Middle School: The Worst Years of My Life which came in #7 with $6.9 mil. Honestly it's hard to tell if Lionsgate is happy, sad, or uncaring about this haul as it seems sort of in a weird limbo. It's not exactly buried as a wide release with some marketing, but it also wasn't screened for critics or necessarily given the push an adaptation of a popular kids book might. With a budget of only $11 mil the film isn't exactly a huge risk. The film received a great A- score on Cinemascore so it could be Lionsgate is kicking themselves for not pushing hard for an apparently crowd pleasing movie, or they could be fine with just scrapping up enough in box office and VOD to justify the a weird film in a weird time.

  • It took a very long time but Finding Dory finally surpassed $1 bil in worldwide gross. Despite being the highest grossing animated film of all time domestically, the film just couldn't seem to break out overseas the way similar $1 bil films like Zootopia and Minions. Still with a final push in Germany the film just barely inched over the line, making it the third film of the year (and also the third Disney film) to pass $1 bil this year. It will be interesting to see Moana and late entry Rogue One will enter that same territory, but even if they don't this is an impressive feat.

Films Reddit Wants to Follow

This is a segment where we keep a weekly tally of currently showing films that aren't in the Top 5 that fellow redditors want updates on. If you'd like me to add a film to this chart, make a comment in this thread.

TitleDomestic Gross (Cume)Worldwide Gross (Cume)BudgetWeek #
Captain America: Civil War$408,084,349$1,153,239,594$250 mil23
Finding Dory$484,780,568$1,001,480,568$200 mil17
Ghostbusters (2016)$127,783,755$228,522,619$144 mil13
Star Trek Beyond$158,656,005$337,894,366$185 mil11
Suicide Squad$322,533,924$742,133,924$175 mil10
Hell or High Water$26,229,442$29,149,442$12 mil8
Kubo and the Two Strings$47,108,048$63,108,048$60 mil8

Notable Film Closings

TitleDomestic Gross (Cume)Worldwide Gross (Cume)Budget
Ben-Hur (2016)$26,410,477$89,710,477$100 mil
Cafe Society$11,103,205$21,652,600$30 mil
Nerve$38,583,626$77,764,208$20 mil
Morgan$3,915,251$8,348,606$8 mil
The Shallows$55,124,043$118,254,306$17 mil

As always /r/boxoffice is a great place to share links and other conversations about box office news.

Also you can see the archive of all Box Office Week posts at /r/moviesboxoffice.

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