Weekend Box Office: Dark Tower Isn’t Tall, Kidnap and Detroit Modest

The Dark Tower may have climbed to the top of the box office, but it's not quite where it needs to be.


Sony’s The Dark Tower led the weekend, but that couldn’t save it from being the lowest-grossing frame at the North American box office since April.

Battling its way to the top, Nikolaj Arcel’s The Dark Tower opened with $19.15 million from 3,451 venues, a soft showing for the anticipated book adaptation. More disappointing is that The Dark Tower was meant to spawn a franchise – the film’s co-financier, MRC, has been developing a television show. It isn’t known how The Dark Tower’s opening may affect these plans, but moviegoers exiting the movie were surveyed on their interest in a show. On a positive note, The Dark Tower notched the second-highest opening for a Stephen King adaptation, behind 2007’s 1408 ($20.6m), and it wasn’t an expensive tentpole ($60m production cost). The Dark Tower’s opening is comparable to this April’s Ghost in the Shell ($18.7m), which totalled $40.56m domestically. Despite lukewarm-negative reception for The Dark Tower (18% score on Rotten Tomatoes; 6.0/10 score on IMDb), it should play better than Ghost in the Shell as it won’t be facing immense competition in August.

The Dark Tower

Internationally, The Dark Tower slung $8 million from 19 markets, 11 of which it was #1. The only major market was Russia, where it grossed $4.1m. Global cume for The Dark Tower stands at $27.15m as it continues its international rollout.

In second place, Christopher Nolan’s Dunkirk grossed $17.14 million in its third weekend, a small drop of -35.6%. Dunkirk has totalled $133.1m stateside, and it has a real shot at hitting $200m. Internationally, the World War II drama gathered $25.5 million from 63 markets. Top five international markets for Dunkirk are the U.K. ($49.8m), South Korea ($20.1m), Australia ($13m), France ($12.7m), and Spain ($6.7m). Major markets including China and Japan are on the horizon. Dunkirk’s international and global grosses total $181.1m and $314.2m, respectively.

Dunkirk movie

Coming in third, Sony’s The Emoji Movie added $12 million, a -51.1% drop from its debut weekend. This is a worse second-weekend drop than this April’s similarly panned Smurfs: The Lost Village (-49.2%), though The Emoji Movie has already outgrossed Smurfs ($49.1m vs. $45m). The Emoji Movie is looking at a final domestic gross around $70m, which isn’t a disaster (it cost $50m to produce). Overseas, The Emoji Movie smiled up $12 million from 21 markets. Top markets for Emoji Movie are the U.K. ($3.5m), Mexico ($2.8m), and Germany ($1.2m), with many territories still to come. International and global totals for Emoji Movie stand at $12.7m and $61.8m.

In fourth, Universal’s Girls Trip revved another $11.4 million, -42% from its last session. The well-received comedy from Malcolm D. Lee has grossed $85.4m stateside as it chugs along to $100m. Girls Trip is also just ahead of Bridesmaids (+0.3%) at the same point in release. Internationally, Girls Trip added $1.7 million from 3 markets – it opened in South Africa ($192k) and Trinidad ($125k), and its U.K. haul rose to $5m. Girls Trip has totalled $5.4m overseas and $90.9m globally.

The weekend’s second wide release opened in fifth – Aviron’s Kidnap, starring Halle Berry, opened to $10 million from 2,378 locations. Kidnap opened well, considering it is a film that has shuffled release dates for two years. Reported production cost for Kidnap is $20m, but it’s doubtful Aviron spent much to pick it up from Relativity. Kidnap’s reception is mixed (40% score on Rotten Tomatoes; 6.0/10 score on IMDb), but a domestic haul over $25m is in the cards. Internationally, Kidnap has grossed $156.5k from two markets (Thailand, and Turkey). Global cume stands at $10.16m.

Down in eighth place, Kathryn Bigelow’s Detroit expanded with $7.13 million from 3,007 venues. Including its run in limited release, Detroit has grossed $7.64m domestically. While the John Boyega/Anthony Mackie/Will Poulter film will have legs, its opening is underwhelming. Detroit is a victim of a competitive landscape and sensitive subject matter – while that makes it worthy viewing (especially considering its acclaim), it’s hard to draw audiences to the theatre when the “escapism” factor is lost. If Detroit posts a similar multiple to Ava DuVernay’s Selma, it will gross $33m in North America. With a $35m production cost, Detroit will have to hope it catches on in the post-theatrical market to turn a profit. There are no overseas numbers to report for Detroit.



Spider-Man: Homecoming

6. Spider-Man: Homecoming (Sony) – $8.85 million (-33.3%), $294.95m cume
7. Atomic Blonde (Focus) – $8.16 million (-55.4%), $34m cume
9. War for the Planet of the Apes (Fox) – $6.17 million (-41.1%), $130.45m cume
10. Despicable Me 3 (Universal) – $5.43 million (-28.5%), $240.92m cume