As with any weekend that sees three new wide releases (and one nationwide expansion), things got a little interesting. The 4-day frame totaled $196.74m, +6% ahead of 2017’s $185.08m MLK weekend. Let’s get into the nitty-gritty.
Taking first yet again, Sony’s Jumanji: Welcome to the Jungle posted $28.13 million in its fourth weekend, a light -24.5% decline. The Jake Kasdan-directed sequel took in $35.43m over the 4-day frame for a $291.56m haul. Not to beat a dead horse, but Jumanji’s performance has been fantastic – it’s on pace to become Sony’s highest-grossing film not featuring Spider-Man or James Bond, a major victory for a studio who’s had pressure to put out homegrown franchises.
How high will Jumanji go? Thus far, the flick’s pacing +34.7% ahead of 2006’s Night at the Museum at the same point of release and has been continuously beating its holds. Night at the Museum earned 24.1% of its final gross post-MLK weekend, the same of which gives Jumanji a massive $360m+. Conversely, Jumanji earns $340m-ish should it maintain its current pace with Museum. Either way, it’s a smash.
Internationally, Jumanji: Welcome to the Jungle added $81 million from 87 markets for a $383m haul. Global cume is a mighty $674.56m (did I mention this cost a super reasonable $90m to produce?). China gave $40m to the cause, a debut that points to around $90m in the territory, given the crowded marketplace. Aside from China, Jumanji’s top markets are the U.K. ($40.4m), Australia ($27.8m), Russia ($23.1m), France ($21.9m), and Brazil ($13.6m).
Jumping to second, Fox’s The Post expanded to 2,819 theatres (+2,783) and received $19.3 million for its trouble. Four-day estimate is $23.4m for a $27.89m cume. The Post’s 3-day wide debut is +20.4% ahead of 2015’s Spielberg joint Bridge of Spies ($15.37m) and similar holds will give it around $98m, with the potential to go higher should it catch some awards love. It’s a decent success for Steven Spielberg, Tom Hanks, Meryl Steep, and all involved. Production cost for the Pentagon Papers flick was $50m.
There are no international numbers to report for The Post.
Debuting in third (surprisingly), Lionsgate’s The Commuter grossed $13.7m from 2,892 hubs and totaled $16.38m over the 4-day frame. The Commuter’s 3-day opening is +19.7% ahead of Liam Neeson’s 2015 flop Run All Night ($11.01m debut). The Commuter’s reception has been largely meh and isn’t likely to carry it too far, but the actioner has its eyes on $40m+ if it doesn’t collapse next weekend. Lionsgate will have to hope for a decent foreign run, given the film’s $30m production budget, but this is far from a disaster.
Similar to The Post, there are no international numbers to report for The Commuter.
Keeping fourth for the fourth consecutive weekend, Fox’s The Greatest Showman refuses to quit, grabbing another $12.5 million (-9.2%) over the 3-day and $15.6m over the 4-day weekend. Domestic cume for the Hugh Jackman musical is $98.35m and will eclipse $100m this week. This is pretty incredible, considering the $84m-budgeted Showman shaped up to be a write-off following an underwhelming $8.81m opening weekend – thus far, Showman’s notched a stellar 11.17x multiple, a figure that’ll only grow higher over the coming weeks. There aren’t quite any precedents for a performance like this (in its genre, anyway), but The Greatest Showman should clear $125m+ by run’s end.
Internationally, The Greatest Showman grossed $15.2m from 71 markets for an overseas cume of $100.12m. Global is $198.47m. Top markets are the the U.K. ($18.2m), Australia ($12.6m), Mexico ($9.6m), South Korea ($9.1m), and Russia ($6.5m).
Falling to fifth, Universal/Blumhouse’s Insidious: The Last Key scared up $12.45 million in its sophomore frame, down -57.9% from its surprisingly good debut. Four-day total is $14.61m for a $50.85m cume. The Last Key’s decline isn’t too bad, as far as horror drops go, comparing favourably against 2015’s Insidious: Chapter 3 (-67.8%) and 2013’s Insidious: Chapter 2 (-65.7%). The fourth Insidious film is running +26.5% ahead of Chapter 3 at the same point in release and will outgross it ($52.22m) this week. Regarding its endgame, watch for The Last Key to tally around $65m (or higher, if it doesn’t completely tumble from here). A great start to the year for Universal, as The Last Key was made for cheap ($10m).
Overseas, Insidious: The Last Key added $17.7 million from 40 markets for a $44.2m cume. Global total is $95.05m. The Last Key has its eyes on eclipsing Chapter 2 ($78.33m) to snatch the series’ offshore crown. Top markets for the horror flick are Mexico ($6.4m), Indonesia ($5.2m, biggest horror opening ever), France ($3.4m), Germany ($3.3m), and the U.K. ($2.7m) with plenty more on deck.
Way down in seventh, Warner Bros. didn’t have a smashing entrance to 2018 with Paddington 2, which opened to an underwhelming $10.9 million over the 3-day weekend and $15m over the 4-day. Paddington 2’s debut marks a -42.6% decline from 2015’s Paddington ($18.97m), odd considering the universal praise the sequel’s received. There are a few possible reasons for this – Jumanji pulling away families, the Weinstein scandal resulting in Warner Bros. nabbing distribution rights for the film and subsequent lack of marketing (the lack of marketing being the key fault here), and I believe this would’ve performed a bit better if they dropped the ‘2’ from the title. As Insidious: The Last Key proved, removing a number can bring newfound interest, maybe because audiences don’t feel the need to follow from a predecessor.
Regardless, we’re here and this is what we’ve got. Luckily, Paddington 2 has already grossed $139.83m overseas, so it’s not a bust. Global is $150.45m off a $50m production cost.
Debuting in eighth, Sony/Screen Gems’ Proud Mary was a relative non-presence, grossing a disappointing $9.93 million over the 3-day frame and $12m over the 4-day. The Taraji P. Henson actioner has been a victim of pretty negative reception and should fade away from here. A performance similar to Henson’s previous Screen Gems picture, 2014’s No Good Deed ($52.54m), gives Proud Mary a dismal $23m+ haul. If it’s lucky, perhaps it can push past $30m. Sony spent a thrifty $14m to make the flick, so this isn’t a huge loss. There are no international numbers to report for Proud Mary.
HOLDOVERS
6. Star Wars: The Last Jedi (Disney) – $12.07 million (-49.1%, 3-day), $15.28m (4-day), $595.56m cume
9. Pitch Perfect 3 (Universal) – $5.99 million (-41.9%, 3-day), $7.23 million (4-day), $96.26m cume
10. Darkest Hour (Focus) – $4.47 million (-26.1%, 3-day), $5.59 million (4-day), $36.8m cume
NOTABLES
– I, Tonya (Neon) – $4.21 million (+72.2%), $10.91m cume (517 theatres, $8,146 avg.)
– Phantom Thread (Focus) – $1.43 million (+493.2%), $2.5m cume (62 theatres, $22,984 avg.)
– Hostiles (Entertainment) – $360,000 (+34.1%), $905,468 cume (42 theatres, $8,571 avg.)
Some of the coverage you find on Cultured Vultures may contain affiliate links, which may provide us with small commissions based on purchases made from visiting our site.
