With nothing else opening this weekend, all eyes were on Spider-Man: Homecoming to see if the Sony/MCU joint venture could return the once hugely profitable franchise to it’s former box office glory? And how would Despicable Me 3 and surprise hit Baby Driver fare in their second weekends? And will Wonder Woman continue it’s remarkable run and remain in the top 5? Turns out, everybody was happy…
Reviews going into the weekend for Spider-Man: Homecoming were very positive to say the least, currently it sits at 93% on Rotten Tomatoes, and with a $15 million Thursday night jumpstart the rebooted Marvel property managed a whopping $117 million over the three days giving it the 3rd highest opening of 2017 behind only Beauty and the Beast ($175 m) and Guardians of the Galaxy Vol 2 ($146.5 m). It also gives Sony its second biggest opening ever after 2007’s Spider-Man 3 starring original Peter Parker Tobey Maquire which got off to a massive $151 million start.
With an “A” Cinemascore and a strong audience approval rating (73) it seems the decision by Sony to let Spider-Man enter the MCU was a good one not to mention the casting of Tom Holland as Peter Parker, who is scoring very high with audiences. Including the Thursday night previews, Spider-Man got off to a $51 million opening on Friday which easily set to tone for the rest of the weekend. These tent poles usually have a steep second weekend drop so we’ll see if the audience, predominately young males (60%), will turn out even with the very action centered War for the Planet of the Apes opening next weekend.
Either way, Spider-Man looks to remain strong in the coming weeks and using a conservative 2.5x multiplier, it will at a minimum achieve $315 million in North America and should see somewhere between $500 – $600 million internationally.
Over the Independence Day long weekend we saw Despicable Me 3 take the number one spot with a fairly good, albeit disappointing opening, and after dropping only 48% it slipped one spot with a $34 million take which was easily good enough for a second place finish. Last weekend’s surprise hit, Edgar Wright’s Baby Driver, held strong again and dropped only 38% in it’s second week of release bringing in $12.7 million, for a total of $56.9 million in North America. Great numbers for Wright and his original car heist film giving studio’s relief that there is still a strong market for original, non-superhero type films.
Rounding out the top 5 were Wonder Woman, who continues her incredible run, bringing in another $10.1 million (-32%) in it’s sixth week of release for a domestic total of $370 million and a worldwide cume of around $745 million. To put it in perspective, Transformers: The Last Knight, finishing fifth, managed only $6 million in just over two weeks of release and has a North American sum of $120 million, a number its predecessor managed in just 5 days of release back in 2014.
Something now worth mentioning is the Lionsgate/Amazon Studios feature The Big Sick starring Kumail Nanjiani and Zoe Kazan. The very well received comedy has been slowly adding screens each week and brought in an estimated $3.7 million from just 326 theaters for a total just shy of $7 million. It’s looking to expand even more next weekend and this along with Baby Driver and Sophia Coppola’s The Beguiled has somewhat rejuvenated the independent/original concerpt movie scene, clearly showing audience fatigue with the big action summer blockbusters.
As mentioned earlier, next weekend we’ve got Mathew Reeves final directorial shot at the reimagined Planet of the Apes series, before he moves on to direct The Batman, the aptly titled War for the Planet of the Apes. Word of mouth on this one is very strong (78 on Metacritic) in what will end up being one of the more successful trilogies in the modern era, having earned $1.2 billion thus far. Early tracking has it bringing in around $65 million for the weekend which should be good enough for first place but expect a bit of a battle from Spider-Man who would need to drop at least 55% to concede the top spot. With nothing of significance opening wide, it’ll be a clear path to the number one or number two spots for these two films and it should be fun to watch which way the audience shifts.