Its opening ranks behind only the “Avengers” entries, fulfilling high-end expectations for not only the franchise, but also for Disney’s traditional Marvel date. The studio’s estimate might even be low: Disney projects that Sunday will be down 35 percent from Saturday and distributors typically project a 25 to 30 percent drop. Disney’s pessimism has several sources. It has a B+ Cinemascore (lower than all but one MCU film), and a steep 36 percent Saturday drop from the Thursday/Friday combined total. There’s also the potential for Mother’s Day to impact turnout. Also, there’s no harm in exceeding expectations: a higher actual number released Monday would bring further positive attention. Worldwide, it has amassed $450 million so far.
Walt Disney Studios Motion Pictures /Courtesy Everett Collection Sony’s “Spider-Man: No Way Home” opened to almost 50 percent better at $260 million, but that film had the benefit of a legendary character. “Madness” is the second to feature Doctor Strange and its opening more than doubled the initial 2016 gross. It is also more than $100 million better than “Black Widow,” “Shang-Chi and the Legend of the Ten Rings,” or “Eternals,” the prior Disney Marvel releases since theater reopened. (“Widow” was the best at $80 million, impressive considering it also debuted the same date on Disney+). “Madness” propelled total weekend grosses to $220 million, a massive improvement after the rock-bottom $67 million last weekend. Compared to the first weekend of May 2019, It improved by 10 percent (that was weekend two for “Avengers: Endgame”). Our ongoing four-week rolling comparison to pre-Covid 2019 is now 75 percent. Everything else grossed $35 million combined and that reflects the core problem facing theaters. The rest of the field, on a week-by-week basis, isn’t holding its weight. Four of the other top 10 titles dropped 40 percent or less, with “The Lost City” (Paramount) down 35 percent for the best hold. It is positioned to reach a surprise $100 million (at $94 million now). And “Everything Everywhere All at Once” (A24), the indie version of metaverse, held on to reach $41 million, with $50 million in view. That would be the distributor’s domestic best.
Courtesy of IFC Films The specialized world saw two acclaimed new releases find some interest. Audrey Diwan’s top Venice prize winner “Happening” (IFC) debuted in four New York/Los Angeles theaters (an initial theater-only release, unlike many IFC titles). The timely, 1970s-set French abortion drama took in $34,000. The well-reviewed “In Front of Your Face” (Cinema Guild) from South Korean master Hong Sang-soo took in a decent $9,150 in one Manhattan theater. Gaspar Noe’s 52 minute “Lux Aeterna” (Yellow Veil) did a similar $9,000 at the Metrograph. “The Duke” (Sony Pictures Classics) jumped to 350 theaters in its third weekend for $364,000. The key is whether word of mouth sustains its run. Neon got to 224 theaters for the French “Petite Maman.” The per-theater result for both films is around $1,000. Going wider is the new normal and it does add to the ultimate gross. SPC was particularly known for much slower expansion plans. The Top 10
$31,212 in 39 (+38) theaters; PTA: $800; Cumulative: $52,664 Petit Maman (Neon) Week 3 $186,000 in 224 (+193) theaters; Cumulative: $342,301 The Duke (Sony Pictures Classics) Week 3 $364,442 in 350 (+293) theaters; PTA: $1,041 Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
