Weekend Box Office Top Ten - 8/11/19

August 11, 2019

Weekend Box Office Top Ten - 8/11/19

Weekend Box Office Top Ten:

FAST & FURIOUS PRESENTS: HOBBS & SHAW is #1 again with a decent $25.4M (Million), a domestic total of $108.5M, and $332.6M worldwide. That number does not include China, where the franchise scores significantly, nor Korea. At its current trajectory, this film, which cost $200M plus marketing, should have no problem reaching profitability for Universal, though its international numbers will look closer to FAST & FURIOUS 6 ($550M overseas) than the last two films in the main franchise, which each cleared over $1 Billion from overseas markets. 

SCARY STORIES TO TELL IN THE DARK opened at #2 with a strong $20.8M above where tracking had it, in another win for horror this year and for Lionsgate, which will easily see profitability on this title. Horror films released during this month typically have good holds, and this should be no different, as the next major scary release is almost a month away, when IT: CHAPTER 2 debuts.

THE LION KING is #3 with another $20M, a big domestic total of $473.1M, and a massive $1.334 Billion globally. This is already the top Disney remake of all-time at the worldwide box office, and will soon overtake BEAUTY AND THE BEAST to claim the top spot for Disney remakes in the United States. It is the fourth Disney film this year to earn over $400M in the U.S. and over $1 Billion globally, and could finish as the second-biggest release of the year globally depending on how FROZEN 2 and THE RISE OF SKYWALKER perform, both also coming from Disney this year. 

DORA AND THE LOST CITY OF GOLD opened at #4 with an okay $17M, on the higher-end of tracking. Produced for $49M plus marketing, this Paramount release needs to have a good hold and connect with international audiences to become profitable. Given the brand's global reach, it should happen, but there is a question mark of how international audiences will embrace this take on the beloved animation character. 

ONCE UPON A TIME IN HOLLYWOOD is #5 with $11.6M, and a domestic total which has now hit $100.3M. Russia was the only international territory to debut, bringing in $7.7M and more than tripling the biggest Tarantino launch in the market before this, DJANGO UNCHAINED. International prospects look bright for this film, which cost $90M to produce, and should be nicely profitable for Sony. 

THE ART OF RACING IN THE RAIN opened at #6 with $8.1M, playing largely to the faith-based audience. That number is lower than BREAKTHROUGH ($11M), and continues Fox's losing streak for most of the year. 

THE KITCHEN opened at #7 with a disastrous $5.5M for WB and New Line, marking a new low for Melissa McCarthy and Tiffany Haddish. This one will quickly vanish from theaters, and be a significant financial loss for the studio, which looks to rebound with a more impressive fall slate of releases. 

SPIDER-MAN: FAR FROM HOME is #8 with $5.3M, a domestic total of $370.9M, and $1.096 Billion. It will soon eclipse SPIDER-MAN 2 as the top film in the franchise's history, and will pass SKYFALL to become Sony's number one film globally of all-time, in a tremendous win for the studio. The third installment of the series since being rebooted under the Marvel Studios banner has yet to be officially announced, but is expected for 2021. 

TOY STORY 4 is #9 with $4.4M, a domestic total of $419.5M, and a global total of $990 Million. By next weekend this film will pass the $1 Billion threshold worldwide, to become the fifth Disney release this year to reach that benchmark. Disney will finish the year with a stunning total of seven $1 Billion+ films, an unprecedented record thanks to ALADDIN's surprise success and the strong holds displayed by this Pixar smash. 

BRING THE SOUL: THE MOVIE is #10 with $2.2M and a total of $4.4M. 

Next weekend is another crowded frame, with debuts for family film THE ANGRY BIRDS MOVIE 2, raunchy comedy GOOD BOYS, horror/thriller 47 METERS DOWN: UNCAGED, and 80's-set dramedy BLINDED BY THE LIGHT all hoping to connect with their respective audiences. 




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