With many families choosing to spend that precious holiday time together in a darkened room avoiding conversation - smart move - it’s no surprise that Pixar’s latest offering, Coco did so well in its first week, with an estimated $49m opening three day weekend, bumped up to just over $71m in its first five days. Audiences loved it, it’s perfect for kids of all ages, and Britain won’t get it until January, dammit! A lot of people wondered if Pixar were keeping Coco on the down-low with less major marketing for it when compared to other Disney-Pixar offerings, but those fears seem unfounded for now. It opened below the five day holiday gross of Moana but is on track to play well for the next few weeks. It’s already done gangbusters internationally, becoming the highest grossing release ever in Mexican cinemas when it was released last month, and Chinese audiences warmed to it with a $18.2m opening weekend (I’m guessing their ban on ghost stories doesn’t count for this. Hurrah for Disney and cultural loopholes). Internationally, it’s already taken in over $153m (encouraging for a film with a rumoured $200m budget - Pixar don’t come cheap), so expect Epcot to start turning their Mexico Pavillion into a Coco themed area with extra margaritas.
As for last week’s ‘big winner’, Justice League… Well… Look, it’s hard to write off a 57% second week drop, but with an extra $60m in the kitty over the Thanksgiving five-day weekend, taking their domestic gross to $171.5m, it’s probably better than they could have hoped for. It’s still baffling that a film with that obscene a budget and that level of brand name hype couldn’t pass $100m domestically on its opening weekend, and I still doubt the official reporting saying that it ‘only’ needs to gross $600m to break even, but by this point in time, I’m so decidedly meh about the DCU that I struggle to think of anything else to day.
One of the continuing surprises of the season has been the success of Wonder, which sits at number three with a $32.2m five-day weekend gross. After just ten days of release, it’s already taken in around $70m domestically. That’s a hit right there, so expect more middle grade and young adult contemporary novels to be picked up for adaptation.
Across the board, older releases played solidly with Thanksgiving customers: Thor: Ragnarok crossed $277m domestically, people kept paying to see Daddy’s Home 2 because nothing says wholesome family fun like Mel ‘sugartits’ Gibson, Murder on the Orient Express played solidly with families so that sequel is a definite yes, and Three Billboards Outside Ebbing, Missouri took in some big indie bucks as it expanded to over 500 theatres ($7.6m five-day weekend, placing it at number ten, ahead of the indie juggernaut Lady Bird).
Newer releases did well in the top 20, with The Man Who Invented Christmas making a decent $1.7m from 626 locations, and future Oscar favourite and peachy keen Armie Hammer fun times vehicle Call Me By Your Name leveraging that buzz and those incredible reviews to $404k from only 4 theatres.
News was less good for our favourite, Denzel Washington, as his latest film, Roman J. Israel, Esq. landed at ninth place as it expanded to 1665 theatres but still only managed $7.6m from that Thanksgiving five-day weekend. Reviews were mixed, but I must give a shout out to Odie Henderson’s scathing write-up over on RogerEbert.com, where he said, ‘My best guess is that Denzel wanted to cosplay as Eddie Murphy’s Norbit.’ Ouch.
Next week sees the release of James Franco’s The Disaster Artist, Guillermo del Toro’s The Shape of Water, and some fucker called Woody Allen’s latest but who gives a crap about that?
You can check out the rest of the weekend box office here.
What films did you watch this weekend? Are you still kind of salty that Disney tried to copyright the phrase Dia de los Muertos? On a scale of one to Sad Batfleck, how exhausting was your Thanksgiving weekend? How do you eat peaches? Answers in the comments.