by Tim Briody
December 10, 2017
Don’t worry, things get interesting again after this week.
The weekend before Star Wars is here and it brings a notable expansion and one un-notable wide release. Just stay with us. I promise things get better real soon.
Coco is again the #1 film in the land, as the Pixar film continues to roll along without much in the way of new releases. The Pixar production adds $18.3 million for the weekend, giving it $135.8 million after three weekends in theaters. Coco’s weekend drop was 34%, which shows that it’s mirroring last year’s Moana, at a slightly lower degree (Moana also dipped 34% in it’s third weekend, and had $144 million to this point, and finished with $248.7 million total.) Next weekend is pretty crucial, as once it’s over that hump, the holiday box office money train begins to pick up steam, giving Coco a chance to become a strong option over Christmas and New Year’s.
Coco finally does see some direct competition next weekend, in the form of Ferdinand. Just kidding, Star Wars: The Last Jedi is more likely to affect Coco box office than that terrible looking John Cena-voiced animated film will (and I say that as BOP’s resident John Cena apologist). Despite being nearly $65 million away, I feel safe in saying that Coco is a lock for $200 million, which still makes it one of Pixar’s lower performing films, but at least that’s ahead of the Cars sequels.
Justice League holds in second place but it drops another 42% to $9.5 million giving it $212 million after four weekends. So uh, six months ago, Wonder Woman made $412 million. Just saying. Already losing screens (and a prime candidate to give them up to Star Wars next weekend), Justice League is probably set to be the biggest loser among the films already in theaters once Star Wars moves in, which makes it less likely to get the holiday bump. $250 million is still in sight, anything beyond that is asking for it.
Wonder, the best story of the fall, holds in third place with $8.4 million and $100.2 million after four weekends, making it the 27th $100 million film of 2017. Least likely $100 million film of the year: Wonder, Get Out, Baby Driver or Annabelle: Creation? As another aside, I’m glad in the era of mega box office openings, $100 million is still a solid benchmark, whether as an opening weekend or domestic total.
Fourth place goes to the big expansion of the weekend, James Franco’s The Disaster Artist. An adaptation of a book about the making of the cult classic The Room, the movie expanded to 840 theaters and earned $6.4 million, giving it $8 million in the bank after a successful NY/LA release last weekend. While movies about movies are often too inside baseball for most moviegoers, The Disaster Artist had some decent buzz for Franco’s all-in performance as Tommy Wiseau (but he’s a dark horse Oscar candidate in a fairly deep year; Adapted Screenplay is very likely though), and from a small but devoted contingent of fans(?) of The Room. It also earned 94% Fresh at Rotten Tomatoes, so it definitely got Hi Marks from critics. It does have a tough box office road ahead of it, as A24 generally plays it safe with expansions.