| Rank | Title | Domestic Gross (Weekend) | Worldwide Gross (Cume) | Week # |
|---|---|---|---|---|
| 1 | Rampage | $34,500,000 | $148,600,000 | 1 |
| 2 | A Quiet Place | $32,600,000 | $151,335,885 | 2 |
| 3 | Truth or Dare | $19,080,000 | $21,680,000 | 1 |
| 4 | Ready Player One | $11,205,000 | $474,807,798 | 3 |
| 5 | Blockers | $10,295,000 | $52,927,670 | 2 |
Notable Box Office Stories:
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Rampage - It seems that despite an incredible bump up with Jumanji that Dwayne Johnson still is far from a sure thing as Rampage opened to a solid if underwhelming #1 with $34.5M. The film based on the popular 80s arcade game carried a hefty budget into the weekend with $120M and a massive marketing blitz. It's clear that the collaboration between Johnson and director Brad Peyton, who delivered a major Johnson hit in 2015 with San Andreas which opened $20M higher than Rampage, was intended to start of the summer with a big splashy debut but the now the results feel more like The Mummy (2017) than a straight franchise starter. Now you might be wise to point out that the last Johnson film to open was Jumanji which opened about the same with $36.1M and has now passed $400M domestic. However that's factoring in something very important which was when Jumanji came out, with very little competition and surpassing The Last Jedi as the go-to family friendly fare of the winter. Rampage may have good legs but there's almost no way the film isn't decimated in two weeks by Avengers: Infinity War, especially when it nearly lost it's opening weekend to a $17M horror film on its second week. While domestically the film is struggling some, overseas the numbers are much better with a $114M debut, mostly lead by an excellent $55M debut in China though again the film has a limited time to make bank before Avengers: IW eats all the money in the world. Rampage isn't a terrible opening but it's a sign of just how competitive the summer months are. A $35M opening is great when you have two months all to yourself, but when you only have two weekends to make a majority of your money it's really not up to snuff.
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Truth or Dare- The latest gimmick horror film from Blumhouse (which apparently is officially called Blumhouse's Truth or Dare because sure, why not) did not quite live up to their growing standards of horror as it opened to an okay #3 with $19M. Honestly that figure isn't all too bad in comparison with just how well A Quiet Place continues to perform (see sticky comment). Part of the ability for two horror films to make in the top 5 was that Truth or Dare seems to be appealing to a much younger audience than A Quiet Place as 60% of the audience was under the age of 25. However that competition meant that Universal's intense marketing push did not attract the kind of attention that propped up Happy Death Day or Split. The B- on Cinemascore also doesn't bode well for the film. As a cheap horror film Truth or Dare is already a success on its first day but its legacy will be short. Most likely it will drop out of the top 5 by next week and be gone from theaters in a month while A Quiet Place continues on with more money and more attention.
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Isle of Dogs - It seems the three week delay from the advertised release of Isle of Dogs to the actual wide release was perhaps too long as the latest stop-motion animated film from Wes Anderson expanded to 1,900 theaters at #7 with $5M. It seems that once again Fox Searchlight's attempts to build hype for an indie release may have shot themselves in the foot. As a general audience member it's insane to see posters and trailers advertising a release date that's only for "cultural" cities which only inspires anger not excitement as people in smaller/less cool cities and rural areas are forced to wait. Even worse is that the nature of discourse has changed so much in the film landscape in just the last 5 years. Film critics and film twitter got to praise, criticize, discuss the issues of Asian portrayals in the film, write think pieces, and then move on before 80% the country got a chance to even see the film. All the steam was out by release date because film twitter and film critics were already exhausted discussing because to them it's now a three week old film (and now film twitter is all about The Rider). On a podcast film critic Richard Lawson had an interesting point about how he realized how insular cities like NYC are compared to other film landscapes when he tweeted about how he saw Call Me By Your Name for the third time and someone tweeted back how the hell could he have seen it three times when the film still wasn't opening in their city for another month. Lawson wisely saw this is a teaching moment so I hope that Fox Searchlight learns that this prolonged exposure style is over. Film culture moves at a breakneck pace and in an age where a indie movie can be released to every Netflix subscriber in a single day this precious slow rollout style needs to die out or be shortened immensely. People are clearly just tired of it.
Films Reddit Wants to Follow
This is a segment where we keep a weekly tally of currently showing films that aren't in the Top 5 that fellow redditors want updates on. If you'd like me to add a film to this chart, make a comment in this thread.
| Title | Domestic Gross (Cume) | Worldwide Gross (Cume) | Budget | Week # |
|---|---|---|---|---|
| Coco | $209,675,761 | $794,575,761 | $175M | 21 |
| Star Wars: The Last Jedi | $620,174,750 | $1,332,659,410 | $200M | 18 |
| The Greatest Showman | $173,295,475 | $424,678,959 | $84M | 17 |
| Jumanji: Welcome to the Jungle | $403,764,830 | $953,764,830 | $90M | 17 |
| Black Panther | $673,797,522 | $1,313,497,522 | $200M | 9 |
| Annihilation | $32,677,930 | $32,677,930 | $40M | 8 |
| Love, Simon | $39,269,001 | $49,536,955 | $17M | 5 |
Notable Film Closings
| Title | Domestic Gross | Worldwide Gross | Budget |
|---|---|---|---|
| The 15:17 to Paris | $36,250,957 | $56,150,957 | $30M |
As always /r/boxoffice is a great place to share links and other conversations about box office news.
Also you can see the archive of all Box Office Week posts at /r/moviesboxoffice.