'A Minecraft Movie' - Happy Days Are Here Again or Stand-Alone Success?
The videogame adaptation doubled expectations. Its meaning isn't 100% clear.
‘A Minecraft Movie’/Warner Bros. Discovery
Put a hold on the black crepe orders. The last rites have been delayed.
“A Minecraft Movie” (Warner Bros. Discovery) took in more than double what was expected (and it was anticipated to be strong) with a $157 million U.S./Canada first weekend total, $301 million worldwide. That’s only $5 million below “Barbie” opened to domestically, $55 million under the worldwide total.
It’s obviously a huge boost for theaters and theatrical play for studio films. And it couldn’t come at a better time. The industry was hoping that among the primarily franchise title footage shown at Cinemacon last week would come some films that could open over $100 million, then sustain strong runs.
That seems more likely to happen now with this earlier than expected opening. But before succumbing to the temptation of making wide positive assumptions about a different world than a few days ago, here is a bit more nuanced response, raising questions more than sweeping judgments:
Clearly video games rule. Years ago I noticed that Metacritic, the superior critic aggregate site, prioritizes video games on its site over movies, tv shows, and music. The reaction to this after “The Super Mario Bros. Movie” two years ago clearly reinforces that emphasis.
The $157 million “Minecraft” result is better than the $146 million first weekend for “Mario.” But that came after opening on a Wednesday, with $58 million already in ahead of the weekend. Both grosses are terrific obviously. It isn’t likely that “Minecraft” will exceed the five day $204 million “Mario” start. Not meant to diminish “Minecraft” one bit, but not mentioning the difference is journalistic malpractice.
Not only is the total vastly higher than expected. But the daily trajectory is terrific. The Saturday total of $60 million is better than “Barbie.” This comes with a mediocre B+ Cinemascore (“Barbie” was A), which suggested Friday that this might be frontended. That has changed already.
The Sunday estimate is down 35%. Don’t be surprised if this does better and possibly reaches $162 million or better.
This has similarities with “Barbie” that other summer potential blockbusters don’t. The most important is that it is, in terms of film content, originality. Not a sequel. Something fresh. But like “Barbie” it builds on a familiar brand. And it is a comedy. All advantages over most summer franchise titles.
The stock market collapsed last week, along with elevated concerns about a possible recession. Anyone concerned that filmgoing might take a hit can take solace from this result. (Add in that maybe mindless escapism had real appeal).
The gross is nearly 80% of what “Captain America: Brave New World,” in its eighth weekend, has done. Marvel increasingly is losing its reputation as the standard for blockbuster gross.
The talk of Cinemacon was how much early home availability hurts theaters. That clearly wasn’t the case here, which would be expected if the problem was as severe as many think.
One key to success was having a PG rating but still appealing to teens and young adults. Obviously the videogame tie-in was critical. But so was getting a family audience, similar to what happened with “Mario.”
A small fly in the ointment - U.S./Canada was ahead of foreign. For blockbusters, the standard used to be foreign at least 60% of the total. “Barbie,” a quintessential American-origin brand, was 56% for its run. Is there resistance to American films popping up? The trend has been downward over the last couple years, but this is troubling.
A rising tide didn’t particularly lift all boats. Except for expansions, all other films in the top 20 fell more than 50%. That includes last weekend’s #1 “A Working Man” (Amazon MGM), off 53% at #2, $7.3 million. The previous Jason Stathan/David Ayer collaboration “The Beekeeper” fell 48% week 2, but that was after an elevated holiday weekend.
The best news is that “Sinners,” also from WBD, Ryan Coogler’s original film with Michael B. Jordan, is getting great initial reaction and opens on April 18. What is needed now is momentum, not a one-shot hit.
With the nearly $200 million weekend, up from $81 million the same weekend last year. That all of a sudden takes year to date a bit over 5%. That halved the deficit as of last Sunday.
SPECIALIZED HIGHLIGHTS
Neon’s modest (1,255 theater) release of the low-budget ($3 million) “Hell of a Summer” managed a #8 slot with $1.75 million. The launch will get it home attention. It will be interesting to see if they keep to their policy of longer than usual windows.
Last week’s three strong limited openers took different routes. “The Friend” (Bleecker Street) went straight from two strong New York theaters to 1,237, 9th place and $1,617,000. Next week will tell if word of mouth kicks in. “The Ballad of Wallis Island” (Focus) expanded to 41 theaters from four, $200,000. Again, needs further response to assess its prospects. The Gaza protest documentary “The Encampments” (Watermelon/mTuckman” did $110,000 in 46 theaters, compared to $80,000 in one last week.
Fathom had both parts 1 and 2 of the upcoming online series “The Chosen - The Last Supper” in the top 10. Part 2, new this week, did $6.7 million, #3. Part 1, not held over by many, still managed another $1.9 million in seventh.
Among limited debuts, best were “Gazer” (Metrograph), an American indie thriller which debuted at Cannes last year and a reissue of Claude Lelouche’s 1966 hit “A Man and a Woman” (Rialto), each with around $13,000 in one New York theater.
“A Nice Indian Boy” (Blue Harbor) had a decent $176,000 result in 81 theaters.
“Freaky Tales” (Lionsgate) from indie and “Captain Marvel” veterans Anna Boden and Ryan Fleck grossed $400,000 in 393. This premiered at Sundance 2024.
“The Penguin Lessons” (Sony Pictures Classics) dropped over 60% its second weekend in 683 theaters with $444,000.
Top 10
1. A Minecraft Movie (WBD) NEW - Cinemascore: B+; Metacritic: 47; Est. budget: $150 million
$157,000,000 in 4,263 theaters; PTA (per theater average): $36,829; Cumulative: $157,000,000
2. A Working Man (Amazon MGM) Week 2; Last weekend #1
$7,277,000 (-53%) in 3,262 (no change) theaters; PTA: $2,231; Cumulative: $27,817,000
3. The Chosen: The Last Supper Part 2 (Fathom) NEW
$6,702,000 in 2,313 theaters; PTA: $2,919; Cumulative: $6,701,000
4. Snow White (Disney) Week 3; Last weekend #2
$6,087,000 (-58%) in 3,750 (-450) theaters; PTA: $1,623; Cumulative: $77,462,000
5. The Woman in the Yard (Universal) Week 2; Last weekend #4
$4,500,000 (-52%) in 2,845 (+3) theaters; PTA: $2,845; Cumulative: $16,660,000
6. Death of a Unicorn (A24) Week 2; Last weekend #5
$2,697,000 (-53%) in 3,050 (no change) theaters; PTA: $900; Cumulative: $10,783,000
7. The Chosen: The Last Supper Part 1 (Fathom) Week 2; Last weekend #3
$1,869,000 (-84%) in 1,592 (-693) theaters; PTA: $1,175; Cumulative: $17,915,000
8. Hell of a Summer (Neon) NEW - Metacritic: 56; Est. budget: $3 million
$1,750,000 in 1,255 theaters; PTA: $1,394; Cumulative: $1,750,000
9. The Friend (Bleecker Street) Week 2; Last weekend #30
$1,617,000 (+2,292%) in 1,237 (+1,235) theaters; PTA: $1,307; Cumulative: $1,696,000
10. Captain America: Brave New World (Disney) Week 8; Last weekend #7
$1,393,000 (-52%) in 1,750 (-630) theaters; PTA: $796; Cumulative: $199,120
Other specialized/independent titles
Films (limited, expansions of limited) are listed by week in release, starting with those opened this week; after the first three weeks, only films with grosses over $5,000 are listed. Metacritic scores and initial film festivals recorded when available. After week two, per theater averages only listed for expanding films with under 100 theaters.
OPENING (platform/limited)
Gazer (Metrograph) NEW - Metacritic: 68; Festivals include: Cannes 2024
$13,900 in 1 theater; PTA: $13,900
When Fall Is Coming (Music Box) NEW - Metacritic: 73; Festivals include: San Sebastian 2024
$6,000 in 1 theater; PTA: $6,000
A Man and a Woman (Rialto) REISSUE
$13,750 in 1 theater; PTA: $13,750
OPENING (wide)
The Luckiest Man in America (IFC) NEW - Metacritic: 64; Festivals include: Toronto 2024
$282,000 in 659 theaters; PTA: $428
A Nice Indian Boy (Blue Harbor) NEW - Metacritic: 82; Festivals include: South by Southwest 2024
$176,000 in 81 theaters; PTA: $2,173
Freaky Tales (Lionsgate) NEW - Metacritic: 58; Festivals include: Sundance 2024
$400,000 in 383 theaters; PTA: $1,044
HOLDOVERS
Princess Mononoke (GKids) (reissue); Last weekend #6
$617,342 in 630 (+300) theaters; PTA: $980; Cumulative: (reissue) $16,875,000
The Ballad of Wallis Island (Focus) Week 2
$200,000 in 41 (+37) theaters; PTA: $4,878; Cumulative: $323,000
The Penguin Lessons (Sony Picture Classics) Week 2
$444,316 in 683 (-334) theaters; PTA: $651; Cumulative: $2,257,000
The Encampments (MPI) Week 2
$110,477 in 46 (+45) theater; PTA: $2,401; Cumulative: $221,060
Secret Mall Apartment (Wheelhouse Creative/mTuckman) Week 3
$57,452 in 19 (+7) theaters; Cumulative: $224,260
Bob Trevino Likes It (Roadside Attractions) Week 3
$100,660 in 180 (+81) theaters; Cumulative: $390,799
Misericordia (Sideshow/Janus) Week 3
$22,400 in 21 (-1) theaters; Cumulative: $115,091
Black Bag (Focus) Week 4; Last weekend #2; also on PVOD
$950,000 in 811 (-1,254) theaters; Cumulative: $20,657,000
Eephus (Music Box) Week 5
$18,000 in 27 (-33) theaters; Cumulative: $451,172
The Monkey (Neon) Week 7; also on PVOD
$158,000 in 234 (-561) theaters; Cumulative: $39,527,000
Becoming Led Zeppelin (Sony Pictures Classics) Week 9; also on PVOD
$36,025 in 38 (-12) theaters; Cumulative: $10,293,000
No Other Land (no distributor) Week 10
$73,183 in 89 (-16) theaters; Cumulative: $2,236,000
A Complete Unknown (Searchlight) Week 15; also on PVOD
$8,000 in 20 (-25) theaters; Cumulative: $74,986,000
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