Tag: Box office receipts

‘Wakanda Forever’ is No. 1 for 4th straight weekend

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NEW YORK — “Black Panther: Wakanda Forever” kept the box-office crown for the fourth straight weekend, and the comic holiday thriller “Violent Night” debuted with $13.3 million, according to studio estimates Sunday. But the biggest talking point on the weekend was a movie conspicuously absent from theaters.

Had Netflix kept Rian Johnson’s whodunit sequel “Glass Onion: A Knives Out Mystery” in theaters, it would have been one of the weekend’s top draws. Last weekend, the streamer — in its first such pact with North America’s top chains — released “Glass Onion” in about 600 theaters. While significantly less than the 4,000-plus theaters most big movies open in, the Netflix film reportedly grossed about $15 million — an enviable total for a medium scaled release.

Netflix declined to release ticket sales and pulled “Glass Onion” on Tuesday, preferring to keep its release limited to a one-week sneak-peak theatrical run before debuting on the streaming service Dec. 23. Netflix’s focus, its executives have said, is driving subscribers to its streaming service. On Wednesday, Reed Hastings, chief executive of Netflix, acknowledged the company left “lots” of money on the table in the move.

So instead of feasting on “Glass Onion,” as ticket buyers did after Thanksgiving in 2019 when Lionsgate released “Knives Out,” moviegoers were fed mostly leftovers this weekend.

For four weeks, the Walt Disney Co.’s “Wakanda Forever” has ruled the box office. Ryan Coogler’s Marvel movie has totaled $733 million globally, including $339 million in overseas sales.

“Violent Night” was the only new wide release in cinemas. Starring David Harbour as a not-so-saintly Saint Nick, the Universal release got off to a good start. “Violent Night,” which earned a B+ CinemaScore from audiences, cost about $20 million to make.

Though “Avatar: The Way of Water” and other holiday releases like “Puss in Boots 2,” “Babylon” and “I Wanna Dance With Somebody” loom in the coming weeks, theaters continue to see fewer films in wide release than they did pre-pandemic. David A. Gross, who publishes the box-office subscription newsletter FranchiseRe, says that while there were 58 franchise films released in 2019, there have been only 32 in 2022.

There’s also been a dearth of family releases in theaters. After a muted debut last weekend, Disney’s big-budget animated fantasy adventure “Strange World” dipped to third place with a mere $4.9 million in its second week. Some of the season’s notable kid-friendly movies are streaming, instead.

The Roald Dahl adaptation “Matilda the Musical,” starring Emma Thompson, was made jointly by Netflix, Sony Pictures and Working Title Films. Netflix has worldwide distribution rights to the film except for the United Kingdom and Ireland, where Sony put the film into theaters last weekend. For two weeks, “Matilda” has been the top film at the U.K. box office, grossing $9.7 million over that stretch. In the U.S., “Matilda” begins steaming on Christmas.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Wakanda Forever,” $17.6 million.

2. “Violent Night,” $13.3 million.

3. “Strange World,” $4.9 million.

4. “The Menu,” $3.6 million.

5. “Devotion,” $2.8 million.

6. “I Heard the Bells,” $1.8 million.

7. “Black Adam,” $1.7 million.

8. “The Fabelmans,” $1.3 million.

9. “Bones and All,” $1.2 million.

10. “Ticket to Paradise,” $850,000.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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December 4, 2022
‘Wakanda Forever’ extends reign, ‘She Said’ struggles

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“Black Panther: Wakanda Forever” pulled in $67 million in its second weekend.

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November 20, 2022
‘Black Panther’ sequel scores 2nd biggest debut of 2022

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The box office roared back to life with the long-awaited release of “Black Panther: Wakanda Forever.”

The Marvel sequel earned $180 million in ticket sales from more than 4,396 theaters in the U.S. and Canada, according to estimates from The Walt Disney Co. on Sunday, making it the second biggest opening of the year behind “Doctor Strange in the Multiverse of Madness.” Overseas, it brought in an additional $150 million from 50 territories, bringing its worldwide total to $330 million.

“Wakanda Forever” was eagerly anticipated by both audiences and exhibitors, who have weathered a slow spell at the box office since the summer movie season ended and there were fewer bigger budget blockbusters in the pipeline. The film got off to a mighty start a bit stronger than even the first film with an $84 million opening day, including $28 million from Thursday previews.

“Some may have hoped for $200 million like the first film, but this is solid,” said Paul Dergarabedian, Comscore’s senior media analyst. “This is the type of movie that theaters really need to drive audiences.”

The first film opened to $202 million in February 2018 and went on to gross over $1.4 billion worldwide, making it one of the highest grossing films of all time and a cultural phenomenon. A sequel was inevitable, and development began soon after with director Ryan Coogler returning, but everything changed after Chadwick Boseman’s unexpected death in August 2020. “Wakanda Forever” became, instead, about the death of Boseman’s King T’Challa/Black Panther, and the grieving kingdom he left behind. Returning actors include Angela Bassett, Lupita Nyong’o, Letitia Wright, Winston Duke and Danai Gurira, who face off against a new foe in Tenoch Huerta’s Namor. The film would face more complications too, including Wright getting injured and some COVID-19 related setbacks. All told, it cost a reported $250 million to make, not accounting for marketing and promotion.

AP Film Writer Jake Coyle wrote in his review that, “‘Wakanda Forever’ is overlong, a little unwieldy and somewhat mystifyingly steers toward a climax on a barge in the middle of the Atlantic. But Coogler’s fluid command of mixing intimacy with spectacle remains gripping.”

It currently holds an 84% on Rotten Tomatoes and, as is often the case with comic book films, the audience scores are even higher.

Superhero films have fared well during the pandemic, but none yet have reached the heights of “Spider-Man: No Way Home,” which opened to $260.1 million in Dec. 2021. Other big launches include “Doctor Strange in the Multiverse of Madness” ($187.4 million in May), “Thor: Love and Thunder” ($144.2 million in July) and “The Batman” ($134 million in March).

“Wakanda Forever” is first film to open over $100 million since “Thor” in July, which has been difficult for exhibitors that are already dealing with a calender that has about 30% fewer wide releases than in a normal year.

Holdovers populated the rest of the top five, as no film dared launch nationwide against a Marvel behemoth. Second place went to the DC superhero “Black Adam,” with $8.6 million, bringing its domestic total to $151.1 million. “Ticket to Paradise” landed in third, in weekend four, with $6.1 million. The Julia Roberts and George Clooney romantic comedy has made nearly $150 million worldwide. “Lyle, Lyle, Crocodile” and “Smile” rounded out the top five with $3.2 million and $2.3 million, respectively.

Some awards hopefuls have struggled in their expansions lately, but Searchlight Pictures’ “The Banshees of Inisherin,” with Colin Farrell and Brendan Gleeson, looks like an exception. The Martin McDonagh film expanded to 960 theaters in its fourth weekend and got seventh place on the charts with $1.7 million, bringing its total to $5.8 million.

“It’s been a very interesting post-summer period for movie theaters, with some gems out there doing well like ‘Ticket to Paradise’ and ‘Smile,’” Dergarabedian said. “But movie theaters can’t survive on non-blockbuster style films. The industry needs more of these.”

After “Black Panther,” the next blockbuster on the schedule is “Avatar: The Way of Water,” arriving Dec. 16.

The weekend wasn’t completely without any other high-profile releases. Steven Spielberg’s autobiographical drama “ The Fabelmans ” opened in four theaters in New York and Los Angeles with $160,000. Universal and Amblin will roll the film out to more theaters in the coming weeks to build excitement around the likely Oscar-contender. Michelle Williams and Paul Dano play parents to the Spielberg stand-in Sammy Fabelman, who is falling in love with movies and filmmaking as his parents’ marriage crumbles.

“This will be an interesting holiday season,” Dergarabedian said. “I think a lot of the dramas and independent films will have their time to shine over the next couple months.”

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Black Panther: Wakanda Forever,” $180 million.

2. “Black Adam,” $8.6 million.

3. “Ticket to Paradise,” $6.1 million.

4. “Lyle, Lyle, Crocodile,” $3.2 million.

5. “Smile,” $2.3 million.

6. “Prey for the Devil,” $2 million.

7. “The Banshees of Inisherin,” $1.7 million.

8. “One Piece Film Red,” $1.4 million.

9. “Till,” $618,000.

10. “Yashoda,” $380,000.

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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

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November 13, 2022
‘Black Adam’ tops box office again on quiet weekend

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NEW YORK — On a quiet weekend in movie theaters before the upcoming release of “Black Panther: Wakanda Forever,” Warner Bros.’ “Black Adam” topped the box office for the third straight weekend with $18.5 million in ticket sales, according to studio estimates Sunday.

“Black Adam,” Dwayne Johnson’s bid to launch a new DC Films superpower, has surpassed $300 million globally in three weeks of release, including a domestic tally of $137.4 million. That puts the $195 million-budgeted film — the third film this year to lead the box office three consecutive weeks — on a trajectory to likely surpass the $366 million that “Shazam!” grossed in 2019, but less certain to notch a profit in its theatrical run.

When Walt Disney Co.’s “Black Panther: Wakanda Forever” lands in theaters Thursday, it’s expected to score one of the biggest opening weekends of the year. Ryan Coogler’s original debuted with more than $200 million in U.S. and Canadian theaters in 2018, and forecasts suggest it could open with around $175 million.

With “Wakanda Forever” looming, only one new film opened in wide release: “One Piece Film: Red,” distributed by Sony Picture’s anime division, Crunchyroll. The Japanese anime sequel, part of the “One Piece” franchise, debuted in second place with $9.5 million. While not as robust as the openings of Crunchyroll’s “Dragon Ball Super: Super Hero, which garnered, $21.1 million in August, or Funimation’s “Jujutsu Kaisen 0: The Movie,” which earned $18 million in March, “Red” again showed that anime is proving an uncommonly dependable draw in North American theaters. The 15th film in the franchise but the first to be released widely in the U.S., “Red” attracted an especially young audience, with about 75% of ticket buyers between ages 18-34.

Third place went to “Ticket to Paradise,” the George Clooney and Julia Roberts romantic comedy. The Universal Pictures release collected $8.5 million in its third weekend, bringing the $60 million-budgeted rom-com’s cumulative total to $46.7 million domestically and $137.2 million worldwide. For a genre that’s struggled in theaters in recent years, “Ticket to Paradise” is showing staying power, especially as the favored choice for older audiences.

Even with Halloween coming and going, Paramount Pictures’ “Smile” also continued to hold well in theaters. In its sixth week of release, the horror flick added another $4 million to bring it to $99.1 million overall.

Some of the year’s top Oscar contenders have struggled to make much of an impact in wide release. James Gray’s “Armageddon Time,” a coming-of-age tale set in 1980s New York, expanded to 1,006 theaters in its second week, grossing $810,000 for Focus Features. Focus’ “Tár,” starring Cate Blanchett as a renowned conductor, took in $670,000 in 1,090 theaters for a five-week total of $3.7 million. MGM’s “Till,” about Mamie Till-Mobley’s pursuit of justice for her 14-year-old son, Emmett Till, added $1.9 million in 2,316 theaters for a four-week gross of $6.6 million.

Best of the bunch so far has been Searchlight Pictures’ “The Banshees of Inisherin,” starring Colin Farrell and Brendan Gleeson as rowing Irish friends. It took in $3 million in 895 locations in its third weekend of release, brining its global total to $10.2 million.

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Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Black Adam,” $18.5 million.

2. “One Piece Film: Red,” $9.5 million.

3. “Ticket to Paradise,” $8.5 million.

4. “Smile,” $4 million.

5. “Prey for the Devil,” $3.9 million.

6. “Lyle, Lyle, Crocodile,” $3.4 million.

7. “The Banshees of Inisherin,” $2 million.

8. “Till,” $1.9 million.

9. “Halloween End,” $1.4 million.

10. “Terrifier 2,” $1.2 million.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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November 6, 2022
‘Black Adam’ takes top spot at box office again

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“ Black Adam,” the Dwayne Johnson-fronted DC superhero film, kept its hold on the No. 1 spot at the North American box office in its second weekend in theaters. Down 59% from its launch, and facing little new competition, “Black Adam” added $27.7 million in ticket sales, bringing its domestic total to $111.1 million, according to studio estimates Sunday.

Johnson spent a decade trying to bring the character to the big screen and has visions for follow-ups involving Superman. But the future of “Black Adam” is not written quite yet, though it’s earned $250 million worldwide. The Warner Bros. film carried a hefty price tag of $200 million, not including marketing and promotion costs, and a sequel has not been officially greenlit.

But big changes are afoot at DC—the studio just announced a new leadership team of Peter Safran and James Gunn, whose love for propping up little-known comic book characters is well-documented. And on Sunday, Johnson posted a note to his 344 million Instagram followers about the end of the world press tour, thanking those who worked behind the scenes to launch “our NEW DC FRANCHISE known as BLACK ADAM.”

Bucking recent romantic comedy trends, moviegoers remained curious about “Ticket to Paradise,” Universal’s Julia Roberts and George Clooney destination romp, which fell only 37% in weekend two to claim second place. The genre has not been the most reliable bet at the box office lately, with films like “Bros” stumbling in theaters, but the star power of Roberts and Clooney is proving hard to resist. “Ticket to Paradise” added $10 million from 3,692 North American theaters, bringing its domestic total to $33.7 million. Globally, it’s grossed $119.4 million to date.

Horror movies, meanwhile, claimed spots three through five on the weekend before Halloween on Monday. Lionsgate’s “Prey for the Devil” opened in third place with $7 million from 2,980 theaters. Notably, it is the only of the three horror films that carried a PG-13 rating. The others were R-rated.

Paramount’s “Smile” took fourth place in its fifth weekend with another $5.1 million, bringing its domestic total to $92.4 million (on a $17 million budget), while “Halloween Ends” landed in fifth place in its third weekend with $3.8 million. “Ends,” which has grossed $60.3 million in North America, was released simultaneously on NBC Universal’s streaming service Peacock.

“This is just another mandate in favor of horror,” said Paul Dergarabedian, Comscore’s senior media analyst. “It’s not just about being in October, horror movies have played well throughout the pandemic. It’s a genre that continues to kill it at the box office time and again.”

Chinonye Chukwu’s Mamie Till-Mobley film “Till” went wide this weekend, adding $2.8 million from 2,058 locations to take seventh place. Boasting a 98% on Rotten Tomatoes, the United Artists Releasing film has gotten good word of mouth with much of it centered on Danielle Deadwyler’s performance.

This weekend also saw the expansion of several notable films, like Todd Field’s “ Tár,” which expanded to 1,087 theaters nationwide where it grossed $1 million and landed in 10th place. Cate Blanchett’s performance as a renowned composer and conductor won her a top acting prize from the Venice Film Festival last month.

Another Venice-winner, “The Banshees of Inisherin” widened to 58 theaters and 12 new markets over the weekend. The Martin McDonagh film starring Colin Farrell and Brendan Gleeson earned $540,000. The Searchlight Pictures release will expand to around 800 locations next weekend.

Charlotte Wells’ “Aftersun” expanded to 17 locations where it earned $75,242, bringing its cumulative grosses to $166,030. The A24-released father-daughter film starring Paul Mescal and Frankie Corio will continue to expand throughout awards season.

James Gray’s “Armageddon Time” opened in six theaters in New York and Los Angeles, to $72,000. Gray mined his own childhood to tell the story about an 11-year-old in Queens in the fall of 1980. The film, which premiered at Cannes earlier this year, stars Banks Repeta, Anne Hathaway, Jeremy Strong and Anthony Hopkins.

But as far as blockbusters are concerned, things will be somewhat slow-going until “Black Panther: Wakanda Forever” arrives on Nov. 11.

“That’ll get the box office going again in a way that feels more like summer,” Dergarabedian said.

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Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Black Adam,” $27.7 million.

2. “Ticket to Paradise,” $10 million.

3. “Prey for the Devil,” $7 million.

4. “Smile,” $5.1 million.

5. “Halloween Ends,” $3.8 million.

6. “Lyle, Lyle, Crocodile,” $2.8 million.

7. “Till,” $2.8 million.

8. “Terrifier 2,” $1.8 million.

9. “The Woman King,” $1.1 million.

10. “Tár,” $1 million.

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Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr.

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October 30, 2022
‘Black Adam,’ with Dwayne Johnson, debuts with $67M

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NEW YORK — Warner Bros.’ “Black Adam” opened with an estimated $67 million, according to studio estimates Sunday, handing Dwayne Johnson his biggest box-office weekend as a leading man and launching the D.C. Comics character he spent a decade to bring to the big screen.

“Black Adam” was a $200-million bid to upset the power balance in a DC Extended Universe dominated by the likes of Batman, Wonder Woman and Superman. The $67 million debut fell well shy of that stratosphere, even with the considerable draw of Johnson acting in his first superhero movie. Still, “Black Adam” managed the highest opening weekend since “Thor: Love and Thunder” debuted with $143 million in July.

“Black Adam,” which stars Johnson as an ancient Egyptian summoned to the modern day, was notably hobbled by poor reviews (40% fresh on Rotten Tomatoes). Moviegoers were kinder, giving the film a B+ CinemaScore. It collected $73 million internationally for a $140 million global haul.

“Black Adam” took a circuitous route to reach theaters. The character had originally been planned to launch as a villain in 2019’s “Shazam!” before executives pivoted to give Black Adam a standalone feature. The goofier “Shazam!,” which cost closer to $100 million to make, opened with $53.5 million in ticket sales and wound up an over-achieving success with $366 million worldwide.

The stakes were higher for “Black Adam,” though. While promoting the film, Johnson hasn’t been shy about his desire to follow up “Black Adam” with a showdown with Superman. But whether the receipts for “Black Adam” are enough to warrant that remains unclear. Under new leadership, Warner Bros. is overhauling its approach to DC Comics adaptations.

Jeff Goldstein, distribution chief for Warner Bros., celebrated the results as a personal best for Johnson outside of the “Fast & Furious” films, and a PG-13 film with broad-based appeal that audiences responded to better than critics. Still, it’s a time of transition for Warner Bros.’ reorganizing DC unit as the studio seeks more Marvel-sized successes. Next on tap is “Shazam! Fury of the Gods” in March.

“It’s all about making good movies. It’s all about finding the right scripts,” said Goldstein. “Our studio is definitely going through a major revamping of our production leadership and style and approach. I think that we’ll be able to crack this nut. We’re definitely focused in on doing that.”

“Ticket to Paradise,” the Bali-set romantic comedy starring Julia Roberts and George Clooney, proved smart counterprogramming. The Universal Pictures release debuted with $16.3 million, well above recent sales for rom-coms, which have struggled in recent years at the box office. The film is already a hit abroad, where it’s been in release for the last month, accruing $80.2 million in ticket sales.

Earlier this month, Universal’s R-rated “Bros,” an LGBTQ milestone in the genre, debuted with a disappointing $4.8 million. “Ticket to Paradise” had a notable advantage in its two stars, and appealed particularly to older audiences; 64% of ticket buyers were 35 and up, the studio said.

“It became an event film for all audiences this weekend but especially for older audiences that can be difficult to get into theaters,” said Jim Orr, head of distribution for Universal. “We all know this is a demographic group that doesn’t exactly run out to see films opening weekend. That gives us great encouragement for the weeks and months ahead.”

Paul Dergarabedian, senior media analyst for data firm Comscore, noted it was the first weekend with a $65 million opener and more than $100 million in overall domestic ticket sales since July. That was owed largely to star power, he said, in the appeal of both “Ticket to Paradise” and “Black Adam” with Johnson.

“He was the engine that really drove this box office despite some headwinds in terms of the DC brand and this not being as known a character,” said Dergarabedian. “This is a very strong starting point for Dwayne Johnson in the mix of DC Comics. He’s like a box-office supercharger. Forty-percent Rotten Tomatoes, but people just want to see Dwayne Johnson on the big screen because he is bigger than life.”

Last week’s top film, “Halloween Ends,” dropped massively in its second weekend. The Universal horror sequel, which was simultaneously released on Peacock, declined 80% with $8 million. Meanwhile, Paramount Pictures’ “Smile,” continued to defy the typical declines for horror releases. With $8.4 million in its fourth week of release, “Smile” came in third and boosted its overall domestic sales to $84.3 million.

As more acclaimed awards contenders land in theaters, Searchlight Pictures’ “The Banshees of Inisherin” started its run with one of the best per-theater averages of the year. The Martin McDonagh drama, starring Colin Farrell and Brendan Gleeson, opened with $181,000 in four theaters for a per-theater average of $45,250. For A24, Charlotte Wells’ “Aftersun,” starring Paul Mescal and Frankie Corio as a father and daughter on vacation, also debuted solidly in four theaters, with a $16,589 per-theater average.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Black Adam,” $67 million.

2. “Ticket to Paradise,” $16.3 million.

3. “Smile,” $8.4 million

4. “Halloween Ends,” $8 million.

5. “Lyle, Lyle Crocodile,” $4.2 million.

6. “The Woman King,” $1.9 million.

7. “Terrifier 2,” $1.9 million.

8. “Don’t Worry Darling,” $880,000.

9. “Amsterdam,” $811,000.

10. “Triangle of Sadness,” $600,000.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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October 23, 2022
‘Amsterdam’ and ‘Lyle Lyle’ struggle, letting ‘Smile’ repeat

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NEW YORK — David O. Russell’s star-studded 1930s mystery “Amsterdam” flopped and the children’s book adaptation “Lyle, Lyle, Crocodile” debuted softly, allowing the horror thriller “Smile” to repeat atop the box office in U.S. and Canada theaters, according to studio estimates Sunday.

Neither new release caught fire with moviegoers but the disappointment was most acute for “Amsterdam,” a poorly reviewed $80 million screwball romp starring Christian Bale, Margot Robbie and John David Washington. The 20th Century Studios production, co-funded by New Regency and released by the Walt Disney Co., opened with just $6.5 million — a stinging rebuke for the decorated filmmaker of “Silver Linings Playbook” whose splashy ensemble also includes Chris Rock, Anya Taylor-Joy and Taylor Swift.

Sony Pictures’ “Lyle, Lyle, Crocodile,” a musical based on Bernard Waber’s children’s book featuring Shawn Mendes as the voice of a computer-generated reptile, fared better, collecting $11.5 million in ticket sales. But that still was a relatively modest result, especially for the first major family movie to land in theaters since the summer. The film, which cost $50 million to make, could benefit from children being out of school for Monday’s Columbus Day and little kid-movie competition this month.

A week after topping the charts with a $22-million launch, Paramount Pictures’ “Smile” remained No. 1 with $17.6 million at the box office — an impressive second week for the modestly budget horror flick. Horror films usually fall steeply in their second week of release but “Smile,” a creepy thriller about trauma and evil spirits, dropped just 22%. To keep the momentum, Paramount on Sunday announced a weeklong series of promotions, including discounted tickets and a “Smile” NFT giveaway for some ticket-buyers on Thursday.

The best news for Hollywood over the weekend was a sign that adult audiences, after two pandemic-plagued seasons, may be eager to come out for the fall’s top awards contenders. Todd Field’s “Tár,” starring Cate Blanchett as a world-renown conductor, debuted with $160,000 in four New York and Los Angeles theaters, good for a stellar $40,000 per-theater average. After its premiere at the Venice Film Festival, Field’s first film since 2006’s “Little Children” has drawn raves from critics and Oscar nomination predictions for Blanchett.

The promising start will encourage a long line of awards contenders coming in the next few weeks, including MGM’s Emmett Till drama “Till,” MUBI’s Park Chan-wook thriller “Decision to Leave” and Searchlight Pictures’ “The Banshees of Inisherin,” by writer-director Martin McDonagh.

At the same time, a prolonged sluggish period in theaters may be coming to a close. Not since “Bullet Train” opened in early August has a film cleared $23 million, a downturn owed in part to a light release schedule. But next week, Universal Pictures debuts “Halloween Ends” both in theaters and on Peacock. The following weekend sees the release of Warner Bros.’ “Black Adam,” with Dwayne Johnson.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

1. “Smile,” $17.6 million.

2. “Lyle, Lyle, Crocodile,” $11.5 million.

3. “Amsterdam,” $6.5 million.

4. “The Woman King,” $5.3 million.

5. “Don’t Worry Darling,” $3.5 million.

6. “Avatar,” $2.6 million.

7. “Barbarian,” $2.2 million.

8. “Bros,” $2.2 million.

9. “Ponniyin Selvan Part One,” $910,000.

10. “Terrifier 2,” $825,000.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

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October 9, 2022