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Ford v Ferrari easily ran Charlie’s Angels and the rest of the competition off the road at the weekend box office, grossing a better-than-expected $31 million in North America for 20th Century Fox and Disney. Overseas, the pic debuted to $21.4 million for a global start of $52.4 million.
Conversely, Sony’s Charlie’s Angels crashed and burned in its domestic opening with an estimated $8.6 million, becoming the third high-profile reboot or sequel in a row to bomb after Terminator: Dark Fate two weeks ago and Doctor Sleep last weekend.
Directed by James Mangold, Ford v Ferrari — which received a coveted A+ CinemaScore and glowing reviews — is a much-needed win for the Fox film label and new owner Disney following a string of misses this year. The movie’s promising debut is also a victory for adult-skewing, original event pics.
Ford v Ferrari, which stars Christian Bale and Matt Damon, tells the real-life story of the two men who, in 1966, helped Henry Ford II and his Ford Motor Co. become the first American company to win Le Mans, the world’s most prestigious race. Chernin Entertainment produced.
The film, which has major Oscar ambitions, cost $97 million to produce before marketing. Nearly 80 percent of ticket buyers were over the age of 25, including 55 percent over the age of 35, according to PostTrak. Males made up 62 percent of the audience.
Directed by Elizabeth Banks, Charlie’s Angels wasn’t able to win over younger females, its target audience, in a major way. Worse, the ‘definite’ recommend on PostTrak was a dismal 47 percent. The pic, starring Kirsten Stewart, Naomi Scott and Ella Balinska as globe-trotting spies, opened 16 years after the big-screen sequel Charlie’s Angels: Full Throttle debuted to $37 million, not adjusted for inflation.
Sony’s financial exposure is minimized, with China’s Perfect World and other partners putting up 50 percent of the movie’s $50 million-plus production budget. Charlie’s Angels earned a B+ CinemaScore from audiences after receiving mediocre reviews.
Overseas, the film limped to $19.3 million from its first 26 markets, including a third-place finish in China with $7.7 million, for global start of $27.9 million.
Domestically, Charlie’s Angels came in third behind Ford v. Ferrari and the holdover Midway, which declined 51 percent in its second outing to $8.8 million for a domestic total of $35.1 million.
Paramount’s Playing With Fire landed in fourth with $8.55 million for a 10-day domestic total of $25.5 million and $30 million globally (the family-friendly pic could come in ahead of Charlie’s Angels once final weekend numbers are tallied).
Universal’s rom-com Last Christmas slipped 41 percent in its sophomore outing to $6.7 million for a domestic total of $22.6 million. Overseas, it took in $8.6 million for a foreign tally of $13 million and $35.6 million worldwide.
Warner Bros.’ Stephen King adaptation Doctor Sleep, a sequel to The Shining, tumbled a steep 56 percent in its second weekend to $6.2 million for a domestic cume of $25 million and $53.8 million globally.
Bill Condon’s The Good Liar, starring Ian McKellen and Helen Mirren, also underwhelmed in its nationwide debut, grossing an estimated $5.65 million and becoming the latest Warners release to underperform outside of Joker and It: Chapter Two. The film, which was dinged by tepid reviews and a B CinemaScore, also had to compete with Ford v Ferrari for older moviegoers.
Condon’s thriller essentially tied with Joker for No. 7 (the order will be decided Monday when final weekend numbers are released). Overseas, The Good Liar has earned $3.9 million thus far for $9.6 million globally.
Joker finished its seventh weekend with a mammoth $1.017 billion in worldwide ticket sales after joining the billion dollar club on Friday. The pic is expected to garner $600 million or more in profit for Warners, Village Roadshow and Bron.
Disney’s Maleficent: Mistress of Evil came in No. 9 domestically with $5.2 million for a global cume through Sunday of $458.9 million, including an impressive $352.9 million internationally.
Focus Features’ Harriet rounded out the top 10 in North America with $4.8 million for a domestic total of $31.9 million.
At the specialty box office, writer-director Trey Edward Shults’ critically acclaimed Waves reported an opening weekend location average of $36,140 from four theaters in New York and Los Angeles.
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