Somewhere in the multiverse, The Flash, once touted by its own studio as “one of the greatest superhero movies ever made,” should easily top the box office in its second weekend.
But in this universe, audiences flatly rejected the Warner Bros. movie starring Ezra Miller as the eponymous, timeline-spanning speedster. Instead of a win, the DC Comics adventure dropped to third place, behind veteran film “Spider-Man: Into the Spider-Verse” and Pixar’s “Elements,” and slightly ahead of Jennifer Lawrence’s new R-rated comedy “Don’t take it to heart.”
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“The Flash,” which took in $15.3 million from 4,265 theaters in North America over the weekend, tumbled 73% in its second weekend. That’s more than recent DC adaptations like Black Adam (59%) and Shazam! “The decline was much larger. Wrath of the Titans (69%), ended up being a significant loss for the studio.
In the case of The Flash, it was a disastrous result for a blockbuster with a $200 million budget, as it suggested that box office revenue wouldn’t bounce back with a theatrical release. So far, the film has grossed $87 million domestically and $123.3 million internationally, bringing its worldwide total to $210.9 million.
Part of the problem is that new DC Comics leaders James Gunn and Peter Safran have announced plans to reset the comic universe. As a result, audiences are conflicted about lame-duck blockbusters like The Flash. That’s unfortunate for DC’s two remaining pending titles, The Blue Beetle (August 18) and Jason Momoa’s Aquaman and the Lost Kingdom (December 20).
Overall, it was a chaotic weekend at the box office, with Sony’s “Spider-Man: Into the Spider-Verse” returning to No. 1 with $19.3 million (again, in its fourth weekend). It’s rare for a movie to return to the top of the charts after its release, especially during the hot summer movie season. To date, Beyond the Spider-Verse has grossed $316 million in North America and $560 million worldwide.
The “Spider-Man: Universe” sequel narrowly beat out Disney and Pixar’s animated “Elements” for second place with $18.5 million. This brings its domestic gross to $65 million and its worldwide total to $121 million. Ticket sales for the second show were stronger than expected, down just 37% from the previous weekend. Unfortunately, Elements got Pixar off to the worst start in modern history (so far). As such, it needs to continue to be the de facto choice for home audiences to justify its $200 million price tag and restore a modicum of confidence in the Pixar brand.
Lawrence’s gritty comedy “No Hard Feelings” debuted in 3,208 theaters and took in No. 4 with $15 million. That’s not a bad result for a contemporary drama comedy, but analysts had higher expectations for the $45 million Sony film starring one of Hollywood’s biggest names. Earlier this year, for example, Universal Pictures’ wild R-rated “Cocaine Bear” grossed $23.2 million in its opening weekend, but didn’t promise to make the blockbuster a household name.
“Painless,” directed by Gene Stupnitsky, took in $9.5 million internationally in 48 markets. It’s a promising turnout because broad comedies tend to have limited appeal overseas.
In “No Regrets,” Lawrence plays a down-on-his-luck Uber driver who accepts a Craigslist ad before she goes off to college, and an introverted 19-year-old (newcomer Andrew Bart Feldman). decoration) “Dating”. Audiences largely loved the film, earning a “B+” on CinemaScore.
“‘No Suffering’ cost $45 million to make (net of marketing costs), which is not cheap,” said David A. Gross, who runs Franchise Entertainment Research, a film consultancy. “At this level of box office, it’s a big number.”
Paramount’s “Transformers: Rise of the Beast,” which added $11.6 million in 3,523 theaters, dropped 44 percent in its third weekend to round out the top five. To date, the seventh Transformers film has grossed $122.9 million domestically and $218 million internationally. Production cost was $200 million.
Elsewhere in the country, Wes Anderson’s “Asteroid City” took in $9 million from 1,675 theaters over the weekend. It’s a career high for Anderson, a filmmaker with favorite arthouse films like “The Royal Tenenbaums” and “The Grand Budapest Hotel.” By comparison, his latest feature, “The French Contingent,” expanded to an equal number of theaters in 2021, earning $2.5 million.
Asteroid City is set in the 1950s when a cosmic event disrupts a fictional desert town. The film stars Scarlett Johansson, Jason Schwartzman, Maya Hawke, Bryan Cranston and dozens of other Anderson regulars. With 64 percent of the audience 35 or younger, CinemaScore gave the film a general “B”.
“It’s great to see Wes Anderson reigniting the professional market with his best weekend at the box office,” said Lisa Bunnell, president of distribution for Focus Features. “The opening of ‘Asteroid City’ over the past two weekends has been incredibly inspiring and inspiring.”