The Boy and the Heron, a Japanese anime marvel, seized the spotlight by raking in a remarkable $12.9 million, clinching the coveted #1 position on the box office top ten list. This stellar achievement marks the pinnacle as the highest opening for any international film in the domestic realm this year.
Drawing parallels to the recent triumph of Godzilla Minus One, which notched an impressive $11.4 million during its opening weekend, The Boy and the Heron struck a resonant chord with the cinema-loving audience.
What sets this weekend apart is the noteworthy feat of witnessing not one but two Japanese cinematic gems claiming positions among the top three performers at the domestic box office. A testament to the global allure and undeniable impact of Japanese storytelling, this cinematic duo has etched itself into the annals of the weekend box office triumphs.
The Boy and the Heron is the new critically-acclaimed fantasy adventure from the legendary Studio Ghibli, creators of Spirited Away, Howl’s Moving Castle, and My Neighbor Totoro. Hayao Miyazaki’s first feature film in 10 years is a hand-drawn, original story written and directed by the Academy Award-winning director. Produced by Studio Ghibli co-founder Toshio Suzuki, the film features a musical score from Miyazaki’s long-time collaborator Joe Hisaishi. The theme song for the film Spinning Globe was penned and performed by global J-pop superstar Kenshi Yonezu.
After losing his mother during the war, young Mahito moves to his family’s estate in the countryside. There, a series of mysterious events lead him to a secluded and ancient tower, home to a mischievous gray heron. When Mahito’s new stepmother disappears, he follows the gray heron into the tower, and enters a fantastic world shared by the living and the dead.
As he embarks on an epic journey with the heron as his guide, Mahito must uncover the secrets of this world, and the truth about himself. Featuring the voices of Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Robert Pattinson and Florence Pugh. Watch the trailer below:
In its fourth weekend, The Hunger Games: The Ballad of Songbirds & Snakes secured the #2 spot, amassing an additional $9.4 million while experiencing a 34% dip from the preceding weekend. After claiming the top position in its initial two weekends, the sequel conceded to second place last week, yielding to the debut of Renaissance: A Film by Beyoncé.
Lionsgate finds encouragement in the film’s resilient performance, especially considering its modest start with a franchise-low opening weekend of $44.6 million from November 17-19. Despite this, after 24 days, Songbirds & Snakes has accrued a domestic gross of $135.7 million, albeit still trailing behind the franchise’s previous low, The Hunger Games: Mockingjay Part 2, which had amassed $244.6 million at the same juncture in 2015.
Projections indicate that the film is poised to conclude its domestic run at $150 million and achieve a global tally of $300 million. This outlook promises profitability for Lionsgate, particularly given their cost-effective approach with a production budget slashed to $100 million, a considerable reduction from the $160 million expended on Mockingjay Part 2.
Securing the #3 spot with an $8.3 million gross and a modest 27% drop, as previously mentioned, Godzilla Minus One continues to assert its dominance. Toho strategically leveraged the void in new Hollywood releases during this period, seizing the opportunity to unleash its iconic and beloved monster upon audiences.
Earning widespread acclaim, Godzilla has garnered impressive ratings on Rotten Tomatoes, boasting a 97% approval from critics and an even more remarkable 98% from audiences. As the film continues to make waves, it is anticipated to earn a final domestic gross of $42 million, complemented by a robust $27 million from its homeland in Japan. The rest of the world eagerly awaits distribution, promising to add to the global success of this monstrous cinematic venture.
In its fourth weekend at the box office, Universal’s Trolls Band Together claimed the #4 position, securing $6.2 million in ticket sales with a marginal 21% dip from the previous weekend. Thus far, the third installment in the Trolls franchise has amassed a total gross of $83.1 million, outshining Disney’s Wish, which has struggled to reach $49.4 million since its debut merely five days after Trolls.
This weekend, Wish earned a modest $5.3 million, holding on to the #5 spot in the box office standings. The juxtaposition of their performances underscores Trolls Band Together’s continued resonance with audiences, maintaining a steady stride in contrast to the comparatively subdued reception of its animated cinematic counterpart.
Following its triumphant opening weekend, the concert spectacle Renaissance: A Film by Beyoncé dramatically descended to #6 at the box office, amassing $5 million in ticket sales—a marked 77% decline. While a substantial drop, this outcome aligns with expectations, mirroring the trajectory observed six weeks prior when Taylor Swift: The Eras Tour experienced a 64% dip after its inaugural weekend.
Providing a concise overview of the season’s high-profile concert movies, the ten-day totals reveal Renaissance: A Film by Beyoncé accumulating $28 million (Dec 1-10). In contrast, Taylor Swift: The Eras Tour commanded a substantial $132 million in its ten-day span (Oct 13-22), underscoring the dynamic landscape of cinematic musical experiences in the current entertainment milieu.
Projections indicate that Renaissance: A Film by Beyoncé is poised to conclude with a domestic total of $33 million, a notable contrast to the substantial $179 million amassed by Taylor Swift’s cinematic venture. Considering that neither of these titles occupied the cultural forefront merely a few months ago, any box office revenue they generate is regarded as a welcomed boon for exhibitors.
The combined domestic gross exceeding $200 million serves as a fortuitous buffer against the reverberations of Hollywood’s labor strikes. These strikes compelled studios to postpone the release of blockbuster films such as Dune 2 and Ghostbusters: Frozen Empire, highlighting the unforeseen yet beneficial impact of these concert films in alleviating the industry’s challenges.
In the #7 position, Apple’s Napoleon from Sony experienced a 42% decline. With a domestic total of $53 million and a global tally reaching $177 million, it falls short domestically but surpasses Killers of the Flower Moon, Apple’s other prominent production, which has slipped down to box office list, surpassed by re-releases of Love Actually and Die Hard. The competitive landscape of these productions underscores the intricate dynamics of success in both domestic and international markets.
In a manner reminiscent of Hamilton, Waitress: The Musical by Bleecker Street/Fathom, a live stage-performance capture, made its debut across 1,214 theaters, yielding an impressive $3.2 million and landing at #8 on the box office top ten list. This response proves noteworthy for a niche release, showcasing a positive reception.
In its second week, Animal by Cinegalaxy slid to the #9 spot from its previous #7 position, generating $2.3, reflecting a 65% decrease. The cumulative earnings for this film now stand at $11.5 million.
Rounding out the top ten list, in its second week, The Shift from Angel moved to the #10 position, down from its #8 spot last weekend, with earnings of $2.2 million, indicating a 50% decrease. The cumulative total for this film now stands at $8.5 million.
REELated:
The Top 10
1. The Boy and the Heron (GKids) NEW – Cinemascore: A-; Metacritic: 92;
$12,836,000 in 2,205 theaters; PTA (per theater average): $5,821; Cumulative: $12,836,000
2. Hunger Games: The Ballad of Songbirds and Snakes (Lionsgate) Week 4; Last weekend #2
$9,400,000 (-34%) in 3,665 (-26) theaters; PTA: $2,565; Cumulative: $135,656,000
3. Godzilla Minus One (Emick for Toho International) Week 2; Last weekend #3
$8,343,000 (-27%) in 2,540 (+232) theaters; PTA: $3,285; Cumulative: $25,344,000
4. Trolls Band Together (Universal) Week 4; Last weekend #4
$6,200,000 (-21%) in 3,451 (-165) theaters; PTA: $1,797; Cumulative: $83,082,000
5. Wish (Disney) Week 3; Last weekend #5
$5,300,000 (-31%) in 3,410 (-165) theaters; PTA: $1,554; Cumulative: $49,400,000
6. Renaissance: A Film by Beyoncé (Variance for AMC) Week 2; Last weekend #1
$5,000,000 (-77%) in 2,542 (+3) theaters; PTA: $1,969; Cumulative: $28,000,000
7. Napoleon (Sony for Apple) Week 3; Last weekend #6
$4,200,000 (-42%) in 3,350 (-150) theaters; PTA: $1,254; Cumulative: $53,095,000
8. Waitress: The Musical (Bleecker Street) NEW – Metacritic: 74
$3,238,000 in 1,214 theaters; PTA: $2,667; Cumulative: $3,238,000
9. Animal (Cinegalaxy) Week 2; Last weekend #7
$2,275,000 (-65%) in 622 (-69) theaters; PTA: $3,658; Cumulative: $11,522,000
10. The Shift (Angel) Week 2; Last weekend #8
$2,159,000 (-50%) in 2,415 (-45) theaters; PTA: $881; Cumulative: $8,502,000
Amidst a singular new wide release and the prevailing seasonal lull, the weekend box office struggled to amass a modest $71 million. This marked the fifth lowest frame of the year, trailing behind the weekends of Feb. 10-12 at $52.6 million, Sep. 15-17 at $62 million, Sep. 22-24 at $51.8 million, and Nov. 3-5 at $63.1 million. A customary trend unfolds during the midpoint between Thanksgiving and Christmas, evident in the lackluster performance this weekend last year (Dec. 9-11), which yielded a meager $37.7 million with no new wide releases.
Anticipation now builds among exhibitors for the forthcoming three weeks, marked by the promise of significant new openings to close out 2023. The cinematic spectacle kicks off with Wonka next Friday, injecting renewed vigor into the box office landscape.
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