‘Bob Marley: One Love’ Repeats as Number One to Lead a Box Office Top 10 That Includes Two TV Shows

Liem Soeng

‘Bob Marley: One Love’ Repeats as Number One to Lead a Box Office Top 10 That Includes Two TV Shows

The best thing that can be said about this treading-water weekend box office is that it would have been far worse without two niche audience films. And it is the last in February, with a much better March ahead.

“Bob Marley: One Love” (Paramount) repeats as number one with a respectable $13.5 million second weekend gross. It remains a possibility to reach a domestic $100 million, though this could be close. It fell 53 percent, not bad, but that’s compared to a first weekend when it already had a first two-day total of nearly $18 million before then.

That led a weekend coming to around $60 million total gross. Let’s be honest: That’s pathetic. “Marley” is doing fine, and the Manga “Demon Slayer: Kimetsu No Yaiba — To the Hashira Training” (Sony) #2/ $11.6 million and the faith-based adjacent drama “Ordinary Angels” (Lionsgate) #3/$6.5 million were credible performers versus anticipated results and investment. But the combination of elements this week is not a recipe for exhibition happiness.

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OPPENHEIMER, from left: Matt Damon as Leslie Groves Jr., Cillian Murphy as J. Robert Oppenheimer, 2023. ph: Melinda Sue Gordon / © Universal Pictures / Courtesy Everett Collection
“Dune: Part Two”

“Dune: Part Two” (Warner Bros.) next weekend should, by itself, exceed this weekend’s total, and it can’t come a minute too soon. The whole month looks promising (watch out for “Kung Fu Panda 4” from Universal the following weekend to capitalize on the dearth of recent family films). But even if all turns out as hoped, it will only be a step in the recovery process for the whole business. Through this weekend, 2024 is 18 percent below last year to date.

The weakness of previous high-end studio releases continues to do damage. Marvel’s “Madame Web” (Sony), #4 with $6 million, was off 61 percent, again from a weekend with a Wednesday opening. That hoped-for franchise starter will burn out under $45 million domestic. Apple’s “Argylle,” released by Universal, #6 in its third weekend, will also fall short of $50 million. (It was acquired for a reported $200 million).

Weakness extended to “Drive-Away Dolls” (Focus), Ethan Coen’s solo-directed girls-on-a-road-trip comedy. With mixed reviews and a bad audience response (C Cinemascore) in wide release, it managed only $2.4 million for #8. “Drive-Away Dolls,” like “Ordinary Angels,” was delayed from last fall (though for reasons related to the actors’ strike, while “Angels” got out of Taylor Swift’s way).

Impressively for Crunchyroll, the Sony-owned Japanese animation operation, the latest “Demon Slayer” release improved on last year’s presentation of episodes from the TV series. It’s another example of Sony finding lower-cost ways to flesh out a release schedule less dependent on franchises than some other studios. It is also a second example of made-for-TV episodes making the Top 10 this week. The second set from “The Chosen: Season 4” in its second week is #9.

For those wondering about whether this is a potential wider option: the distinction between these two cases and domestic streaming series is that they are made under guild contracts, with typically lower minimums that specify for non-theatrical play. For a top series like “The Bear” to debut new episodes in theaters first would require additional production expense before even adding in marketing costs. But it would be great if some way were found to do this.

Hilary Swank in Ordinary Angels
“Ordinary Angels”Lionsgate

“Angels” fell short of Lionsgate’s very successful “The Jesus Revolution” a year ago, which opened to $16 million. Still, the Kingdom Come production with Hillary Swank, as a Kentucky woman who helps a widower hoping for a liver transplant for his daughter, with its A+ Cinemascore could see a long-term steady run that, at its (unrevealed) low budget, could make this a success.

Oscar International Feature Film nominee “Io Capitano” (Cohen), from Italy, received excellent reviews (82 on Metacritic). It grossed around $64,000, but with some question of the number of total theaters (at least 21, but it also played a second week in multiple Canadian theaters). The second weekend of “2024 Oscar Shorts” (Magnolia) hasn’t been reported, but estimates elsewhere suggest a decent hold of around 40 percent down and $500,000, around $1.9 million so far.

Other openers include the highly acclaimed Turkish film “About Dry Grasses” (Janus/Sideshow). The three-hour-plus film took in over $14,000 in 3 New York/Los Angeles locations. “Drugstore June” (Shout), an indie comedy about a young fledgling influencer balancing multiple pressures took in over $18,000 in two New York/Los Angeles theaters. The reissue of Andrei Tarkovsky’s “Nostalghia” (Kino Lorber), led by a strong showing at New York’s Film Forum, grossed about $25,000 in three days in three theaters.

Wim Wenders’ “Perfect Days” (Neon) expanded to 253 theaters its third weekend for $653,000, over $1.3 million so far. “The Taste of Things” (IFC), after its unusual 505 theater second weekend, dropped to 357 for $325,000, with a total of $1.8 million also in three weeks. “American Fiction” (Amazon MGM) reached $20 million, “Poor Things” (Searchlight) is now just under $33 million.

The Top 10

1. Bob Marley: One Love (Paramount) Week 2; Last weekend #1

$13,500,000 (-53%) in 3,597 (+58) theaters; PTA (per theater average): $3,753; Cumulative: $71,189,000

2. Demon Slayer: Kimetsu No Yaiba — To the Hashira Training (Sony) NEW – Cinemascore: B+

$11,575,000 in 1,949 theaters; PTA: $5,939; Cumulative: $11,575,000

3. Ordinary Angels (Lionsgate) NEW – Cinemascore: A+; Metacritic: 58

$6,500,000 in 3,020 theaters; PTA: $3,202; Cumulative: $6,500,000

4. Madame Web (Sony) Week 2; Last weekend #2

$6,000,000 (-61%) in 4,013 (no change) theaters; PTA: $1,495; Cumulative: $35,446,000

5. Migration (Universal) Week 10; Last weekend #4; also on PVOD

$3,000,000 (-22%) in 2,434 (-21) theaters; PTA: $1,233; Cumulative: $120,440,000

6. Argylle (Universal) Week 4; Last weekend #3

$2,800,000 (-43%) in 3,060 (-587) theaters; PTA: $915; Cumulative: $41,690,000

7. Wonka (WB) Week 11; Last weekend #6; also on PVOD

$2,535,000 (-28%) in 2,203 (-144) theaters; PTA: $1,151; Cumulative: $214,547,000

8. Drive-Away Dolls (Focus) NEW – Cinemascore: C; Metacritic: 58

$2,400,000 in 2,280 theaters; PTA: $1,053; Cumulative: $2,400,000

9. The Beekeeper (MGM Amazon) Week 7 – Last weekend #7; also on PVOD

$1,962,000 (-39%) in 2,157 (-500) theaters; PTA: $878; Cumulative: $63,145,000

10. The Chosen: Season 4 Chapters 4-6 (Fathom) Week 2; Last weekend: #5

$1,825,000 (-49%) in 2,090 (-182) theaters; PTA: $878; Cumulative: $7.899.000

Other specialized and award-contending titles

Films (limited, expansions of limited, as well as awards-oriented releases) 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.

Io Capitano (Cohen) NEW – Metacritic: 82; Festivals include: Venice 2023

$64,167 in 21 theaters; PTA: $3,056

About Dry Grasses (Janus/Sideshow) NEW – Metacritic: 86; Festivals include: Cannes, Toronto, New York 2023

$14,400 in 3 theaters; PTA: $4,800

Stopmotion (IFC) NEW – Metacritic: 62; Festivals include: Fantastic 2023

$330,398 in 384 theaters; PTA: $860,000

Drugstore June (Shout) NEW

$18,665 in 2 theaters; PTA: $9,333

They Shot the Piano Player (Sony Pictures Classics) NEW – Metacritic: 63; Festivals include: Toronto 2023

$8,075 in 2 theaters; PTA: $4,038

Golden Years (Music Box) NEW – Festivals include: Palm Springs 2023

$6,734 in 4 theaters; PTA: $1,684

Nostalghia (Kino Lorber) REISSUE

$(est.) 25,000 in 3 theaters; PTA: $8,333; Cumulative: $29,399

Land of Bad (Variance) Week 2

$984,000 in 1,317 (+197); PTA: $747; Cumulative: $3,596,000

Amelie (Sony Pictures Classics) REISSUE – Week 2 216

$34,726 in 52 (-164) theaters; PTA: $668; Cumulative: $439,652

Lisa Frankenstein (Focus) Week 3

$600,000 in 1,366 (-1,777) theaters; PTA: $; Cumulative: $9,354,000

The Taste of Things (IFC) Week 3

$325,255 in 375 (-130) in theaters; PTA: $911; Cumulative: $1,803,000

Perfect Days (Neon) Week 3

$653,000 in 253 (+119) theaters; PTA: $2,581; Cumulative: $1,323,000

Ennio (Music Box) Week 3

$3,763 in 2 (-1) theaters; Cumulative: $26,229

Origin (Neon) Week 6

$83,000 in 83 (-44) theaters; Cumulative: $4,475,000

The Teachers’ Lounge (Sony Pictures Classics) Week 9

$12,910 in 32 (-63) theaters; Cumulative: $540,921

The Iron Claw (A24) Week 10; also on PVOD

$43,592 in 72 (-74) theaters; Cumulative: $35,070,000

All of Us Strangers (Searchlight) Week 10; also on PVOD

$27,000 in 25 (-25) theaters; Cumulative: $3,965,000

American Fiction (Amazon MGM) Week 11; also on PVOD

$(est.) 565,000 in 602 (-201) theaters; Cumulative: $20,025,000

The Zone of Interest (A24) Week 11; also on PVOD

$296,136 in 371 (-32) theaters; Cumulative: $7,436,000

Poor Things (Searchlight) Week 12

$581,000 in 540 (-140) theaters; Cumulative: $32,914,000

The Holdovers (Focus) Week 18

$35,000 in 226 (-58) theaters; Cumulative: $20,082,000

Oppenheimer (Universal) Week 32

$35,000 in 200 (+41) theaters; Cumulative: $329,018,000


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