“Boss Baby” Dominates Box Office Again


April 7-9, 2017

(estimates from BoxOfficeMojo.com)


The Boss Baby $26.3 million
Beauty and the Beast  $25.0 million
Smurfs: The Lost Village  $14.0 million
Going in Style $12.5 million
Ghost in the Shell $7.3 million

The Boss Baby made patty-cake of its competition once again this weekend, taking in an estimated $26.3 million. It's yet to cross $100 million, but it's about in line with where DreamWorks Animation’s last few films (Home, Kung Fu Panda 3, Trolls) have done. They really haven't had the world-beating hits that Disney has enjoyed the last several years.

Speaking of Disney's world-beating hits, Beauty and the Beast is now the 15th-biggest movie of all time in the U.S. This is probably the last week it will make big money, but I wouldn't be surprised if it crosses $500 million before it leaves theaters. That would make it only the 8th movie to ever do that here. If nothing else, it will least pass both the original Star Wars and The Phantom Menace to earn a spot in the top 10.

Smurfs: The Lost Village didn't lose too much by going animation-only. The 2013 film that proceeded this one only earned $17.5 million, which was half of what the 2011 reboot debuted with. Based on this showing, this is probably the last Smurfs movie that will hit theaters. But I wouldn't be surprised if some straight-to-video films or a Netflix series is announced any day now. That's more than you can say for Going in Style, a caper comedy remake that united three Oscar winners (plus Zach Braff directing for some reason) and failed to produce much magic. Still, it will probably hold fairly well next week, since it's aimed at an older crowd who don't care that much about seeing a movie on opening weekend. In fact, it will probably end up making more money than Ghost in the Shell, which tumbled 60 percent to finish in fifth place.

Outside the top 5:

  • This Weekend's Indie Champ: Colossal, the Anne Hathaway sci-fi/comedy that's been getting great reviews. It average $31,452 on four screens. That's all the more impressive considering this is indie studio Neon's first movie.
  • Your Name, the massive Japanese anime hit, also opened strongly. Playing on just 303 screens, the film took in $1.6 million, which put CHiPs to shame and made just a little bit less than Life, both of which were in only their third weekends and playing on 1,000 more screens.
  • There wasn't much of a case to be made for The Case for Christ, based on Lee Strobel's best-selling book. The faith-based film made a mere $3.9 million, which couldn't even top Get Out in its 7th weekend.

Next week:

It's Easter Weekend, so you know what that means: people are going straight from church to the movie theater to get their adrenaline fix. The Fate of the Furious, whose predecessor also opened on Easter Weekend, will likely obliterate some more records. Furious 7 opened with $147.1 million, which remains the biggest April opening ever. But this has a freaking Arctic submarine chase, so I don't see how it doesn't open with at least $150 million. It's really the only big-time release until summer officially kicks off with Guardians of the Galaxy Vol. 2 on May 5, so I'm betting on half-a-billion dollars before we get there.



About Kip Mooney

Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.

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