“Joker” Repeats While “The Addams Family” Snaps to $30 Million


October 11-13, 2019

(estimates from BoxOfficeMojo.com)



Joker $55 million
The Addams Family  $30.2 million
Gemini Man $20.5 million
Abominable  $6.1 million
Downton Abbey $4.9 million


While I thought a movie as dark and unpleasant as Joker might lead to a hefty drop in its second week, audiences are still responding to the brooding psychodrama. Dropping only 42.8 percent – far smaller than even the biggest superhero fare – the film has earned nearly $200 million domestically in just 10 days, and has already crossed half a billion dollars worldwide. That makes it the eighth-biggest movie of the year so far, and may even have a shot at $300 million. That would make it director Todd Phillips' biggest movie ever.

The Addams Family had the strongest debut of the new releases, taking in an estimated $30.2 million. That's the best debut for an animated movie this year among non-sequels. It's all the more impressive considering for its target audience, the Addams Family as characters aren't really in the public consciousness the way most superheroes or cartoon series are. Kids apparently still want to see the creepy, kooky and altogether ooky characters.

Gemini Man is yet another disappointment from the once-biggest movie star in the world. Will Smith's latest boondoggle took in just $20.5 million. The film's effects and technology were hyped more than its action, even though no theaters in the U.S. were equipped to play the film as intended. It will have to rely on foreign markets like China if Paramount hopes to recoup its big investment. Abominable and Downton Abbey rounded out the top five.

Outside the top 5:

  • This Weekend's Indie Champ: The Parasite hype is real. Bong Joon-ho's Palme d'Or winning dark comedy delivered a tremendous debut on just three screens. With many showings sold out, it earned a truly incredible $125,421 average. That's easily the biggest of the year and one of the best debuts of all time.
  • Jexi couldn't dial up an audience. The R-rated tech comedy earned just $3.1 million, good for ninth place.
  • Lucy in the Sky crashed and burned. After a dreadful debut, it expanded to 198 screens, which only increased its take 35 percent, managing a $369 average.

Next week:

Disney continues its insanely good year with Maleficent: Mistress of Evil. While it seems unlikely they can keep their streak of No. 1 films alive, it will almost certainly take the top spot, though with less than original film. A $50 million debut feels likely. Zombieland: Double Tap is a little bit more of a curious case. The original was a modest hit and a smash on DVD. But 10 years later, will anyone care? I think at least $20 million worth of people will.


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.