Once again the big game killed the box office, leading to some terrible records.
Bad Boys for Life pretty much had all of the good news to itself this weekend. It remained at the top of a rather diminished heap, and the two new releases struggled to even make the top ten.
This Week in Box Office History.
Looking back at a decades worth of Super Bowls, you can see that they absolutely pummel the box office. This year the box office fell 33% from last week…which is actually a really strong hold for a Super Bowl weekend. It actually grew by 9% compared to last year, which was a 20 year low for the first weekend in February.
We have another unfortunate milestone to mark this weekend: The Rhythm Section became the worst wide release (3000 screens or more) on record. It’s 2.7 million dollar whimper barely kept it in the top ten; until actuals came in late Monday, there was some doubt if Knives Out had managed to kick it out of the last spot.
Top Film One Year Ago: Glass.
Top Film Ten Years Ago: Taken.
Top Three Films.
Bad Boys remained the top film for a third straight weekend. It added 17 million dollars to its domestic haul, and is just under 150 million dollars in total US gross. That makes Bad Boys for Life the top grossing film in the franchise for both domestic and global sales ( 292 million).
The rest of the top three also remained locked in place. 1917 took second with 9 million dollars, and Dolittle stayed at number three with 7 million dollars. Dolittle still struggles to put up decent numbers compared to its 175 million dollar budget, but does have a few more markets internationally where it is yet to open.
Gretel & Hansel knocked on the door of the top three, only to get shoved into the furnace by critics. It took in a disappointing 6 million dollars in fourth place. The good news is that the film only cost a reported 5 million dollars to make, so even a lackluster debut won’t sink its chances.
Our other new wide release, The Rhythm Section, cratered on release. It was only marginally less trammeled by critics, but a nonsense title, little marketing, and lack of a big name draw (sorry Blake Lively and Jude Law, you’re not exactly Will Smith or Scarlett Johansson…) made the film appear destined for failure.