Walt disney’s Encanto topped the Friday box office with $ 10.89 million. That’s an 87% jump from its $ 5.8 million gross Thursday, which is good but well below previous Disney Thanksgiving openers over the past decade, such as Tangled (+ 142% for a Friday at $ 19.5 million), Frozen (+ 143% / $ 27.6 million), The good dinosaur (+ 137% / $ 15.5 million), Moana (+ 120% / $ 21.8 million), coco (+ 113% / $ 18.9 million) and Ralph breaks the internet (+ 113% / $ 21.7 million). Walt Disney’s 60th animated (non-Pixar) feature film is, despite rave reviews and an A from Cinemascore, opening frankly below par for a Turkey Day newbie. Plus, the day-to-day legs are decent (-23% on Thanksgiving vs. $ 7.5million Wednesday was a solid catch), the fat ones and the Thursday-Friday jump don’t imply that, as is the case. hoped, a slew of moviegoers were just waiting for the weekend of Friday through Sunday to find out.
Barring a rally, we’re probably looking at a Friday-Sunday weekend start of around $ 29 million, or basically tied with people like Meet the Robinsons ($ 29 million in March 2007), Lock ($ 26 million as of mid-November 2008) and The princess and the Frog ($ 24 million as of mid-December 2009). The roughly $ 43 million Wednesday-Sun launch is A) about half of what’s normal for Disney since Frozen (and, corrected for inflation, since Tangled$ 48 million Fri-Sun / $ 68 million Wednesday-Sunday debut in 2010) and closer to DreamWorks’ Rise of the Guardians ($ 32 million Wednesday through Sunday for Thanksgiving 2012) and Penguins of Madagascar ($ 35 million from Thanksgiving 2014) or even the modern Disney classic The Muppets ($ 29 million / $ 42 million) exactly ten years ago. Encanto is a great movie, but it’s not great numbers.
Blame a confluence of competing factors, including Covid-specific variables (especially with the headlines on a new variant), the idea that the first Disney-only toon in theaters since Frozen II Late 2019 will arrive on Disney + in just 31 days, Christmas Eve and the pre-Covid challenges of getting people to show up for an entirely original animated feature. by Pixar Forward bombed just before Covid turned the world upside down, and it’s not like Paramount’s Amusement park, DreamWorks’ (great) Abominable or that of Laika The missing link had set the box office on fire before that. Yes, that’s partly due to a wave of big sequels in 2018 and 2019, but Pixar’s latest hit original toon remains. coco ($ 209 million domestic, $ 189 million in China, and $ 800 million worldwide) exactly four years ago this weekend.
In Better News, Paul Thomas Anderson’s Delicious Licorice Pizza debuted in four locations yesterday, playing in single-theatrical 70mm films in what can only be described as pre-Covid results. The acclaimed coming-of-age play, about a teenage entrepreneur (Cooper Hoffman, son of the late Philip Seymour Hoffman) who falls in love and befriends a relatively aimless 25-year-old (Alana Haim), won $ 141,000 yesterday, setting the stage for an opening weekend of $ 335,000. This will give the R-rated (but surprisingly healthy) dramatic comedy an average of $ 83,800 per theater. This is the biggest gross by theater since that of Adam Sander Uncut gems grossed $ 537,242 in five theaters in December 2019. That’s well below the debut of $ 147,000 per movie theater (in five locations) of The master in 2012, but better than the $ 31,000 per room four-room launch (on a seven-day start at $ 527,840) of The phantom thread in 2017.
That doesn’t necessarily mean the $ 40 million budgeted Licorice Pizza, which doesn’t have star power (Bradley Cooper is just a cameo and I guess Haim isn’t as big a draw as Lady Gaga or Harry Styles), will become a mainstream hit when it spreads. at Christmas. However, it’s a hell of a start to what is essentially “Oh, this is Paul Anderson’s last movie!” it would have impressed me even in non-Covid times. It’s almost triple the tastes of Go on! Go on and The French dispatch in terms of averages per theater. There has been a lot of talk about the seeming death of the platform release, in part due to Arclight’s shutdowns. However, studios might not want to give up on the idea, at least if they want at least a week of positive box office coverage.