Weekend Box Office: Chris Pratt Makes Money
Tuesday, May 9, 2023 at 6:18AM By Ben Miller
It was a Chris Pratt-dominated weekend as the Marvel's Guardians of the Galaxy Vol. 3 easily won the weekend box office with around $114 million. It's certainly below the norm for other MCU films, but largely positive critical reviews (81% on Rotten Tomatoes) and an "A" CinemaScore should give the film legs compared to other recent Marvel films. The Super Mario Bros. Movie continues it's box office reign as the highest grossing film of 2023. The Nintendo adaptation is now sitting at 17th all-time in the domestic rankings and at $1.1 billion worldwide, sits at 25th all-time. By the way, fifty-one films have made over $1 billion and Pratt has been in six of them...
| Weekend Box Office (actuals) May 5th-7th 🔺 = new or expanding / ★ = Recommended |
|
| WIDE (Over 800 Screens) | LIMITED / PLATFORM |
 GUARDIANS VOL. 3 |
 JOYLAND |
|
1 🔺 GUARDIANS OF THE GALAXY VOL 3 $118.4 *NEW* 4450 screens |
1 SOMEWHERE IN QUEENS (US) $78k (cum. $1.5) 122 screens |
|
2 THE SUPER MARIO BROS. MOVIE $18.5 (cum. $518) |
2 ★ SHOWING UP (US) $44k (cum. $642k) 102 screens |
|
3 EVIL DEAD RISE $5.8 (cum. $54.2) 3036 screens |
3 WILD LIFE [Doc] $41k (cum. $236k) 23 screens |
|
4 ★ ARE YOU THERE GOD? IT'S ME, MARGARET? $3.2 (cum. $12.5) 3343 screens |
4 BORN TO FLY (China) $36k (cum. $185k) 22 screens |
|
5 🔺 LOVE AGAIN $2.3 *NEW* 2703 screens |
5 ★ JOYLAND (Pakistan) $30k (cum. $185k) 34 screens |
|
6 JOHN WICK CHAPTER 4 $2.3 (cum. $180) 2481 screens |
6 ★ THE EIGHT MOUNTAINS (Italy) $15k (cum. $56k) 4 screens |
 LOVE AGAIN |
 CARMEN |
|
7 ★ DUNGEONS & DRAGONS $1.4 (cum. $90.8) 1751 screens |
7 🔺 CHILE 76 (Chile) $13k (cum. $35k) 2 screens |
|
8 ★ AIR $1.3 (cum. $50.2) 1632 screens |
8 ★🔺 RMN (Romania) $12k (cum. $23k) 41 screens |
|
9 THE COVENANT $1.2 (cum. $14.7) 1807 screens |
9 ★🔺 CARMEN $8k (cum. $39k) 19 screens |
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10 SISU $1.1 (cum. $5.5) 1006 screens |
10 🔺 THE MELT GOES ON FOREVER [Doc] $7k *NEW* 1 screen |
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11 🔺 BIG GEORGE FOREMAN... $824k *NEW* 3054 screens |
11 SICK OF MYSELF (Norway) $6k (cum. $72k) 12 screens |
|
there were only 11 movies in wide release... |
12 ★ OTHER PEOPLE'S CHILDREN (France) $6k (cum. $49k) 9 screens |
|
|
13 32 SOUNDS [Doc] $4k (cum. $27k) 1 screen |
|
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14 ★ LITTLE RICHARD: I AM EVERYTHING [Doc] $3k (cum. $119k) 8 screens |
|
|
15 ★ CINEMA SABAYA (Israel) $3k (cum. $64k) 3 screens |
Elsewhere, Evil Dead Rise continues it's solid counter-programming run, already matching the box office of the 2013 predecessor. The only other new wide-release film was the Priyanka Chopra-starring Love Again, which barely made over $2 million on 2,700 screens.
Even the limited/platform releases got out of the way of Marvel, with only two new releases in limited theaters, and they released in a total of three theaters. [Editor's Note: Unfortunately there's continued erosion of the audience for arthouse cinema with tiny under-promoted short runs in theaters. But IF you can find them near you, some of the options are excellent. DO NOT MISS JOYLAND.]
Next Weekend - Only two releases go wide next week with the animated film Rally Road Racers and the actress-heavy sequel Book Club: The Next Chapter. I would expect Guardians to hold on to the top spot for another week.
What did you watch this weekend? My Oscar completism has landed on 1983, so I took in Silkwood (Nathaniel's pick for best Streep performance), Testament (featuring an exceptional Jane Alexander lead role), and Educating Rita (one of Michael Caine's best). Also caught the snooze that was 1960's Sons and Lovers.
Reader Comments (9)
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This week I saw The Eight Mountains, which I thoroughly enjoyed. Its slow pace and vistas make this a must see in the theater -- don't wait to watch it at home!
And continuing to catch up with 70s actressing --
The Emigrants -- truly captivating, even at its 191 minute run time
Lenny - thoroughly watchable tho it's disparate parts don't really gel
Sounder - very movie-of-the-week, but I enjoyed watching it
Sunday Bloody Sunday - the film isn't nearly as insightful about relationships as it thinks it is
I saw Guardians of the Galaxy Vol. 3 which I think is one of the best films of the MCU and certainly one of James Gunn's best films. There were moments in that film that BROKE me. It is a film about trauma and loss with this gang of misfits who are all dysfunctional doing what they can to save one of their own. It also has a great ending. That's all I'm going to say.
Scream 6 the best one in a while.
The Tank thoroughly awful
The Bofers Gun good performances but very static
The Boston Strangler one of the best of the 60's detective stories
Funny Girl enchanted from beginning to end,Streisand maybe should have had the Oscar solo.
The Carpetbaggers campy everything bu the the kitchen sink drama with a terrible George Peppard and a wonderful OTT Carroll Baker.
I caught Kelly Reichardt's latest at Lincoln Square before it disappeared.
For long-time fans of Reichardt and her very particular films, Showing Up showed her usual rhythms that mimic real life in terms of naturalistic acting and dialogue, and pace. This latest one is like a "Kind of Blue" album that Miles Davis released -- slow, evocative, and burstingly loud when needed. And "blue" might just be the tonal color of the film - a bluesy and melancholy story of an artist caught precisely during her 'blue' period. But what happens in the course of this narrative is a further examination of sometimes-frayed-sometimes-loving relationships between friends, colleagues, siblings, parent-children, human-animals.
Some may kvetch that the langour preferred for this film's pace verges on the soporific but it is not without its own stark beauty. There is awkwardness, unexpected emotional shifts, and caring for an animal that is funny in an offbeat way.
While it may be off to laud performances in any Reichardt film considering that there is an absence of showboating, all characters stayed within what their characters would do given the situation and within the arc of the story, but Hong Chau crackles with electricity everytime she's on. Same with Judd Hirsch. Which is not to say that Michelle Williams, John Magaro and Mary Ann Plunkett do not register (they are all effective) at all but Chau and Hirsch are first among equals in this quiet film. The final act is such a Reichardt blueprint where everything carries on just like life.
The art pieces and installations that were on display are beautiful especially since the film showed how they were molded and finally released to the world. The individual and collective art pieces are like Kate Bush playing the piano alone while singing "A Coral Room" after the cacophonous sounds before that track - they are beautiful because of what we saw/heard before their final form/final song.
This week, I tried to see theatrical releases that looked like they wouldn’t stay long in theatres.
“Sisu”
Finland, dir. Jalmar Helander, 91 minutes run time.
This movie has been compared to spaghetti westerns, Fury Road, John Wick, Inglourious Basterds, etc. It’s definitely in the genre of “they picked the wrong person to mess with”. A WWII Nazi squadron, retreating from Finland, thinks the grizzled old gold prospector (Jorma Tommila) is just another vulnerable local.
But the prospector is Aatami Korpi, retired Finnish commando, aka “The Immortal”, aka “Koschei the Deathless”. (You can see where the movie goes from here). It was less gruesome than I expected, but perhaps I was overwarned.
There’s even some women in the movie, Finnish captives (re the Fury Road comparisons). Mimosa Willamo, playing Aino, has practically the only monologue in this dialogue light movie, telling the legend of The Immortal.
The audience loved it.
“Polite Society”
dir. Nida Manzoor, comedy, action, 104 minutes.
Two sisters in contemporary London. The younger is a teenager who wants to emulate famous British stuntwoman Eunice Huthart. She also wants to save her older sister from an arranged marriage.
It felt like the director made exactly the movie she wanted to, and put in all her favourite things.
An enthusiastic (and varied) audience.
“Chevalier”
dir. Stephen Williams, historical biopic, 107 minutes (but seemed longer).
A showcase for the charismatic and talented Kelvin Harrison Jr. It’s a biopic about a mostly forgotten musical genius in France in the time of Queen Marie Antoinette.
For me, the screenplay seemed a bit jarring and patchy, but the excellent cast made the most of everything they were given. Often that seemed to be: looking decorative in the background, stepping out to declaim a few anachronistic lines, then stepping into the background again.
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Chris Pratt's presence at the weekend box office proves his star power as audiences flock to theaters, resulting in lucrative profits for his films.
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