Denzel Washington in a scene from 'The Equalizer 3.'Stefano Montesi/The Associated Press
The third instalment in the Denzel Washington-led Equalizer franchise topped the domestic box office this weekend with US$34.5-million according to studio estimates Sunday. By the end of the Monday holiday, Sony expects that total will rise to US$42-million.
Labour Day signals the end of Hollywood’s summer movie season, which will surpass US$4-billion in ticket sales for the first time since the pandemic thanks in no small part to Barbie and Oppenheimer, which are still netting records even after seven weeks in theatres. This weekend, Greta Gerwig’s Barbie officially became the biggest movie of 2023 with over US$1.36-billion globally, surpassing The Super Mario Bros. Movie, while Christopher Nolan’s Oppenheimer sailed past US$850-million globally to become the No. 3 movie of the year and Nolan’s third-highest grossing.
The Equalizer 3 arrived at a fraught time for Hollywood, with actors seven weeks into a strike for fair contracts with major entertainment companies and movie theatres bracing for a somewhat depleted fall season as a result.
The ongoing SAG-AFTRA strike meant Washington was unable to stump for the movie, which was directed by his frequent collaborator Antoine Fuqua and brings his vigilante character Robert McCall to Italy’s Amalfi coast. While the lack of a major star on a promotional tour would normally be considered a liability for a film’s box office potential, The Equalizer 3 may be the rare exception that could withstand a rollout without Washington’s help simply because it’s a recognizable franchise.
“One of the biggest movie stars in the world took us out on a high note,” said Paul Dergarabedian, the senior media analyst for Comscore. “Studios often coast to Labour Day, but Sony was smart to choose this weekend to open `The Equalizer 3.”'
Sony opened the R-rated The Equalizer 3 in over 3,900 locations in North America, including on IMAX and premium large format screens, where it opened in line with the previous two films which both went on to make over US$190-million globally. With co-financing from TSG and Eagle Pictures, the film carried a US$70-million production price tag. The film received generally positive reviews from critics (76 per cent on Rotten Tomatoes) and overwhelmingly positive reviews from audiences, who gave it an A on CinemaScore and a five-star PostTrak rating.
“It’s uncanny the consistency of the Equalizer franchise,” Dergarabedian said.
Overseas, it made US$26.1-million, contributing to a US$60.6-million global debut.
In second place, Barbie added US$10.6-million over the weekend in the U.S. and Canada, pushing its domestic total to US$609.5-million. Warner Bros.’ other main theatrical offering, Blue Beetle added US$7.3-million to take third. The DC superhero film has grossed US$56.6-million in three weekends in North America. Fourth place went to Sony’s Gran Turismo: Based on a True Story, which is projecting US$6.6-million through Sunday, down 62 per cent from its first place opening weekend, and US$8.5-million including Monday.
Oppenheimer landed in fifth place on the domestic charts with an estimated US$5.5-million (US$7.4-million including estimates for Monday) from 2,543 theatres. This brings its domestic total to US$310.3-million and its global take to US$851-million.
The Universal film opened in China on Wednesday, playing on 35,000 screens, where it is estimated to have made US$30.3-million in its first five days. A significant portion of that (US$9.3-million through Sunday) came from 736 IMAX screens.
IMAX CEO Rich Gelfond said in a statement that Oppenheimer’s China debut showed that “it’s nowhere near finished dazzling audiences worldwide.” Gelfond added that its success also offers “a powerful demonstration of our surging market share around the world.”
That the 18-week summer movie season hit US$4-billion is significant for an industry still recovering from the pandemic and facing uncertainty in the fall if the actors and writers strikes continue. Before the pandemic, US$4-billion summers had become the standard for the industry and generally accounted for at least 40 per cent of the total box office for the year. Last summer netted out with US$3.4-billion.
And this summer had its share of hits, flops and surprises, with “Barbenheimer” accounting for over US$900-million of the US$4-billion haul.
“The summer box office is vitally important and a strong indicator of the health of the industry,” Dergarabedian said. “Many were really skeptical that we could get to $4 billion. We’re hitting it literally in the final days of the summer. It’s a reminder that any hit or miss makes a profound impact on the bottom line.”
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theatres, according to Comscore. Final domestic figures will be released Tuesday.
- The Equalizer 3, US$34.5-million.
- Barbie, US$10.6-million.
- Blue Beetle, US$7.3-million.
- Gran Turismo: Based on a True Story, US$6.6-million.
- Oppenheimer, US$5.5-million.
- Teenage Mutant Ninja Turtles: Mutant Mayhem, US$4.8-million.
- Bottoms, US$3-million.
- Meg 2: The Trench, US$2.9-million.
- Strays, US$2.5-million.
- Talk to Me, US$1.8-million.