Box Office Report: “Bad Boys for Life” Hangs On for a Second Week
Will Smith & Martin Lawrence beat Guy Ritchie's latest handily in a robust-for-January weekend.
January 27, 2020

Will Smith & Martin Lawrence beat Guy Ritchie’s latest handily in a robust-for-January weekend.

Two new wide releases were no match this weekend for those Bad Boys, who continued to top the domestic box office. Bad Boys for Life dropped only 45% this weekend, a better second-weekend hold than fellow Martin Luther King Jr. weekend box office hit Ride Along. Bad Boys for Life grossed another $34 million this frame for a ten-day domestic total of $120.6 million. Having already nearly doubled its $62.5 million opening weekend and without a barrage of competition over the next month, the sky really is the limit for how high Bad Boys for Life could go at the domestic box office. At the very least, it’ll end its run in the neighborhood of $175-180 million, a significant improvement over the $138.6 million domestic total of Bad Boys II.

Thanks to the lack of noteworthy new titles this week, holdover movies saw small weekend to weekend drops this frame. This included 1917, which dipped just 28% in its third weekend of wide release. Charging into battle with another $15.8 million, 1917 has now grossed $103.8  million domestically. Fellow Universal holdover Dolittle actually didn’t hold terribly this frame as it dropped 42%, not too far off from the 37% second-weekend drop of The Nut Job. However, that second-weekend hold still only yielded $12.5 million for all those talking animals. Dolittle currently has amassed a disappointing $44.6 million ten-day domestic haul and is headed for an anemic $65-70 million final domestic total.

The Gentlemen, meanwhile, opened to $11 million, a result that’s neither dismal nor exceptional. Struggling distributor STX Films could have used the latter type of box office player right now but at least The Gentlemen wasn’t far off from the bows of far more expensive Guy Ritchie directorial efforts like The Man From U.N.C.L.E. or King Arthur: Legend of the Sword. Plus, STX apparently paid just $7 million for U.S. rights for this film, so they’ll make it out alright. Part of the reason The Gentleman didn’t become a breakout hit like past January STX action title Den of Thieves was that its marketing lived and died on its director alone. The trailers and commercials gave no indication to a broader plot or specific characters, they were just evoking prior Ritchie movies (and also, in the posters at least, the Kingsman films). That limited appeal marketing is a key reason why The Gentleman will likely end its domestic run between $30 and $35 million.

A quick detour into holdovers brings us face-to-face to Jumanji: The Next Level, which continued to hold impressively well with only an 18% dip for a $7.9 million seventh-weekend gross. Having now amassed $283.4 million domestically, Jumanji is becoming as much of a leggy word-of-mouth sensation as its predecessor, an impressive feat for a comedy sequel. I’d wager Sony/Columbia will be moving Heaven and Earth to make sure this sticks around long enough to crack $300 million domestically. 

Returning to wide release newcomers, The Turning continued the tough streak horror fare has been on in 2020 with a measly $7.3 million debut. Though slightly above the $5-6 million pre-release opening weekend projections, that’s still not a good debut for a movie opening in 2,571 locations. An F CinemaScore from audiences (the second one to emerge in January 2020) means this one won’t be sticking around for long domestically. The Turning’s marketing just couldn’t make it stand out from other scary features about haunted youngsters and that, coupled with lousy reviews, ensured its box office doom.

Star Wars: The Rise of Skywalker held solidly this weekend with a 37% drop, giving it another $5.1 million. That takes the movie past the $500 million domestic mark to a $501.5 million domestic cume. In eighth place, Little Women eased a tiny 26% to gross another $4.6 million for a $93.7 million domestic total. Right behind it was Just Mercy, which fell 29% to add $4 million to a domestic total that now stands at $27 million. Rounding out the top ten was Knives Out, which once again had the smallest weekend-to-weekend hold in the top ten as it eased a mere 14%. Snooping out another $3.6 million, Knives Out has now grossed a massive $151.8 million domestically. 

Right outside the top ten was Frozen II, which dipped just 33% to gross another $2.5 million for a $469.8 million domestic haul. Next up we have Parasite, which expanded into its widest theater count yet, 1,060 locations. This led to it grossing $2 million for a per-theater average of $1,886. Having now grossed $30.9 million, Parasite has surpassed the domestic total of I, Tonya to become the biggest domestic box office performer ever from NEON. Spies in Disguise dipped only 33% this frame, giving it a fifth-weekend haul of $1.7 million and a domestic total of $62 million.

Holding far worse this frame was Like a Boss, which plummeted another 62% for a third weekend gross of only $1.5 million and a domestic gross of just $20.5 million. Jojo Rabbit, now playing in 1,160 theaters, dipped just 8% this weekend. Grossing another $1.3 million, Jojo has now grossed $25.9 million domestically. Meanwhile, Underwater dropped off a hefty 68% to add only $1.19 million to a domestic gross that now stands at $15.9 million.

I totally forgot The Last Full Measure even came out this weekend until I started writing this column and I’m not the only one judging by its lackluster wide release debut. Measure only opened to $1.05 million from 614 locations for a per-theater average of $1,718. It’s no mystery why this title struggled financially, it was an adult drama with little buzz or mainstream appeal trying to compete against a whole slew of far more prolific adult dramas like 1917 and Little Women. In retrospect, it is a touch surprising distributor Roadside Attractions didn’t launch this one last weekend, a three-day holiday weekend could have goosed the grosses a bit.

Moving back to holdovers, Ford v. Ferrari dipped 23% this weekend to gross another $822,000 and zoomed to a domestic total of $114.3 million. Uncut Gems, now playing in 490 locations, fell into limited release this frame but it still grossed $702,800 for a domestic gross of $47.6 million. Weathering with You dropped 61% this weekend for a second-weekend gross of $693,231, but given that it’s grossed a great $6.5 million to date, nobody at GKIDS is hurting from that second-weekend drop.

Panga opened to $281,000 from 102 locations for a per-theater average of $2,754 while Color Out of Space grossed a solid $217,800 from 81 locations for a per-theater average of $2,688. The latter title has now taken in $358,164 after five days of domestic release. Finally, Clemency expanded into 127 locations in its fifth weekend of release. This resulted in a $86,500 gross for a per-theater average of $681 and a domestic gross of $225,868.

The top ten movies this weekend grossed a total of $106 million, a whopping 46% increase from this same weekend last year when Glass ruled the domestic box office once again and a 4% increase from this same weekend in 2018. With approximately $834.8 million to date, January 2020 has already surpassed the $812 monthly haul of January 2019. While January 2020 will end up below the especially gargantuan monthly hauls seen in January from 2015 to 2018, January 2020 is already the ninth biggest January in the history of the domestic box office and will likely move up another slot or two in the remaining five days of the month. That’s a fine way to kick off this year’s domestic box office exploits.