411 Box Office Report: Nobody Opens Strong By Pandemic Standards, Godzilla vs. Kong Roars Overseas

It’s a hopeful sign for the box office that Nobody performed well at the box office this weekend, at least by recent standards. The Bob Odenkirk-starring action film opened in theaters this weekend and scored $6.7 million to take the top spot. While that may be anemic by pre-pandemic standards, it’s a great number all things considered and reps the third-best opening of a film in 2021, behind only Tom & Jerry’s $14.1 million start a month ago and Raya & The Last Dragon’s $8.5 million opening to start the month.

In a normal box office period, Nobody would likely have opened in the $10 million to $12 million range as it would get shut out by larger, more heavily-publicized films. The amount it did start off with is a solid percentage of that, and a likely better fraction than either Tom & Jerry or Raya would have done (Raya would have likely done in the $30 million range, Tom & Jerry closer to $45 million). The hold is a case of not only more theaters re-opening, but the strength of Nobody as a film theatergoers are willing to go out and see. It’s also important to note that both of the other films had day-and-date releases on Disney+ and HBO Max respectively, albeit with a $29.99 price tag for Raya.

Either way, Universal has to be happy with the action thriller, which has garnered some fantastic reviews. The Rotten Tomatoes aggregated score for Nobody is a strong 80% and its A- CinemaScore is a great sign. Universal can look to this film sticking around too, as the pandemic has seen long legs for films. Where action thrillers usually leg out to a 3x multiple or less, films like The Marksman and Unhinged made it to 5x — and they not only had more lukewarm buzz, they had less prospects in terms of theater opportunities. The downside for Nobody is that it won’t be quite as alone in terms of theaters, with Godzilla vs. Kong stomping into theaters next weekend. Still, at least a 3.5x to 4.0x seems likely and that would but it at a pretty good $23.5 million to $27 million by the time it’s done. That would make it the third-highest domestic grossing film of 2021 to date. No word on its budget.

Coming in at #2 is Raya and the Last Dragon, down 32% in its fourth weekend to $3.5 million. The animated fantasy adventure film brings its totals to $28.4 million domestically and $90.5 million worldwide. Those would be awful numbers normally — but again, the pandemic factors in here. In addition, Disney can count up whatever money the film has earned from its Disney+ Premier Access, which has at least been successful enough that they are continuing the strategy with Black Widow and Cruella. Raya cost $100 million to produce, and due to everything it’s tricky to say how profitable it might me, other than to point to the continuation of Disney+ Premier Access as an indication that there’s at least some money going into Disney’s coffers.

Tom & Jerry came in at #3 in its fifth weekend, down 35% to $2.5 million. The animated/live-action hybrid comedy is now at $37.1 million domestically and $85.4 million worldwide off of a much lower budget than Raya at $50 million. Again, add whatever profits Warner Bros. is counting from HBO Max and this one is actually doing pretty well all in all, thanks to strong word of mouth (an A- CinemaScore) and despite a critical drubbing at just 27% on RT.

In contrast to the above films, Lionsgate’s Chaos Walking is an example of a pandemic release that has fallen flat. The Tom Holland and Daisy Ridley-starring sci-fi action film was at #4 in its fourth weekend with $1.2 million, down 38%. That brings the film up to a meager $11.5 million domestically and just $15.7 million worldwide. And it doesn’t even have the excuse of being available for streaming somewhere. This is one that very easily could have done far better outside of current circumstances, but even “far better” wouldn’t have been a profit for an expensive $100 million production plus marketing. It didn’t help that critics didn’t like it (27% on RT) and audiences who went to see it have been so-so with just a B CinemaScore. The film can only hope to make up ground with its digital release on Friday, but it’s a guaranteed money loser at this point.

The Benedict Cumberbatch-led thriller The Courier charted at #5 for the weekend with $1 million, slipping 45% in its second week. That’s not great, though this is likely not an expensive film and is the kind to find more life after its theatrical run. The film currently stands at $3.5 million domestically and $3.8 million worldwide, and it’s most concerning aspect is that fairly hefty drop. This doesn’t seem like a film that will leg out well, and while it won’t have too much competition for a less action-heavy adult film, it may not finish out above $9 million by the time it’s done. No word on its digital release date yet, so its theatrical receipts may get a bit more time to breathe.

The Croods: A New Age continues to hang in the top ten, down to #6 in its 18th week with $540,000. That brings the film to $56 million domestically and $160.9 million worldwide, enough to make it an unqualified success off of its $65 million budget. DreamWorks Animation and Universal are very pleased with this one.

The Marksman came in at #7 in its 11th week, down 20% to $375,000. The Liam Neeson road trip action thriller now has $14.8 million domestically and $19.1 million worldwide, not quite equalling its $23 million budget but sure to hit there once it releases on home video on April 27th.

Sports drama Boogie was #8 in its fourth weekend of release at $340,000. The basketball-centered drama about Chinese-American high school senior with NBA dreams is now at $3.8 million domestically. It released in theaters and on digital simultaneously.

Minari was the sole Best Picture nominee in the top ten, scoring $275,000 in its 16th week. The 1980s-set Asian-American drama now has $1.8 million domestically and $8.5 million worldwide against a $2 million production budget, plus marketing and its awards campaign. It has also been available on streaming platforms since February, so it’s not relying on box office for all of its revenue by a long shot.

Wonder Woman 1984 closed out the top 10 with $245,000, down 47% in its 14th week. The DC superhero film has $45.9 million domestically and $165.9 million worldwide, plus whatever revenue it brought DC Films and Warner Bros. from its month of HBO Max streaming. Whatever that is, it’s a far cry from the numbers of the other big DCEU blockbusters.

While that’s all of the top 10, there’s one that must be discussed which hasn’t even been released here and that’s Godzilla vs. Kong. The Adam Wingard-directed monster vs. kaiju flick showed serious strength overseas, as it brought in $122.8 million to start. That is the best worldwide start since the pandemic began, and it scored strongly in China where $70.3 million of that take came from. In fact, that number is better than the 2019 first weekend in China for Godzilla: King Of The Monsters which had $66 million. It is about on par with Kong: Skull Island’s start, and looks poised to deliver here in the US when it opens this weekend as well (day-and-date with its HBO Max release). It won’t do pre-pandemic blockbuster numbers, but it should easily notch the best opening since last March.

BOX OFFICE TOP THREE (Three-Day Domestic Numbers)
1. Nobody – $6.7 million ($6.7 million total)
2. Raya & The Last Dragon – $3.5 million ($28.4 million total)
3. Tom & Jerry – $2.5 million ($37.1 million total)
4. Chaos Walking – $1.2 million ($11.5 million total)
5. The Courier – $1.0 million ($3.5 million total)
6. The Croods: A New Age – $540,000 ($56 million total)
7. The Marksman – $375,000 ($14.8 million total)
8. Boogie – $340,000 ($3.8 million total)
9. Minari – $275,000 ($1.8 million total)
10. Wonder Woman 1984 – $245,000 ($45.9 million total)