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'Girl on the Train' Leads Weekend While 'Finding Dory' Tops $1 Billion Worldwide

by Brad Brevet
 

 
October 9, 2016

The weekend turned out almost exactly as expected with Universal and DreamWorks's The Girl on the Train finishing at #1 and the weekend top twelve coming in ~8.7% behind the same weekend last year, grossing a combined $96.4 million. The weekend's two other new wide releases—The Birth of a Nation and Middle School: The Worst Years of My Life—are in a fight for sixth place as holdovers mostly ruled the top five. This weekend also saw Disney's Finding Dory become the 27th film to ever cross $1 billion worldwide, making it the third Disney release of 2016 to cross that mark.

Finishing at #1, the adaptation of Paula Hawkins' bestselling novel, The Girl on the Train, came up just a bit shy of expectations with an estimated $24.7 million from 3,144 theaters. It's no stretch to assume the film experienced diminishing buzz as the weekend wore on, due mostly to the largely negative reviews (44% on RottenTomatoes) and lackluster, "B-" CinemaScore. Moving forward, it will be interesting to see just how well the film can hold on in the face of such results, especially with another adult-targeted feature in The Accountant hitting theaters next weekend.

Girl on the Train's audience breakdown was 68% female vs. 32% male with 45% of the audience coming in under the age of 30 and 55% over the age of 35.

Girl on the Train also opened internationally this weekend in 34 territories, bringing in an estimated $16.5 million. Leading the way, the film opened with an estimated $8.5 million in the UK followed by $4.4 million in Australia. Upcoming releases include Spain (10/21), France (10/26), Germany (10/27), Italy and Denmark in early November and Hong Kong on November 10.

Finishing in second was last weekend's #1, Fox's Miss Peregrine's Home for Peculiar Children, with an estimated $15 million. This signifies a 48% second weekend drop as the film's domestic gross now stands at $51 million. In third, Lionsgate's Deepwater Horizon dropped 42% in its second weekend as the Mark Wahlberg true life drama brought in an estimated $11.75 million bringing its domestic cume to $38.5 million.

Sony's The Magnificent Seven has now topped $75 million domestically as it brought in an estimated $9.15 million in its third weekend and, rounding out the top five, WB's Storks, also in its third weekend, finished with an estimated $8.45 million as its domestic cume currently stands at $50.1 million.

It's looking to be a tight race for sixth place between the weekend's two other new wide releases beginning with Fox Searchlight's The Birth of a Nation, which brought in an estimated $7.1 million from 2,105 theaters. As discussed in our weekend preview, the Sundance darling and Oscar hopeful was mired with controversy heading into its opening weekend, and while we can't be entirely certain what kind of effect the headlines had on the film, it ultimately opened at the lower end of expectations.

Beyond headlines, however, the film was a hit with critics (79% on RottenTomatoes) and opening day audiences gave it an "A" CinemaScore. Searchlight picked the film up for a Sundance-record $17.5 million.

Currently in seventh place is Lionsgate and CBS's Middle School: The Worst Years of My Life, which brought in an estimated $6.9 million from 2,822 theaters and has a shot at moving up a spot once weekend actuals arrive. The film didn't hold advance screenings for critics, but since the start of the weekend has seen mixed reviews to the tune of a 59% RottenTomatoes score, though opening day audiences seemed to enjoy it scoring it an "A-" CinemaScore. Audience demographics were split 50/50 by gender, with 54% of the overall opening weekend crowd coming in under 18 years-old and 42% was over 25.

In eight position, Warner's Sully finished its fifth week in release with an estimated $5.27 million bringing its domestic cume to $113.4 million. The Clint Eastwood-directed feature remains the only fall release to top $100 million domestically so far. Relativity's Masterminds held on a little better than expected, dropping 37% after a lackluster opening last weekend, delivering $4.1 million this weekend as its cume now stands at $12.7 million.

Disney's Queen of Katwe rounds out the top ten with an estimated $1.6 million, dropping 35% in its second weekend in wide release. Its domestic cume now stands at $5.3 million.

In limited release, ArtAffects's Voiceless brought in an estimated $250k from 100 theaters ($2,500 PTA); Film Rise's The Greasy Strangler delivered an estimated $25,000 from 11 theaters ($2,273 PTA); Kim A. Snyder's Newtown documentary brought in $6,796 from two theaters ($3,398 PTA); Zeitgeist's Theo Who Lived opened with $5,539 from one theater; and The Orchard's Blue Jay also debuted in one theater and brought in an estimated $5,235.

In other news, Disney's Finding Dory has officially crossed $1 billion worldwide with an estimated $485 million domestically and $517 million internationally. Dory is Pixar's second billion-dollar release alongside Toy Story 3 and Disney's third film to top $1 billion worldwide in 2016 along with Zootopia ($1.023 billion) and Captain America: Civil War ($1.153 billion).

This weekend also saw Suicide Squad's international total grow to an estimated $419.6 million as it has now passed Deadpool internationally, though remains behind the R-rated superhero hit by $40.5 million domestically.

Next weekend sees the release of The Accountant starring Ben Affleck and Anna Kendrick in 3,200+ theaters, Kevin Hart's latest concert film Kevin Hart: What Now? debuts in ~2,500 theaters and Open Road will premiere Max Steel in approximately 2,000 theaters. On a slightly smaller scale, STX will release Jona Cuaron's Desierto into ~74 theaters and Roadside's Priceless will premiere in 300+ theaters.

For a look at this weekend's estimated results click here and we'll be updating the charts with weekend actuals on Monday afternoon.

Discuss this story with fellow Box Office Mojo fans on Facebook. On Twitter, follow us at @boxofficemojo and author Brad Brevet at @bradbrevet.



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