It’s admirable of writer-directorJohn Krasinskito cash the blank check that Paramount cut him following the blockbuster success of his twoA Quiet Placemovies on something as wildly different asIF. The PG-rated live-action animated film opened theatrically on Friday,coming in under expectations at the domestic box office. But it’s still early days, and family films tend to have longer legs during the summer, which could mean that despite its projected $30 million opening weekend haul — the movie was expected to generate around $40 million —IFcould eventually clear the coveted $100 million milestone domestically.
Starring Krasinski himself, alongsideRyan Reynolds, newcomerCailey Fleminganda star-studded castof voice performers,IFopened to $10 million on Friday. This puts the movie in the same range as Reynolds’Free Guy, which debuted with $28 million in its opening weekend back in peak-pandemic 2021, before ending its domestic run with over $120 million.Reviews forIFhave been mixed, with the film currently sitting at a “rotten” 50% score on the aggregator websiteRotten Tomatoes. But audience reception is key here; the movie earned an A CinemaScore from opening day crowds, and has an 84% audience approval rating on RT.In his review, Collider’sRoss Bonaimewrote thatIF“essentially feels like the equivalent of receiving a warm hug while crying.”
Slipping to second place after outdoing expectations in its domestic debut last week, 20th Century Studios’Kingdom of the Planet of the Apesgrossed $6.8 million on its second Friday, taking its running total to over $80 million. The fourth installment in the Planet of the Apes reboot series is eying around $25 million this weekend, and should it come in on the higher end of projections,it will clear the $100 million mark domestically by Sunday. The $160 million tent-pole grossed $58 million in its first weekend, outperforming previous reboot installments such asRise of the Planet of the ApesandWar for the Planet of the Apes.
An Original Studio Tent-Pole Is Clashing with Franchise Fare this Weekend
Debuting in third place, the horrendously reviewedThe Strangers — Chapter 1is looking at a $13 million opening weekend haul after grossing $5 million on Friday. While this certainly puts the movie ahead of projections,this is hardly the rebound that the horror genre so desperately needs right now.The Strangerscomes on the heels of a string of horror under-performers such asAbigail,The First Omen, and more recently,Tarot. The movie is currently sitting at a “rotten” 13%RT score, with equally concerning audience reception — it has a 42% audience approval rating on RT, and a C CinemaScore.
In fourth place, Universal’sThe Fall Guygenerated $2.2 million on its third Friday, and should clear the $60 million mark by Sunday if it is able to meet its projected $8 million haul this weekend. But no matter how you cut it,the action-comedy is struggling to match its pre-release buzz, and is still tracking behind directorDavid Leitch’s last film,Bullet Train. But that movie, which featuredBrad Pittalongside a talented ensemble, eventually legged it past the $100 million mark domestically, which is a realistic target forThe Fall Guy, which serves as starsRyan GoslingandEmily Blunt’s follow-up to their respective 2023 blockbusters,BarbieandOppenheimer.
Tanking in its domestic debut, directorSam Taylor-Johnson’s biopic of the late singerAmy Winehouse,Back to Black, is looking at just $3 million in its first weekend after grossing $1.2 million on Friday. Themovie was pulverized by criticswhen it debuted in the U.K. some weeks ago, and currently holds a “rotten”36% approval rating on RT. The movie has grossed nearly $40 million from overseas markets heading into its stateside release. In recent years,music biopicssuch asBohemian Rhapsody,Rocketman,Elvis, and more recently,Bob Marley: One Love, have done exceedingly well at the box office, which raises the stakes forBack to Black. Stay tuned to Collider for more updates.
A young girl who goes through a difficult experience begins to see everyone’s imaginary friends who have been left behind as their real-life friends have grown up.
