Audiences Stuck with Leftovers on Post-Thanksgiving Weekend


November 30-December 2, 2018

(estimates from



Ralph Breaks the Internet  $25.7 million
The Grinch $17.7 million
Creed II $16.8 million
Fantastic Beasts:
The Crimes of Grindelwald 
$11.2 million
Bohemian Rhapsody $8.1 million

With only one new wide release, the top five spots essentially held their positions. Ralph Breaks the Internet isn't breaking any more records, and looks like it won't break Wreck-It Ralph's gross. That 54 percent drop was bigger than expected. The film is now tracking about $70 million behind the original, and with drops like this, there's almost no way it can make up the difference.

Creed II also dropped more than 50 percent, though it's in better shape. It's currently $28 million below the original Creed, and could definitely get there. The Grinch held on strongly again. Jumping up to second place, it became the 10th movie of 2018 to cross $200 million.

Fantastic Beasts was flat-out stupefied in its third weekend. It fell another 61 percent, making The Crimes of Grindelwald an American flop but an international success. Bohemian Rhapsody continued its surprising success. It's now the biggest music biopic ever, and it's looking more and more likely that Rami Malek will get that Oscar nomination.

Outside the top 5:

  • This Weekend's Indie Champ: The Favourite expanded, but held onto its crown. It added 30 screens and still averaged an impressive $32,500 on each one.
  • The Possession of Hannah Grace was the only new release, but it didn't scare up much. It made just $6.5 million, though it only cost $9.5 million.
  • Free Solo became the fourth documentary of 2018 to pass $10 million, a truly shocking development. Along with RBG, Three Identical Strangers and Won't You Be My Neighbor?, it's been a huge year for non-fiction films.

Next week:

Expect more of the same, just with smaller figures. There aren't any new wide releases. It will probably be the lowest-grossing weekend since Super Bowl Weekend back in February.


About Kip Mooney

Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.