Hitman's Bodyguard Repeats at Box Office

“The Hitman’s Bodyguard” Repeats on Slowest Weekend Since 2012


August 25-27, 2017

(estimates from BoxOfficeMojo.com)


The Hitman's Bodyguard  $10.0 million
Annabelle: Creation $7.3 million
Leap! $5.0 million
Wind River $4.4 million
Logan Lucky $4.3 million

It was a rough weekend at the box office, and it will be even rougher for the next couple weeks. In fact, you'd have go all the way back to September 2012 to find a No. 1 movie that made less than The Hitman's Bodyguard did in its second weekend. (That fall weekend five years ago was when The Possession repeated with a meager $9.3 million.) The Ryan Reynolds action comedy took in just $10 million, but it's now made back its budget and has yet to open internationally.

Annabelle: Creation stayed at No. 2, as it inches its way to $80 million. Leap! was the biggest of this weekend's debuts. But the animated movie about a ballerina only managed $5 million. That's lower than even The Nut Job 2 or The Emoji Movie. It's going to be forgotten like so many other independent animated films. At least we got a sweet Carly Rae Jepsen track out of it.

Wind River jumped up to a true wide release and may be the biggest recipient of such a lull of new releases. It's now made nearly $10 million and could become a sleeper hit, much like last year's Hell or High Water. It's even luckier than Logan Lucky, which slipped 42.5 percent to No. 5.

Outside the top 5:

  • This Weekend's Indie Champ: Beach Rats, a gay coming-of-age story. It averaged $15,003 on each of its three screens.
  • Neither Birth of the Dragon nor All Saints managed much of a debut. The former, another film about Bruce Lee, managed only $2.5 million for eighth place. The latter, a drama about a church taking in refugees, took in $1 million less.
  • A 3-D release of Terminator 2: Judgment Day wasn't nearly the behemoth the original 1991 release was. Playing on only 386 screens, it managed only $582,300.

Next week:

It's Labor Day Weekend, and there's... nothing. The widest release is a 40th anniversary reissue of Close Encounters of the Third Kind and it's only on 700 screens. There's also the oft-delayed Tulip Fever, but I'll believe that when I see it.



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.

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