Spider-Man Far From Home Box Office

“Spider-Man: Far from Home” Swings Away with Massive Haul


July 5-7, 2019

(estimates from BoxOfficeMojo.com)


Spider-Man: Far from Home  $93.6 million
Toy Story 4 $34.3 million
Yesterday $10.7 million
Annabelle Comes Home $9.7 million
Aladdin $7.6 million

With an estimated $93.6 million, Spider-Man: Far from Home opened with nearly $25 million less than Homecoming. But that's only because so many people saw it before the weekend. In just six days, Far from Home has already racked up $185 million domestically and more than $580 million worldwide. That's already better than Homecoming managed in its first week. Even with a steep drop in its second weekend, Homecoming had (daddy) long legs, becoming one of the three biggest movies of summer 2017. With another weekend to dominate before The Lion King comes to rule the savanna, Far from Home should have no trouble repeating that feat.

Toy Story 4 dropped to second while crossing $300 million. With a soft drop of just 42.5 percent, it will surpass Aladdin next week to become the third-biggest movie of the year so far. Though of course, this means that the top four movies of 2019 are all Disney properties, which will be unlikely to change by year's end. It will be seven of 10 when all the receipts are counted. Aren't monopolies fun?

Yesterday fell just 36.8 percent, sticking at No. 3. It's already made back its budget, and continues to do great business in the U.K. Annabelle Comes Home dropped to fourth place, and with its steep decline, it's likely to be the lowest-grossing movie in the Conjuring universe. Aladdin held on tight (and didn't dare close its eyes) with another strong weekend. It's now at $320 million domestic and inching closer to $1 billion worldwide.

Outside the top 5:

  • This Weekend's Indie Champ: Marianne & Leonard: Words of Love. The documentary about the love affair between singer-songwriter Leonard Cohen and his muse Marianne Ihlen. Another successful music doc, it averaged $11,078 on its four screens.
  • Midsommar, Ari Aster's follow-up to Hereditary, won't be the horror breakout of the summer. With $10.9 million since opening late Tuesday, it's already made back its budget. But with a mere $6.5 million this weekend, that's among the worst wide debuts of the year.
  • Child's Play is sinking like a stone. It shed 1,300 in its third weekend and made only $1.4 million. This likely won't even cross $30 million now, which would be less than the original from 30 years ago.

Next week:

An odd lull in the summer movie season, as the only new wide releases are both R-rated films with bad (or non-existent reviews). The action comedy Stuber and the creature feature Crawl will barely get to $10 million each, which would only be good for third. Both were cheap to produce, but none will be talked about much after August gets here.


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.