Coco Box Office 2

Top 5 Remains Unchanged on Quiet December Weekend


December 1-3, 2017

(estimates from


Coco $26.1 million
Justice League $16.5 million
Wonder $12.5 million
Thor: Ragnarok  $9.6 million
Daddy's Home 2  $7.5 million

Much like Labor Day Weekend and the first few weekends of January, the first weekend of December has become a No Man's Land, with hardly any new releases. The only new options were limited releases and a special re-issue of Titanic, which is 20 years old now.

So it's no surprise that the top six movies remained in place, all dropping between 40 and 50 percent (except Justice League, which tumbled nearly 60 percent). Coco topped the box office again, with an estimated $26.1 million. That brings it over the $100 million line, and pacing faster than Tangled did at this time seven years ago. It should pass Cars 3 by the time Star Wars: The Last Jedi opens in two weeks.

Justice League... well, what to say about Justice League? In three weekends, it still hasn't passed $200 million. To put that in perspective, Avengers: Age of Ultron made that in four days. The Avengers (2012) did that in three. Wonder Woman had almost made $300 million by this point, Batman v Superman had made more than $250 million, and Suicide Squad had made nearly $225 million. No way to spin it.

On the other hand, Wonder is on pace for $100 million, Thor: Ragnarok for $300 million, with Daddy's Home 2 and Murder on the Orient Express headed for $90 million.

Outside the top 5:

  • This Weekend's Indie Champ: The Shape of Water, the sci-fi romance from Guillermo Del Toro. The period mystery averaged a staggering $83,400 on its pair of screens.
  • The Disaster Artist opened on 19 screens, but broke into the top 12. The biopic about Tommy Wiseau and the making of The Room averaged $64,254 on each of its screens. It goes wide next weekend.
  • But still, Call Me by Your Name had another terrific weekend. It didn't add any screens but still averaged more than $70,000.

Next weekend:

The only new wide release is Just Getting Started, which aims for the same older crowd that made Last Vegas and Going in Style modest hits. It might only make $15 million, but that might be enough for first place.


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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