You will be redirected back to your article in seconds

‘Evil Dead’ Claws to No. 1 With $26 Million; ‘Jurassic Park’ Overperforms in Imax

'G.I. Joe,' 'Croods' tie for second place with $21.1 million

Fanboys fueled the weekend’s domestic box office as Sony’s Sam Raimi-produced “Evil Dead” remake collected top coin with an estimated $26 million. Meanwhile, Universal’s 3D conversion of “Jurassic Park” did well, nabbing an estimated $18.2 million, of which Imax contributed a record-setting 32% (or roughly $6 million).

Internationally, Sony launched “Evil Dead” at 21 markets where it earned $4.5 million; Russia contributed $1.6 million, followed closely by Spain, with $1.5 million. “Jurassic Park” also bowed day-and-date, making around $3 million from eight territories, the largest contributor being Russia with $1.4 million.

Domestic totals, which were up approximately 10% over this time last year, were helped by solid holdovers: Paramount-MGM’s “G.I. Joe: Retaliation” and Fox-DreamWorks Animation’s “The Croods.” The pair tied for second place with an estimated $21.1 million each, though some rival studios give the edge to “G.I. Joe,” which fell just 48% in its second frame. “G.I. Joe” has cumed $86.7 million domestically; “Croods,” down a mere 21% this weekend, reached $125 million in three weeks.

Compared to other 3D conversions, “Jurassic Park” now has the third-largest opening behind “The Lion King” ($30 million) and “Star Wars: Episode I — The Phantom Menace” ($22 million). Imax was a considerable coup for “Jurassic” this weekend. The film, which was frontloaded because of fanboy turnout, actually saw a slight overall Friday-to-Saturday bump, thanks to a sizable 32% increase in Imax.

“It’s certainly not a one-night wonder,” said Universal distribution prexy Nikki Rocco. “To be up overall on Saturday was really an encouraging sign.”

“Jurassic Park” had 312 domestic Imax locations — just 11% of its total 2,771.

Not surprisingly, “Evil Dead” dropped 26% from opening day. Most horror films tend to do so, though this film also had considerable fanboy appeal. The film, which has received a 65% fresh rating on Rotten Tomatoes, grossed 56% of its opening from men 25 and older. Pic received a poor C+ CinemaScore, however.

“That doesn’t align with how the movie has played,” admitted Sony distrib topper Rory Bruer. “Wherever we screened this film, the responses have been absolutely fantastic.”

At the specialty box office, Fox Searchlight bowed Danny Boyle’s mind trip “Trance” at two locations each in New York and Los Angeles. Pic averaged $34,000 per screen with a total estimated take of $136,000. FSL adds at most 400 theaters next weekend.

The weekend’s overseas top players were “G.I. Joe” and “Croods,” grossing $40.2 million and $34.1 million, respectively. South Korea rose in the ranks for “Joe,” becoming its top territory this weekend with $3.7 million, down just 38%, for a local cume of $11.2 million. Australia, meanwhile, contributed top coin for “Croods,” reporting $3.6 million with $11.9 million in two weeks locally.

“Croods” has cumed $206.8 million internationally and $332.6 million worldwide. “G.I. Joe” has reached $145.2 million overseas, for a global tally of $231.9 million.


Film (Weeks in release): 3-day gross*; Locations; Per-theater average; Cume*; Percentage change

  1. Evil Dead (1): $26.0; 3,025; $8,595; $26.0; —
  2. The Croods (3): $21.1; 3,879; 5,440; $125.8; -21%
  3. G.I. Joe: Retaliation (2): $21.1; 3,734; $5,651; $86.7; -48%
  4. Jurassic Park (3D re) (1): $18.2; 2,771; $6,585; $18.2; —
  5. Olympus Has Fallen (3): $10.0; 3,059; $3,283; $71.1; -29%
  6. Temptation (2): $10.0; 2,047; $4,885; $38.4; -54%
  7. Oz the Great and Powerful (5): $8.2; 2,905; $2,813; $212.8; -30%
  8. The Host (2): $5.2; 3,202; $1,636; $19.7; -51%
  9. The Call (4): $3.5; 2,002; $1,748; $45.5; -29%
  10. Admission (3): $2.1; 1,407; $1,460; $15.4; -36%


Film (Weeks in release): 3-day gross*; Territories; Screens; Int’l cume*; Global cume*; Percentage change

  1. G.I. Joe: Retaliation (2): $40.2; 60; 9,220; $145.2; $231.9; -50%
  2. The Croods (3): $34.1; 62; 11,347; $206.8; $332.6; -35%
  3. Oz the Great and Powerful (5): $13.6; 56; n/a; $241.3; $454.1; -39%
  4. Jack the Giant Slayer (6): $10.9; 61; 7,100; $116.8; $179.3; -58%
  5. Identity Thief (9): $6.4; 27; 2,200; $25.8; $157.1; +19%

*in millions of $

More Film

  • James Marsden attends the 2019 MOCA

    New Abortion Ban Laws Take Center Stage at MOCA Gala

    Forty years ago in Los Angeles, the decision to invest millions in a museum dedicated exclusively to contemporary art — not to mention its formerly desolate downtown location, where the vibe was more apocalyptic than artsy — was a risky proposition. But now that the city’s cultural heart has shifted south of Hollywood, it seems [...]

  • I Lost My Body

    'I Lost My Body' Director Jeremy Clapin On His Critics’ Week Breakout

    CANNES  — Jeremy Clapin’s feature debut “I Lost My Body” follows Naoufel, a young man who moves to France, falls in love and tries to create a new life.  Then in a parallel storyline, it follows Naoufel’s severed hand, which runs, jumps and rolls across Paris in an attempt to find the rest of its [...]

  • WGA Agents Contract Tug of War

    Writers Guild Expands Suit Against Agencies With New Fraud Allegations

    The Writers Guild of America has bulked up its lawsuit with additional fraud allegations against Hollywood’s four biggest talent agencies. The WGA amended its suit Monday in Los Angeles Superior Court with the claim that CAA, WME, UTA and ICM partners have engaged “constructive fraud” by allegedly placing their own interests ahead of their clients [...]

  • 'Heroes Don't Die' Review: A Peculiar,

    Cannes Film Review: 'Heroes Don't Die'

    Just when you think modern cinema has exploited the found-footage conceit from every conceivable angle, along comes a tragicomic mockumentary tracing Bosnia’s recent war-ravaged history via the travails of a young French film crew getting to the root of a reincarnated identity crisis. Aude Léa Rapin’s first narrative feature “Heroes Don’t Die” is nothing if [...]

  • Mediapro, Complutense, NFTS Team On Screenwriting

    The Mediapro Group Launches Master’s Program at Madrid’s Complutense University

    Madrid-based production hub The Mediapro Studio has announced finalized details of an arrangement with Madrid’s Complutense University (UCM) and the National Film and Television School of London (NFTS) on a new Master’s program designed to develop new screenwriting talent. Mediapro general director Juan Ruiz de Gauna, UCM dean of information sciences Jorge Clemente and Irene [...]

  • Argentina, A New Member of Co-Production

    Argentina Joins European Co-Production Fund Eurimages

    CANNES – Argentina will join the European Council’s co-production fund Eurimages as an associate member starting  on October 1 2019, it was officially announced Monday at the Cannes Film Market. The agreement was unveiled by Ralph Haiek, president of Argentine agency Incaa, Eurimages executive director Roberto Olla and the president of global producers assn. Fiapf, [...]

  • "Black Coal Thin Ice" in Berlin

    Chinese Director Diao Yinan Drills Down on 'The Wild Goose Lake'

    Diao Yinan is the only Chinese director with a film in the main competition this year at Cannes. He’s already a known entity on the arthouse circuit having won the Golden Bear in Berlin in 2014 for his hardscrabble coal-blackened detective thriller “Black Coal, Thin Ice.” Now he makes the leap to the Croisette with [...]

More From Our Brands

Access exclusive content