You will be redirected back to your article in seconds

Box Office: ‘Transformers 4,’ ‘Tammy’ Top Dreadful July 4th Weekend

Transformers: Age of Extinction” topped a Fourth of July holiday that let out a whimper at the box office instead of a bang.

Overall, this holiday weekend topped out at approximately $130 million, a 43.4% drop from last year’s Independence Day, which brought in $230 million overall. If these numbers hold, this could be weakest Fourth of July in at least a decade.

“There wasn’t another big tentpole movie to compete with ‘Transformers,'” said Phil Contrino, vice president and chief analyst of BoxOffice.com. “There was a hesitancy on the part of studios to open against it, but what the market is saying is that there was room for another tentpole to compete with it.”

The fourth “Transformers” film netted $36.4 million in its second week of release from 4,233 locations, pushing the $210 million production to $174.7 million domestically, according to studio estimates.

Internationally, the film continued to be a juggernaut, particularly in China, where it is outpacing its domestic run, adding another $50.9 million to its bottom line and putting its total from the Asian nation at $212.8 million. The film topped the foreign box office with $95.8 million from 37 territories, lifting its international total to $400.9 million.

Among the crop of new releases, New Line’s “Tammy” fared the best, wrangling $32.9 million across 3,400 screens over its first five days, $21.2 million of it coming from the weekend. That’s a lower figure than pre-release tracking had suggested it would attract, with most analysts predicting a debut of $40 million over its first five days in theaters.

The Melissa McCarthy comedy cost a modest $20 million to produce, so its opening figure still puts it on the path to profitability.

Warner Bros. distribution chief Dan Fellman said credit goes to McCarthy for bringing in crowds.

“Her fans love her and they support her and we’re happy to be in business with her,” he said.

“We’re a strong number two this weekend,” Fellman added, predicting the film would end up with between $80 million to $100 million over its stateside run.

Word-of-mouth for “Tammy” could be problematic. The picture earned poor reviews (27% on Rotten Tomatoes) and received a lackluster C+ CinemaScore rating.

None of the grab bag of new releases could come close to the $143 million launch of “Despicable Me 2″ over the last 4th of July, although none of them flopped in the vein of “The Lone Ranger,” which bowed to an anemic $48 million en route to a $100 million-plus write-down for Disney.

Timing also worked against this year’s box office. Last year, the holiday fell on a Thursday, an accident of the calendar that encouraged more mid-week moviegoing. This year it fell on a Friday, putting a ceiling on ticket sales and contributing to the lowest Independence Day box office in at least a decade.

Further compounding the box office, fallout from Hurricane Arthur helped goose Friday numbers on the East Coast as crowds tried to wait out the rain in theaters, but nice weather on Saturday may have discouraged moviegoers from hitting the multiplexes, studio executives said.

Among other new releases, Screen Gems’ “Deliver Us From Evil” earned $15 million across 3,049 locations for the first five days of its release and $9.5 million for the weekend, good enough for a third place finish. The story of a policeman investigating paranormal activities cost $30 million to make, and like nearly everything else fell short of its pre-release tracking, which had it bowing to $20 million or more over the first five days in theaters.

Rory Bruer, president of worldwide distribution at Screen Gems’ parent company Sony Pictures, said the low-cost of the film will make it profitable.

“Looking at the box office overall, folks had a lot of other things going on,” he said. “It does seem to change the dynamics of this holiday when the Fourth falls on a Friday.”

Also new to theaters, Relativity’s “Earth to Echo” grossed $13.5 million over its first five days in 3,230 locations, with $8.2 million of that total coming from the weekend. The story of a group of teenage friends who discover an alien was picked up from Disney and cost $13 million to produce.

Tracking projected a debut in the range of $16 million to $19 million for the five days, but Relativity is betting that the film will play well in the coming weeks and will benefit from a lack of family films. This summer marks the one with the least amount of films pitched at younger children opening in June and July since 2007.

In holdover news, “22 Jump Street” snagged fourth place in the rankings with an estimated $9.4 million, giving it a domestic total to date of $158.8 million. “How to Train Your Dragon 2” grabbed the fifth spot with an estimated $8.7 million take, pumping its stateside haul to $140 million.

The Weinstein Company’s “Begin Again” benefited from good buzz and a lack of options for older moviegoers, expanding from a handful of theaters to 175 locations and earning $1.8 million over the five-day period.

Also expanding, Dinesh D’Souza’s politically charged “America” enhanced its footprint from three theaters to 1,105 locations, earning $4 million over the five-day frame.

Despite a few bright spots, Hollywood won’t be setting off sparklers to commemorate this particular holiday.

“Everything conspired to make this a very tough weekend at the box office on what is normally one of the bigger holidays,” said Paul Dergarabedian, senior media analyst at Rentrak.

“The box office will rebound, but the celebration of the Fourth wasn’t much of one,” he added.

More Film

  • Pokémon Detective Pikachu

    China Box Office: Weekend Chart Dominated By Non-Chinese Films

    Unusually, all of the top five films at the China box office this weekend were non-Chinese. That’s a relatively rare occurrence, as audiences typically favor local films over foreign content. But it is one that may happen more often, as high-performing local titles become fewer and farther between due to production slowdowns. The lack of [...]

  • White Lie

    Playtime Boards Canadian Psychological Thriller 'White Lie' Starring Kacey Rohl (EXCLUSIVE)

    One of France’s leading sales companies, Playtime has boarded “White Lie,” a character-driven psychological thriller film from the promising new Toronto-based directors Yonah Lewis and Calvin Thomas. Now in post-production, “White Lie” is headlined by Kacey Rohl, who has been seen in hit TV series such as “The Killing,” “Arrow,” “Hannibal” and “Wayward Pines.” Rohl [...]

  • Cannes’ Focus CoPro’ Gives Push for

    Cannes’ Focus CoPro’ Gives Push for First-Time Features

    CANNES–Seven first-feature projects will be pitched to an audience of industry professionals at Focus CoPro’, an event hosted by Cannes’ Short Film Corner that will take place Tuesday May 21 at the Palais des Festivals. The pitching session, which is run in collaboration with Nisi Masa and the Pop Up Film Residency, was introduced last year [...]

  • Cannes: Star Alliance Movies Takes Wide’s

    Cannes: Star Alliance Movies Takes Wide’s ‘Blast’ for China (EXCLUSIVE)

    CANNES  —  Hong Kong’s Star Alliance Movies has pounced on all rights to China on “Blast,” a race against the clock thriller that marks the first full production from Wide, Loic Magneron’s Paris-based sales-production-distribution company. The deal, made against a background of slowing sales to China, represents the first pre-sale on “Blast,” which is now [...]

  • Brazil’s Cinemascopio, France’s Les Valseurs Team

    Brazil’s Cinemascopio, France’s Les Valseurs Team For Nara Normande, Tião’s ‘The Heron’ (EXCLUSIVE)

    CANNES — Recife-based CinemaScópio Produções and Paris’ Les Valseurs have teamed on “A Garça” (The Heron), the feature debut from Brazil’s Nara Normande, co-authored by Tião. Brazilian CinemaScópio is behind Kleber Mendonça Filho and Juliano Dornelles’ Brazilian Western-thriller “Bacurau,” in competition at Cannes. Les Valseurs is also presenting Qiu Yang’s short “She Runs” at Critics’ [...]

  • Portrait of a Young Woman on

    Cannes Film Review: 'Portrait of a Lady on Fire'

    The title of Céline Sciamma’s “Portrait of a Lady on Fire” implies that her subversively seductive film will focus on the subject of its titular painting — an 18th-century woman who refuses to pose, in defiance of the arranged marriage into which she’s being forced — when it’s just as much a portrait of the [...]

More From Our Brands

Access exclusive content