In a cinematic landscape filled with superheroes and sequels, there emerges a tale of simian supremacy that has captivated audiences worldwide. “Kingdom of The Planet of The Apes,” the latest installment in the beloved franchise, has swung to the top spot at the box office with a remarkable debut weekend, surpassing all expectations with a staggering $56.5 million haul.
Maze Runner director Wes Ball’s “Kingdom of the Planet of the Apes” injected significant energy into the early summer box office, garnering a robust $58.5 million in its domestic debut and an impressive $72.7 million internationally, resulting in a global kickoff of $131.2 million. Surpassing earlier estimates of $56.5 million in North America, this achievement marks the film’s position as the third-highest opening domestically of the year so far and the second-strongest launch within the series.
The event film from 20th Century and Disney exceeded domestic expectations, a relief following Universal’s “The Fall Guy,” which, as the first summer 2024 release, disappointed with a mere $27.7 million opening over May 3-5, causing anxiety throughout Hollywood. Pre-release estimates had indicated that the action comedy featuring Ryan Gosling and Emily Blunt would at least debut in the $32 million to $35 million range, already a conservative projection.
The success of “Kingdom of the Planet of the Apes” is driven by robust attendance from both younger and older males, as well as a diverse audience in terms of ethnicity. Despite receiving a B Cinema Score from audiences, contrary to the glowing reviews by critics, studio insiders remain relatively unconcerned. They point out that 85 percent of moviegoers awarded it an A or B rating, suggesting that a vocal minority may have lowered the overall score by giving it a C or lower. Exit polling by PostTrak indicates that both general audiences and families rated the fourth installment with four out of five stars, indicating positive word-of-mouth.
This film marks the fourth installment in the rebooted series that commenced with the 2011 release “Rise of the Planet of the Apes,” starring James Franco and Andy Serkis. It was produced at a net cost of $160 million before marketing, notably lower than the budget of the last two titles in the series.
In international markets, where the series traditionally enjoys strong popularity, “Kingdom” amassed a commendable $72.7 million in total. It performed exceptionally well across Latin America, yet faced challenges in certain European nations, where sunny weather discouraged cinema attendance, particularly in the U.K. However, its reception in China presented a mixed scenario. Despite clinching the top spot with $11.4 million, the film’s potential was somewhat dampened by the presence of competitive local releases. Excluding China, Ball’s installment secures the second-highest opening in the series, trailing behind the 2017 third installment.
Concerns about franchise fatigue are always present, but “Kingdom of the Planet of the Apes” managed to surpass the $56.3 million domestic opening of its predecessor, 2017’s “War of the Planet of the Apes,” which is no small achievement, without adjusting for inflation. The 2014 release, “Dawn of the Planet of the Apes,” set a franchise record with an opening of $72.6 million, while “Rise” in 2011 debuted domestically with $54.3 million.
Moreover, In its second weekend, “The Fall Guy” secured the second spot domestically, earning an estimated $13.7 million, a 51 percent drop, accumulating a total of $49.7 million over ten days. Universal aimed for a decline of 50 percent or less, although these figures may fluctuate upon the release of Monday’s actuals.
More women turned out for “The Fall Guy” in its second weekend, indicating a success for Universal’s post-release marketing strategy emphasizing the film’s rom-com action storyline. However, hopes for significant audience growth are diminishing.
Overseas, “The Fall Guy” grossed $9.4 million from 80 markets, resulting in a modest foreign total of $54 million and a global tally of $103.7 million.
Meanwhile, Zendaya’s film “Challengers,” produced by Amazon MGM Studios, maintains its position at No. 3 in its third weekend, experiencing a modest 38 percent decline to an estimated $4.7 million, bringing its domestic total to $38.4 million by Sunday. It continues to perform steadily at the international box office, generating $4.2 million from 63 markets, accumulating a total of $30.6 million overseas and $68.7 million globally. Warner Bros. International oversees the film’s distribution abroad as part of its ongoing agreement with MGM.
“Tarot,” from Screen Gems and Sony, secures the No. 4 spot with an estimated second-weekend gross of $3.4 million, marking a 47 percent decline and reaching a domestic total of $12 million over ten days. Its global earnings stand at $20.2 million against a reported net budget of $8 million before marketing, with an additional $3 million from overseas, totaling $8.2 million internationally.
“Godzilla x Kong: The New Empire” concludes the top five in its seventh weekend, collecting $2.6 million, surpassing the $190 million milestone domestically for Legendary and Warner Bros. “Kung Fu Panda 4,” from Universal and DreamWorks Animation, also surpasses the $190 million mark as both films aim to reach the $200 million milestone.
However, “Not Another Church Movie,” the weekend’s new nationwide release, fails to break into the top 10, opening with a mere $335,000 from 1,108 theaters, marking one of the weakest starts for a film released in over 1,000 cinemas.
