Box Office: “Jumanj” ends “Last Jedi’s” reign at top, “Insidious 4” pushes it to third

box2“Star Wars: The Last Jedi” owned the top of the box office charts for three weeks. It made a boatload of cash on a helluva lot of screens.

But unlike say, “Avatar,” it hasn’t turned out to be this phenomenon that grew and grew and then lingered and lingered. There’s a it of an audience disconnect. It lost huge chunks of its opening weekend audience right away, and has dropped off in the 55-60% range every weekend ever since.

So yeah, it cleared a $billion worldwide. But it was dethroned Monday, as “Jumanji: Welcome to the Jungle” opened big and then held audience share week after week.

“Jumanji,” a body-switch comedy starring Dwayne Johnson, Kevin Hart, Jack Black and a self-mocking starlet dolled up like Lara Croft, will collect another whopping $36-37 million when all the cash is counted midnight Sunday. When a movie is connecting with the public, it loses 20-30% of its opening weekend audience every week. “Last Jedi’s” fall-off suggests otherwise.

The poorly-reviewed “Insidious: The Last Key,” with no “name” stars, is opening at $25.

“Last Jedi” may clear $23-24.

Oscar contenders like “Darkest Hour” are adding screens and growing at the box office. “The Greatest Showman” has legs — is collecting $12-15 million every weekend and could, if it gets a Golden Globes boost, suddenly find itself in “too big and ambitious to not get Oscar consideration” territory.

“Molly’s Game,” an Aaron Sorkin talk-a-thon with Jessica Chastain as its Oscar bait star, opens over $6.

“The Shape of Water” added theaters and still fell out of the top ten.  “The Post” has yet to open wide enough to crack that top ten. Tiny awards season pictures like “I, Tonya” and “Phantom Thread” haven’t opened wide at all, “The Disaster Artist” has faded away.



About Roger Moore

Movie Critic, formerly with McClatchy-Tribune News Service, Orlando Sentinel, published in Spin Magazine, The World and now published here, Orlando Magazine, Autoweek Magazine
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