A steep drop-off for the final film of Tom Hardy’s “Venom” trilogy was always in order. These movies have sucked, and by the second weekend, the supply of filmgoers who might go plunges and “repeat business,” even for comic book fangirls and fanboys, was never a “Venom” thing.

Projections suggested a 60%+ plunge, maybe $19 million on its second weekend for “Venom: The Last Dance.” That’s what Deadline.com saws based on Thursday night and Friday’s take.

But Tom Harby & Co. pulled a surprise out of their hats, because whatever letdown opening weekend was (Low $50s, when it projected in mid-$60s), they managed a robust $26 million+, according to @thenumbers Sunday report.

“The Wild Robot” continues its steady march into the $120-140 million range, a good movie that should have opened bigger, but which is finding its family audience, one weekend at a time. Another $7.5 in the bank for that one.

“Smile 2” will clear the $50 million mark if it achieves the $6.8 million (@thenumbers) its projected to pull in this first weekend in November. It won’t match the all-in take that “Smile” managed, but $62-65 million should be in the bank when it leaves theaters for good.

November is traditionally the start of holiday blockbuster season, but “Red One,” “Gladiator” and “Wicked” are coming later, perhaps fearing “Venom” devouring all the screens. That’s a bad move, as this fall has been starved for big box office content. “Beetlejuice” is the one, true books-balancing smash that theater chains have needed.

The big opening this weekend isn’t by any stretch “big.” “Here” is a Miramax film that Sony is rolling out, a Bob Zemeckis gimmick movie where the hook is pairing up his “Forrest Gump” romantic leads, Tom Hanks and Robin Wright, and shaving 40-45 years off them as we follow their relationship — and several others — through time.

Paul Bettany and Kelly O’Reilly get a bit of digitizing, too, in this adaptation of a comic turned graphic novel about a piece of New Jersey, seen as T-Rexes stampede through it, Native Americans settle it, Ben Franklin’s estranged son builds a mansion on it and later, a house is built across the street and assorted couples make lives, make their fortunes, and bury members of their families there.

It’s sentimental, structurally misshapen, and unsatisfying. “Here” is also a bomb, falling short of the middling $7 million it was supposed to pull in. $5 million, Deadline says. I saw it in a nearly empty theater Thursday. That Boomer demographic it needs to succeed may turn up Sat and Sunday, but not bloody likely.

Reviews have been brutal. It’s maudlin and cloying and claustrophic (London soundstages and greenscreens) and it’s bad enough to remind the viewer that nearly every Zemeckis movie — even the good ones — have relied on some gadget, trick or stunt in the production. Sometimes they work. Sometimes performances transcend the trickery. And sometimes even that is illusory.

Seen “Forrest Gump” recently? Listen for what Zemeckis does with the “Original Hits, Original Stars” soundtrack. On-the-nose pop that bludgens the “point” of every scene until it bleeds. Once you start hearing or noticing lazy touches like that, you can’t unhear or unsee them.

Michelle Dockery stuck back in the 1910s again must have been a deflating offer of a role to play, but she did it. Zemeckis gave his daughter a plum part in it, too. Nepotism never helps.

Ralph Fiennes’ Papal politicking thriller “Conclave” is doing well, with a whiff of Awards Season cachet attached to its story of archbishops backbiting and intriguing to select a new pope. It’s on track to earn another $4 million and change and should clear $20 million by the end of next weekend. You need to see it. It’s one of the best pictures of the year.

I watched about 45 minutes of Sean Baker’s “Anora” before ducking into “Absolution.” All that sex and nudity was bound to keep selling tickets. It’ll pull in another $1.75 million this weekend, so I’ll have to sit down and watch all 2:20 of it, though I’m damned if I can see how they stretch that story out over that much running time.

Liam Neeson’s latest action pic could be his last go-round as that “Taken” era avenger. “Absolution,” released by Samuel Goldwyn, tries to be deeper, higher-minded, and fails. Pairing Liam and Ron Perlman was a good idea, but it’s gassed and Neeson’s beatdowns these days have the air of “Let the stuntman do it” because our 70something leading man isn’t as credible, or as capable, as any of us would be at that age. Maybe $1.1 million for that one.

It’s not cracking the top five (I saw it in an empty Thursday night theater).

The animated misfire “Hitpig!” is based on a Berkeley “Bloom County” Breathed book and script, featuring the voices of Jason Sudeikis and RuPaul and Rainn Wilson and Lily Singh won’t reach $1 million.

As always, I’ll update these figures as the weekend progresses and more data makes the picture clearer.