Box Office: ‘Mission: Impossible – Dead Reckoning’ Aims for $90 Million Five-Day Debut

Everyone didn’t stop going to the movies on Monday with Barbenheimer in full force: Warner Bros posted the best Monday at the domestic box office with Barbie grossing $26.1M while Universal’s Christopher Nolan pic Oppenheimer wasn’t shabby with $12.6M.

the social media nickname given to the one-two punch of Warner Bros’ “Barbie” and Universal’s “Oppenheimer” — did boffo business at the domestic box office, grossing a combined $235 million. “Barbie,” at $155 million alone, had the biggest three-day opening of the year so far. And right on cue, the usual pronouncements are being made:Audiences love originality! (Everyone has seemingly forgotten that Barbie is a super-famous doll and not from director Greta Gerwig’s imagination.) Stories about women sell! (Just as with men’s stories, like floperoo “Indiana Jones,” sometimes they do and sometimes they don’t. “Oppenheimer,” which many online are calling sexist toward women, sold tremendously well at $80 million.) It’s quality, stupid! (Tell that to “The Banshees of Inisherin,” “Women Talking,” “The Fabelmans” and most of the other Best Picture Oscar nominees released last year.) However, the real takeaway of #Barbenheimer — a cinematic Brigadoon that will soon disappear into the fog — is one that is becoming increasingly obvious in the entertainment world at large: Ticket-buyers want Events. It’s not enough for consumers to regularly attend good movies or nice Broadway shows or average concerts and then head home and go to bed.

Rebecca Rubin Film and Media Reporter Three cheers for Director Barbie. Greta Gerwig cemented box office history as her cotton candy-colored blockbuster “Barbie” scored a massive $155 million in its opening weekend, marking the biggest debut ever for a film directed by a woman. “Captain Marvel,” which was co-directed by Anna Boden and Ryan Fleck, previously held the title with $153 million in 2019. “Wonder Woman,” from filmmaker Patty Jenkins, stood as the record-holder for a movie solely directed by a woman with $103 million in 2017. “Barbie” has notched several other box office records, including the biggest opening weekend of the year — besting “The Super Mario Bros. Movie” ($146 million).

If you’re seeing Oppenheimer on the big screen, you might want to get there early as certain screenings will not be showing any trailers… and there’s a fascinating reason.

Rebecca Rubin Film and Media Reporter “Barbenheimer” is officially here, and the battle between the bomb and the bombshell is about to ignite the box office. Greta Gerwig’s cotton candy-colored “Barbie,” starring Margot Robbie as the plastic, fantastic doll, is expected to generate a huge $95 million to $110 million from 4,200 North American theaters over the weekend. Given the omnipresence of “Barbie” (the marketing is practically inescapable, with enough memes and marketing tie-ins to last a lifetime), initial estimates are all over the place. Warner Bros. is projecting a more conservative $75 million to start, while rivals and exhibitors believe the PG-13 movie could make as much as $140 million between Friday and Sunday.

Naman Ramachandran Paramount’s “Mission: Impossible Dead Reckoning Part One” was the dominant force at the U.K. and Ireland box office with a mighty £10.3 million ($13.2 million), per numbers from Comscore. The Tom Cruise vehicle opened on Monday, July 10, instead of a traditional weekend slot. Even with just the July 14-16 weekend numbers, the seventh instalment in the franchise scored £6.3 million, comfortably making it the No. 1 film in the territory. In second place, Disney’s “Elemental” collected £2.4 million in its second weekend for a total of £6.6 million. Another Disney title, “Indiana Jones And The Dial Of Destiny,” whipped up £1.7 million in third place in its third weekend for a total of £16.3 million.

Patrick Frater Asia Bureau Chief China’s box office weekend was marked more by the tussle for top spot between “Never Say Never” and “Chang An” than the entry of “Mission: Impossible – Dead Reckoning Part One.” The Tom Cruise-starring U.S. blockbuster was the highest new release title, but landed in third place with an opening score of $25.9 million. The weekend’s top-ranked film was “Never Say Never,” a holdover title that scored $46.1 million. Lightchaser Animation-produced “Chang An San Wan Li” (aka “Chang An 30,000 Miles”) earned a shade less, at $43.9 million, according to data from consultancy Artisan Gateway. After 11 days of official release (plus substantial previews), “Never Say Never,” written and directed by actor Wang Baoqiang (“Lost in Thailand,” “Detective Chinatown”) has already become one of the biggest hits of the year. Its cumulative stands at $212 million. “Chang An” has accumulated $96.1 million in nine days.

Patrick Frater Asia Bureau Chief Tom Cruise has become a regular visitor to South Korea and, while his latest visit was more than a week ago, the impact of his efforts appeared to endure. His ‘Mission: Impossible – Dead Reckoning’ got off to the second strongest start at the Korean box office of any Hollywood movie released this year. The film grossed $9.75 million between Friday and Sunday, according to Kobis, the tracking service operated by the Korean Film Council (Kofic). That represented a 60% market share, earned from some 2,400 screens. In its full opening five days (plus previews), it earned $14.2 million.

Rebecca Rubin Film and Media Reporter Tom Cruise’s latest blockbuster “Mission: Impossible – Dead Reckoning Part One” is showing strength at the international box office, collecting an impressive $155 million from 70 markets. Along with an estimated $80 million at the domestic box office, “Mission: Impossible” has grossed $235 million globally through its first five days of release. That’s a mighty worldwide tally, especially for the seventh installment in a 27-year-old action franchise. Imax screens contributed $25 million, including a new franchise-record of $14 million overseas. The only trouble is the movie, which finds Cruise’s durable hero Ethan Hunt defying death as he flies off a mountain on his motorcycle, scales a runaway train and maneuvers a tiny car through the bustling streets of Rome, was incredibly expensive to make. Due to COVID-related starts and stops and other pandemic-era safety measures, Paramount and Skydance spent $300 million before marketing costs. So even as Christopher Nolan’s “Oppenheimer” and Greta Gerwig’s “Barbie” open on July 21, “Dead Reckoning Part One” needs to continue resonating at the global box office to turn a profit in its theatrical run.

SATURDAY PM UPDATE: Facts are facts, and Paramount/Skydance’s Mission: Impossible – Dead Reckoning Part One set a 5-day opening domestic record for the franchise with $80M, we hear.

J. Kim Murphy Paramount’s “Mission: Impossible — Dead Reckoning Part One” is defusing a bit at the domestic box office, readjusting for an estimated $78 million gross over its five-day opening. That’d be a substantial chunk behind projections headed into the weekend, which had the Tom Cruise action sequel hoping for a $90 million. Some in the industry were expecting a “Top Gun: Maverick” halo effect for “Dead Reckoning” after last year’s legacy sequel positively ignited movie theaters, rocketing through the summer to become the fifth-highest grossing domestic release of all-time. That doesn’t seem to be the case though, as “Mission” seems to be landing around the solid numbers typical for its franchise.

Zack Sharf Digital News Director SPOILER ALERT: This story discusses the ending of “Mission: Impossible – Dead Reckoning Part One,” currently playing in theaters. “Dead Reckoning,” the seventh installment of the “Mission: Impossible” franchise, is the latest Hollywood blockbuster to be split into two movies, but Tom Cruise and writer-director Christopher McQuarrie tried their hardest to give “Part One” a non-cliffhanger conclusion. The filmmaker recently told Total Film magazine that thinking about how to conclude the first of two movies kept Cruise up at night during the filming of “Part One.” “Where we ended the movie was always where we were going to end it,” McQuarrie said of the train action sequence. “How we ended the movie was a big, big mystery for us. It kept Tom awake at night throughout production. He would come in all the time and say, ‘This can’t be a cliffhanger, it’s got to be satisfying.’ The audience has to feel a sense of completion.”

Paramount/Skydance’s Mission: Impossible – Dead Reckoning Part One is off and running overseas with a $39.8M cume through Thursday in 48 international box office markets. This includes Wednesday openings in some markets and a strong paid preview program. With domestic’s Wednesday/Thursday plus previews, that brings the global total on the Tom Cruise-starrer to $$63.6M through yesterday.

Brent Lang Executive Editor “Mission: Impossible – Dead Reckoning Part One” netted $8.3 million at the box office on Thursday, pushing the action sequel’s North American gross to $23.8 million after two days of release. The film, which finds Tom Cruise’s Ethan Hunt hurtling off cliffs, fighting knife-wielding bad guys on trains and evading pursuers while driving a Fiat through the streets of Rome, was incredibly expensive to produce. Shot during the pandemic (with all the attendant shutdowns, delays and health protocols that were a staple of the COVID era), the budget on the film ballooned to $290 million. So “Mission: Impossible” will need to generate a lot of repeat business if it’s going to turn a profit, and it needs to boom at the global box office.

Tom Cruise appears ageless in his films. But Mission: Impossible-Dead Reckoning director Christopher McQuarrie was close to de-aging Cruise as a gimmick in the new film’s opening sequence.

Rebecca Rubin Film and Media Reporter “Mission: Impossible – Dead Reckoning Part One” kicked off to $15.5 million on opening day. Paramount and Skydance’s big-budget tentpole, which is the seventh installment in the Tom Cruise-led action franchise, is projected to collect at least $60 million between Friday and Sunday.

Mission: Impossible – Dead Reckoning Part One has been released.Directed by Christopher McQuarrie, the first part follows Ethan Hunt (Tom Cruise) and his band of operatives as they chase down a key to deactivate a sentient AI device known as the “Entity”.Alongside returning cast members Ving Rhames, Simon Pegg, Rebecca Ferguson and Vanessa Kirby, Mission: Impossible – Dead Reckoning Part One adds Hayley Atwell, Esai Morales and Pom Klementieff to the franchise.Lorne Balfe returns to compose the score for both parts of Mission: Impossible – Dead Reckoning. He previously scored the sixth installment, Mission: Impossible – Fallout, while his other credits include Marvel’s Black Widow, Amazon series The Wheel Of Time and this year’s Dungeons & Dragons: Honor Among Thieves.You can stream the full soundtrack below.The original Mission: Impossible theme was written and composed by Lalo Schifrin in 1967.

EXCLUSIVE: Paramount/Skydance’s Mission: Impossible: Dead Reckoning – Part One is looking at $6M-$7M in previews so far, which is bound to be higher than the Thursday previews of the last Mission Impossible – Fallout back in 2018 which did $6M. This is according to sources. The figures we’re seeing now could go higher or lower.

Naman Ramachandran Disney releases “Elemental” and “Indiana Jones and the Dial of Destiny” were locked in a near dead heat at the U.K. and Ireland box office, with the animated elements edging out the veteran archaeologist. “Elemental” debuted with £3.049 million ($3.876 million), according to numbers from Comscore. In its second weekend, “Indiana Jones and the Dial of Destiny” whipped up £3.046 million ($3.873 million) for a close second and now has a total of £13.1 million. If looking at weekend numbers alone, Harrison Ford’s last adventure as the man in the hat won the race as the “Elemental” numbers include “limited secret sneak previews from across the market,” according to Disney.

Can Tom Cruise save summer?