Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle seeks to conquer the box office while Downton Abbey: The Grand Finale, Stephen King adaptation The Long Walk and mockumentary sequel Spinal Tap II: The End Continues hope for strong showings. My detailed prediction posts on the quartet of newcomers can be accessed here:
The influx of material could cause the top 5 to consist of 80% fresh product. Demon Slayer appears primed for a breakout performance that doubles the best in show previous start of the franchise in 2021. My low to mid 50s estimate should easily give it the top spot.
The Conjuring: Last Rites vastly blew past expectations (more on that below). In its sophomore frame, a slippage in the mid to even high 60s could occur and would be perfectly understandable.
Franchise finale Abbey should debut in range with its 2022 predecessor in the mid to higher teens for a likely third place posting.
Despite impressive reviews, The Long Walk could struggle to each double digits (it doesn’t help that Conjuring is still out there).
Finally, Spinal Tap II might see mid single digits and that may be enough for fifth place.
Here’s how I have it shaking out:
1. Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle
Predicted Gross: $64.6 million
2. The Conjuring: Last Rites
Predicted Gross: $28.5 million
3. Downton Abbey: The Grand Finale
Predicted Gross: $18.1 million
4. The Long Walk
Predicted Gross: $8.7 million
5. Spinal Tap II: The End Continues
Predicted Gross: $3.4 million
Box Office Results (September 5-7)
Even the rosiest of prognoses didn’t match what The Conjuring: Last Rites managed to accomplish. The ninth overall pic in the franchise and fourth with a Conjuring moniker scared up $84 million and ghosted my measly $58.2 million prediction. Rites surpassed the best opening of the series (The Nun at $53 million) with plenty of room to spare. Warner Bros continued its remarkable 2025 in the horror genre (Sinners, Weapons).
Hamilton, a filmed version of the already iconic play, was second with $10.1 million on its 10th anniversary. That’s ahead of my $8.7 million estimate and a commendable gross considering this has been streaming on Disney+ for five years. This is only a one-week engagement which explains why you won’t find it in the top 5 above.
Weapons was third with $5.2 million, in range with my $5.5 million call. In five weeks, it has amassed $142 million.
Freakier Friday, also in week 5, was fourth with $3.8 million (I said $3.9 million) for $87 million total. It should fall just under or place just over $100 million.
Caught Stealing rounded out the top five with a hefty 59% decline at $3.1 million. I went a bit higher at $4 million. The two-week take is an underwhelming $14 million.
One Warner Bros horror flick looks to transfer the #1 spot to another as The Conjuring: Last Rites haunts multiplexes this weekend. We also have Disney releasing their filmed version of the Broadway play Hamilton. You can peruse my detailed prediction posts on the newcomers here:
My mid 50s projection for Last Rites gives it the best opening of the franchise, just outpacing 2018’s The Nun and toppling the $40 million and change starts that the first two proper Conjuring flicks scared up. As mentioned, it will easily replace the WB’s Weapons from its Labor Day weekend perch atop the charts.
Hamilton is a tricky one. It could easily outdo my high single digits forecast, but it’s hard to ignore that audiences have been able to view it on Disney+ for five years. No matter what, it should manage a runner-up debut.
Weapons should place third while 4-5 could be awfully close between Caught Stealing and Freakier Friday.
Here’s how I have it playing out:
1. The Conjuring: Last Rites
Predicted Gross: $58.2 million
2. Hamilton
Predicted Gross: $8.7 million
3. Weapons
Predicted Gross: $5.5 million
4. Caught Stealing
Predicted Gross: $4 million
5. Freakier Friday
Predicted Gross: $3.9 million
Box Office Results (August 29-September 1)
In a rather quiet Labor Day frame, Weapons returned to #1 with KPop Demon Hunters A Sing-Along Event having completed its two-day engagement from the previous frame. Zach Cregger’s missing persons scare fest took in $13 million, falling short of my $15.9 million call over the four-day holiday. The four-week total is $135 million.
Jaws 50th Anniversary swam past my expectations with $11.3 million for second, more than doubling my $5.6 million prediction. Crowds clearly were down for revisiting the shark tale.
Austin Butler crime thriller Caught Stealing nabbed a so-so $9.5 million in third and that was more than my $6.3 million projection.
Freakier Friday was fourth with $8.7 million, in range with my $9.4 million estimate for a four-week tally of $82 million.
Comedic remake The Roses with Benedict Cumberbatch and Olivia Colman settled for fifth with $7.7 million, in line with my $7.9 million guesstimate.
The Fantastic Four: First Steps was sixth with $6.5 million (I said $6.1 million) for $266 million after six weeks.
Finally, The Toxic Avenger Unrated with Peter Dinklage didn’t crack the top 10 at $2.1 million. I went with $1.8 million.
Warner Bros looks for its fruitful 2025 to keep rolling when The Conjuring: Last Rites hits theaters on September 5th. The studio has had horror hits this year via Sinners and Weapons. Rites marks the fourth proper feature in the series that began in 2013 and ninth overall in the franchise when counting spinoffs Annabelle and The Nun and their sequels. Patrick Wilson and Vera Farmiga reprise their roles as paranormal investigators Ed and Lorraine Warren. Michael Chaves, who made #3 The Conjuring: The Devil Made Me Do It and The Nun II, directs. Costars include Mia Tomlinson and Ben Hardy.
2021’s Devil actually had the lowest opening weekend of the entire franchise with $24 million. That comes with an asterisk as it premiered during COVID times and was unveiled simultaneously on HBO Max. 2023’s The Nun II brought the scary universe back to normal debuts at $32 million. The original Nun from 2018 boasts the highest debut of the whole lot at $53 million.
Last Rites is pacing to reach those heights and should exceed the $40 million beginnings like the first two Conjuring pics managed to do at $40 million and $41 million, respectively. I am projecting that it’ll outdo The Nun for a franchise best haul.
The Conjuring: Last Rites opening weekend prediction: $58.2 million
Sequel heavy September chugs along this weekend as Kenneth Branagh’s A Haunting in Venice continues his Hercule Poirot series and seeks a #1 start. You can peruse my detailed prediction post on it here:
The follow-up to 2017’s Murder on the Orient Express and last year’s Death on the Nile is actually receiving some of the best reviews of the trio. I suspect it may manage to top what Nile did while only reaching about half of what Express grossed out of the gate.
After a solid if unspectacular start, The Nun II may see a high 60s plummet that’s fairly normal for its genre. That would mean a second place showing barely in the double digits.
Holdover threequels The Equalizer 3 and My Big Fat Greek Wedding 3 will likely populate the 3-4 slots with drops in the low to mid 40s while Barbie should round out the top five. I figure the year’s biggest hit will remain in the high five as I look for Jawan to have a hefty decline after its impressive premiere (more on that below).
Here’s how I envision that top five:
1. A Haunting in Venice
Predicted Gross: $14.6 million
2. The Nun II
Predicted Gross: $10.9 million
3. The Equalizer 3
Predicted Gross: $7 million
4. My Big Fat Greek Wedding 3
Predicted Gross: $5.9 million
5. Barbie
Predicted Gross: $3.6 million
Box Office Results (September 8-10)
The Nun II didn’t come anywhere near the franchise Conjuring Universe peak $53 million that its predecessor made in 2018. It still scared up a respectable $32.6 million, under my $38.7 million prognosis.
The Equalizer 3 tumbled in the mid 60s during its sophomore frame with $12 million, below my $15.4 million call. The two-week total is $61 million as it hopes to hit $100 million like parts 1 and 2. It’s a legit question mark as to whether it gets there.
My Big Fat Greek Wedding 3 debuted in line with my expectations with a meh $10 million (I said $10.3 million). That is slightly better than other estimates though it’s well under the $16 million of part 2 from 2016.
Acclaimed Hindi action flick Jawan admittedly was not on my radar screen like it should’ve been. The $6.1 million haul put it in fourth place with the second strongest per theater average after The Nun II.
Barbie rounded out the top five with $5.7 million (I went with $6.4 million) as its eight week total rose to a massive $620 million.
I incorrectly had Blue Beetle in the top five, but it was sixth with $3.8 million. I was right on pace with $3.9 million. The DCU disappointment made $63 million in four weeks.
A sequel filled September continues with The Nun II looking to conjure up big money while My Big Fat Greek Wedding 3 hopes to post comparable grosses to its 2016 predecessor. You can peruse my detailed prediction posts on them here:
In 2018, The Nun surprisingly achieved the largest premiere in the Conjuring Universe (a record that still stands) at $53 million. While I don’t expect the follow-up to reach that level, a solid high 30s start is my call.
As for Greek Wedding, the first sequel didn’t come close to matching what the smash 2002 original accomplished. I see the numbers continuing to dwindle with the third iteration and I have it barely topping $10 million. That should put #3 in third.
Current champ The Equalizer 3 should fall to second after a robust Labor Day weekend haul (more on that below). A mid 50s decline should put it in the low to mid teens.
Barbie looks to land in the four spot while Oppenheimer and Blue Beetle could duke it out for fifth. I’ve got them both just under $4 million.
Here’s how I envision the top six:
1. The Nun II
Predicted Gross: $38.7 million
2. The Equalizer 3
Predicted Gross: $15.4 million
3. My Big Fat Greek Wedding 3
Predicted Gross: $10.3 million
4. Barbie
Predicted Gross: $6.4 million
5. Blue Beetle
Predicted Gross: $3.9 million
6. Oppenheimer
Predicted Gross: $3.9 million
Box Office Results (September 1-4)
Denzel Washington is quite consistent in his sole franchise as audiences turned up for The Equalizer 3. Reportedly the final entry in the violent series, it earned the second best Labor Day weekend of all time at $42.8 million. That edges my call of $39.2 million. The three-day gross of $34.6 million is right on target with its two predecessors.
Barbie was second with $13.4 million over the long frame. I was generous (a theme for the weekend) at $16.2 million. The highest grossing movie of 2023 sits at $612 million domestically.
Blue Beetle was third with $9.4 million (I said $9.5 million!) as the DCU disappointment has made $58 million after three weeks.
Gran Turismo, despite an A Cinemascore, plummeted from 1st to 4th in its sophomore outing. The racing flick stalled at $8.7 million, well under my $12.1 million take for just $30 million thus far.
Oppenheimer rounded out the top five at $7.6 million (I went with $9.1 million) for a mega $310 million tally.
Finally, Teenage Mutant Ninja Turtles: Mutant Mayhem crossed the nine digit mark. The animated reboot made $6.2 million in sixth (I said more with $8.4 million) for $107 million overall.
Five years ago, The Nun upended conventional wisdom (get it??) with a larger than anticipated opening. At the time, it was the fifth feature in the Conjuring Universe and it set the opening weekend record for the horror franchise at $53 million. The sequel out September 8th is now the ninth entry with Michael Chaves directing (he also made The Curse of La Llorona and The Conjuring: The Devil Made Me Do It). Taissa Farmiga, Jonas Bloquet, and Bonnie Aarons (as The Nun) reprise their roles with Storm Reid and Anna Popplewell joining the cast.
Whether its The Conjuring and its sequels, Annabelle and her follow-ups, or The Nun, Warner Bros has made massive profits in the past decade from this series. Nun II‘s predecessor, in addition to the highest premiere, holds the second best overall domestic gross ($117 million while the first Conjuring took in $137 million). Each direct follow-up for Conjuring and Annabelle has seen slight to fairly substantial decreases in their debuts. 2013’s Conjuring made $41 million while part 2 made $40 million and the third slid to $24 million (with COVID complications to be fair). Annabelle started with $37 million while its sequel hit $35 million and the third did $20 million (a series low).
You’ll note that the second installments hold up rather well. The Nun II would need to top the original Conjuring‘s $41 million for the #2 beginning. That’s certainly doable, but I’ll project high 30s.
The Nun II opening weekend prediction: $38.7 million
For my My Big Fat Greek Wedding 3 prediction, click here:
This little blog of mine is over 10 years old now and a summer tradition has been to highlight the cinematic seasons of 30, 20, and 10 years ago. We saw recaps of 1992, 2002, and 2012 around this time in 2022. Now this site is aged enough that I shall only look back at a decade ago. Therefore let’s shine a light on 2013 and the offerings between May and August.
Here’s how it works. I’ll recount the top 10 grossers domestically as well as other notable features and noteworthy flops. It was the summer after The Avengers dominated and Tony Stark still managed to rule in his own franchise.
Let the countdown begin!
10. The Great Gatsby
Domestic Gross: $144 million
Baz Luhrmann’s second collaboration with Leonardo DiCaprio may have drawn mixed critical reaction, but audiences turned up and it won both Oscars it was nominated for (Production Design and Costume Design). It is still the stylish filmmaker’s largest worldwide earner even with last year’s success of Elvis.
9. We’re the Millers
Domestic Gross: $150 million
Jennifer Aniston and Jason Sudeikis headlined this raunchy comedy from Dodgeball maker Rawson Marshall Thurber. Like Gatsby, critics weren’t overly kind but crowds liked what they saw.
8. The Heat
Domestic Gross: $159 million
Sandra Bullock and Melissa McCarthy (hot off Bridesmaids) teamed up for this buddy cop laugher from Paul Feig and it became the summer’s hottest live-action movie in its genre. Bullock would have a massive earner and Oscar nod in the fall with Gravity.
7. World War Z
Domestic Gross: $202 million
Some had it pegged as a potential financial disappointment, but this would turn out to be the biggest grossing zombie flick ever. Despite Brad Pitt’s presence and plenty of development rumors, a planned sequel has yet to materialize.
6. Star Trek Into Darkness
Domestic Gross: $228 million
JJ Abrams helmed this sequel two and a half years before taking on Star Wars: The Force Awakens. It holds the title of best global earning movie of the franchise.
5. Fast & Furious 6
Domestic Gross: $238 million
Vin Diesel and Paul Walker revved the series to unforeseen moneymaking heights at the time though part 7 would outdo it two years later. Six months after 6‘s release, Walker perished tragically in auto accident.
4. Monsters University
Domestic Gross: $268 million
The long gestating sequel to 2001’s Monsters University was a profitable venture for Pixar. It failed to nab an Animated Feature nod from the Academy (rare for the studio), but Disney likely wept into their cash.
3. Man of Steel
Domestic Gross: $291 million
The first picture in the DCEU came with gargantuan expectations with Zack Snyder directing and Henry Cavill donning the S. Reaction from critics and audiences was all over the map. Compared to this summer with the epic failure of The Flash, these were kinda the good ole days for DC.
2. Despicable Me 2
Domestic Gross: $368 million
Illumination dwarfed Pixar in the animated race with this sequel that became parent studio Universal’s most profitable film of all time. It’s also responsible for the season’s ubiquitous ditty “Happy” from Pharrell Williams.
1. Iron Man 3
Domestic Gross: $409 million
Tony Stark’s third solo adventure was generally considered an improvement on #2 as Shane Black handled the behind the camera work. It ended up as the year’s second best grosser behind November’s The Hunger Games: Catching Fire.
Now for some others worthy of discussion:
The Conjuring
Domestic Gross: $137 million
It might be just outside the top ten in 11th, but James Wan’s horror classic spawned a decade’s worth of sequels (two thus far) and spin-offs (Annabelle, The Nun) with no end in sight.
Now You See Me
Domestic Gross: $117 million
The heist pic from Louis Leterrier (who just directed Fast X) was a sleeper smash with a $350 million worldwide haul. A less regarded sequel came in 2016.
The Butler
Lee Daniels helmed this decades spanning tale of Forest Whitaker’s White House employee with Oprah Winfrey as his troubled wife. The studio was likely hoping for more awards attention than it ended up with, but the earnings were impressive.
Pacific Rim
Domestic Gross: $101 million
Guillermo del Toro’s monster mashup didn’t wow with a significant domestic take, but the overseas dollars were enough to spawn a panned 2018 sequel. The international haul makes it the Oscar winner’s personal best.
This Is the End
Domestic Gross: $101 million
This end of the world saga from Seth Rogen and Evan Goldberg was a star studded (from Michael Cera to Rihanna) dark comedy with critics on its side.
The Purge
Domestic Gross: $64 million
This dystopian horror pic launched another money minting series and was an early sleeper success for Blumhouse.
Blue Jasmine
Predicted Gross: $33 million
That number marks an impressive one for Woody Allen in the 21st century and this nabbed Cate Blanchett a Best Actress Academy Award.
Fruitvale Station
Domestic Gross: $16 million
Marking the first collaboration between Ryan Coogler and Michael B. Jordan, this indie drama was a critical darling. The pair would achieve colossal success in the years to follow with Creed and Black Panther.
There were lots of hits a decade ago. Yet there’s always the projects that don’t match expectations.
The Hangover Part III
Domestic Gross: $112 million
Audiences were growing weary of The Wolf Pack in the lambasted third entry. It came in well below the previous two.
Elysium
Domestic Gross: $93 million
Neill Blomkamp’s District 9 in 2009 was nominated for Best Picture. This sci-fi follow up with Matt Damon was considered a letdown by not joining the century club.
The Lone Ranger
Domestic Gross: $89 million
I’m gonna go ahead and say you couldn’t green light this $250 million adventure starring Johnny Depp and Armie Hammer today. It turns out Disney shouldn’t have 10 years ago as this came in far under expectations. The box office magic that director Gore Verbinski and Depp created with Pirates of the Caribbean was gone.
White House Down
Predicted Gross: $73 million
Roland Emmerich’s latest with Channing Tatum as a secret service agent and Jamie Foxx as POTUS had its thunder stolen in the spring by the similarly themed and better regarded Olympus Has Fallen (which spawned two sequels).
After Earth
Predicted Gross: $60 million
Moviegoers slapped down M. Night Shyamalan’s sci-fi epic starring the father son duo of Will and Jaden Smith. Reviews were harsh with a 12% Rotten Tomatoes rating.
The Internship
Domestic Gross: $44 million
Vince Vaughn and Owen Wilson’s 2005 romp Wedding Crashers was a $209 million earning smash. Eight years later, very few signed up for this forgettable reunion.
R.I.P.D.
Predicted Gross: $33 million
It might have been going for the Men in Black crowd, but audiences shunned this sci-fi comedy with Jeff Bridges and Ryan Reynolds. Somehow a direct to DVVD prequel was commissioned and released last year.
And there you have it! A look back at 2013 in the multiplex. I’ll have a 2014 recap conjured up next summer…
The first Annabelle spinoff in 2014 felt like a cheap and quick money grab after the success of The Conjuring the year before and I’d say it stands as the worst experience in this cinematic universe. Three years later, Annabelle: Creation managed to slightly improve on its predecessor as it told the 1950s set backstory of the demonic doll. Some horror aficionados felt it was a significant improvement, but I wouldn’t go that far. Annabelle Comes Home, which takes place about a year after the events of The Conjuring, accomplishes what very few trilogies can. I think this is the best of the trio and about on the level with The Conjuring 2 as far as effectiveness. That means it’s nowhere near the quality of the film that kicked the whole shebang off, but it’s well-crafted and feels like some effort got put into it.
Paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) are back and they basically bookend this latest haunting. The real focus is their daughter Judy (Mckenna Grace) as she deals with that supremely creepy looking title doll. Her parents have recently acquired Annabelle and locked her in a case that explicitly warns others to keep it closed. When the Warrens go off somewhere investigating what will probably be a Conjuring flick someday, Judy is left in the care of high school babysitter Mary Ellen (Madison Iseman). Her friend Daniela (Katie Sarife) joins the party and is curious if there are evil spirits lurking in the Warren household. She’s also desperate to connect with her recently deceased father.
As we know, Daniela has found the right house to do just that. Her actions unlock a whole lotta spirited occurrences which come with the franchise’s now well-known and precise sound effects editing. Home marks the directorial debut of Gary Dauberman, who wrote the first two Annabelle‘s and The Nun (he also penned both It pics). This walks a sometimes pleasurable line between the terrorized babysitter premise while being steeped in Conjuring lore. We briefly see several other spirits awakened and that includes a dog who’s a bad boy and a board game with a mind of its own.
Yet Annabelle Comes Home never turns into Ouija or Cujo. Most of the focus is on Annabelle. And despite her still scary appearance, no Conjuring sequel/spinoff has quite nailed the key objective: being consistently scary itself. With the exception of Annabelle’s first 2014 starring role, they look good and sound really good. They’re also far cries from what started it all.
America’s favorite paranormal investigating peeps The Warrens (Vera Farmiga and Patrick Wilson) are back in theaters and on HBO Max next week in The Conjuring: The Devil Made Me Do It. This is the second sequel to the 2013 horror hit and the eighth overall entry in the Conjuring Universe. Michael Chaves (who made the previous series effort The Curse of la Llorona) takes over directorial duties from James Wan, who produces and shares a story credit. Costars include Ruairi O’Connor, Sarah Catherine Hook, and Julian Hilliard.
Originally scheduled for a September 2020 premiere before its COVID delay, Devil will attempt to reach an opening weekend gross commensurate with its predecessors. That could be a helluva task. Both pics with Conjuring in the title made just over $40 million for their starts. The first two Annabelle spin-offs took in over $30 million out of the gate. Another spin-off, The Nun, actually holds the series record with $53 million. Yet the past two flicks couldn’t match up. The third Annabelle made just over $20 million while the aforementioned la Llorona hit $26 million.
Those dwindling earnings could continue here. I’m a bit surprised that Warner Bros is releasing this just one week after A Quiet Place Part II, which should still be making loud noises at multiplexes. Furthermore, some fans with Max subscriptions will opt to view it in the comfort of their home. This franchise, on the other hand, has often shown an ability to over perform (The Nun hitting $50 million plus was not anticipated). Yet for the reasons described, I believe Devil could end up having the lowest domestic debut of the whole bunch.
The Conjuring: The Devil Made Me Do It opening weekend prediction: $19.8 million
Earlier this week (on Tuesday), Batman Forever celebrated its 25th anniversary of release. For those who may not recall, this was when Joel Schumacher took over the franchise from Tim Burton and Val Kilmer replaced Michael Keaton as the Caped Crusader. Tommy Lee Jones (coming off an Oscar for The Fugitive) and Jim Carrey (the hottest comedic star in America after the one-two-three punch of Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber) costarred as villains Two-Face and The Riddler, respectively. Nicole Kidman was in the mix as Bruce Wayne/Batman’s love interest and Chris O’Donnell was introduced as Robin. Sounds like a recipe for a box office bonanza right? Indeed it was.
In mid June 1995, Forever scored the best opening weekend of all time and was the first feature to make over $50 million in its first three days. The $52.7 million tally topped the previous record holder from two summers before (a little something called Jurassic Park). Forever would hold the title for two years before being toppled by… The Lost World: Jurassic Park.
The all-time premiere record has since changed 11 times, including in 2008 with another Batflick The Dark Knight at $158 million. The current holder is Avengers: Endgame at $357 million. And that right there shows how much times have changed. In a quarter century, the first frame of Endgame made 7x that of Forever. Higher ticket prices are certainly a factor. Yet in 25 years, Val Kilmer’s grapples with Jim Carrey went from a highest ever start to now 225th. By the way, 224th place belongs to… The Lego Batman Movie! And now, Forever lags behind such forgettable material as The Nun, The Karate Kid remake, Valentine’s Day, and DC’s own hugely disappointing Green Lantern.
Speaking of disappointing, I’m certainly of the opinion that Forever was just that as far as quality. It’s not nearly as bad at what followed with Schumacher’s sequel Batman & Robin. However, it was a big letdown from what Burton accomplished before and what Christopher Nolan achieved a decade later with the start of The Dark Knight trilogy. What remains is an interesting snapshot in time when a $50 million debut was new territory and it took the Bat Signal (even a rather mediocre one) to get there.
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