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Jordan Peele’s ‘Get Out’ Jumps To $33.4M Opening – Monday AM Box Office Update

Deadline logo Deadline 2/27/2017 Anthony D'Alessandro
© Provided by Deadline

6th UPDATE, Monday AM: While most of the town likely has a hangover from last night’s Oscar snafu, Universal/Blumhouse’s Get Out is even higher in early Monday reporting. The Jordan Peele-directed horror movie now seeing a $33.4 million debut according to rival estimates. Note that rivals and Universal have generally been in sync in their forecasts on this one throughout the weekend. Many figured a $7M Sunday, but Get Out looks to be posting $9.8M, off 22% from Saturday.

Get Out is the third-best No. 1 opener for Universal/Blumhouse after Split ($40M) and The Purge ($34M), and the fourth overall including Ouija ($19.8M). We’ll have the studio-reported actual figures later today.

5TH WRITETHRU, Sunday AM: More moviegoers got out of the house on Saturday to get into Universal/Blumhouse’s Get Out. By textbook box office definitions, horror films are frontloaded. Genre fans typically show up in bulk on Thursday and Friday, then taper off on Saturday.

Not this one.

The Jordan Peele feature directorial earned $12.7M yesterday, repping an 17% jump over Friday’s $10.8M. That’s a bigger Friday-to-Saturday climb percent wise than Uni/Blumhouse’s previous production Split which increased by +13% over its first two full days. Currently, Get Out looks to log a $30.5M opening according to Uni which is about $1M shy of The Purge: Election Year‘s $31.5M opening and that played during Independence Day weekend when there’s an even greater audience available.

Pin it on the word of mouth screenings and film reviews for propelling this horror film sans stars to a huge number this weekend.

Says Universal distribution chief Nick Carpou, “With every recruited screening, there was an extraordinary visible reaction in the room. The audience was engaging with each other and it was clear the movie was just playable. It hit you on several levels: Get Out is entertaining, then scary and funny; it’s subversive in that way. It’s not just a genre movie, but a combination of many elements.”

As we mentioned previously, Get Out is the third best No. 1 opener for Universal/Blumhouse and the fourth overall together alongside Split ($40M), The Purge ($34M), and Ouija ($19.8M). With a produced cost that’s under $5M, Get Out marks the eighth Blumhouse title to open to 6x its budget. This is the eighth week of 2017, and Universal will own five of them at the No. 1 spot with Split over three, Fifty Shades Darker beating out The Lego Batman Movie over seven days during Valentine’s Day week, and now Get Out.

Screen Engine/ComScore’s PostTrak, which polls audiences throughout the weekend, shows Get Out earning a total positive score of 84%, which slots above Split‘s 78%. While many classify Split as a psychological thriller (it was also PG-13 to Get Out‘s R), we juxtapose them here since they’re recent back-to-back Uni/Blumhouse genre hits. Those definitely recommending Get Out to a friend numbered 66% to Split‘s 54%, while 41% said the Daniel Kaluuya-Allison Williams movie exceeded their expectations while the James McAvoy multi-personality thriller earned 31% in that polling category. Ninety percent of Get Out‘s business came from walk-ups. Overall, the film pulled in 38% African American, 35% Caucasian, 16% Hispanic and 10% Asian. In regards to Get Out‘s top venues it played broad with Atlanta’s Atlantic Station No. 1, the Hollywood Arclight second, the Empire in Manhattan, then 42 Court Street in Brooklyn.

Warner Bros.’ The Lego Batman Movie saw an estimated 112% climb on Saturday with $9.1M sending its third weekend to a second place of $19M, -41% for a running cume of $133M. It crossed the two century mark worldwide this weekend with a grand total of $217M, $83M of that from 60 territories abroad. Japan, China, Australia and New Zealand have yet to open.  For management firm Principato-Young Entertainment, they have two clients owning the top two box office spots on the chart: Peele with Get Out, and Will Arnett who is the voice of Batman/Bruce Wayne in Lego Batman. 

Lionsgate/Summit’s John Wick: Chapter 2 was +68% on Saturday with $4.16M and a third weekend of $9M in third. By the end of today, the running total for the Keanu Reeves movie will stand at $74.4M,  just 14% behind Kingsman: The Secret Service at the same point in time. That movie finaled at $128.2M domestic. If John Wick 2 keeps up its momentum, it could reach $100M+ becoming Reeves’ seventh title to do so in his career.

But in a weekend of awesome mainstream holdovers, coupled with Get Out‘s surprise, and the Oscar nom staying power of Hidden Figures, La La Land and Lion, there was little room for the new guys, Lionsgate Premiere’s Rock Dog and IM Global/Open Road’s Collide to squeeze in. Rock Dog ultimately fell outside the top 10 with an estimated $3.7M. With this type of low-budget animation, Lionsgate has zero production costs, and receives a distribution fee. In addition, it’s a film like this typically has a P&A in the teens, and LG will be on the hook for half of that number. There’s usually not an upside at the box office, but if the title over-indexes on home entertainment, then there’s a few bucks to be made. Collide at $1.54M is lucky to see the light of day after a two-year delay since the title was buried in Relativity’s bankruptcy. In our previous post we dive into how IM financially covered this Joel Silver production and got it off the ground. IM’s exposure is lower on Collide because they brought equity, however, rivals tell me no one is bound to walk away with any cash in the end after this cinematic car crash.

Oscar nominated titles were buoyed by moviegoers getting their last look at them before tonight’s ceremony. Lionsgate/Summit’s La La Land stayed even with last weekend’s take of $4.6M and a running cume of $140.86M, which is where we predicted it would be by this time. At $152.8M, Hidden Figures slightly beat our forecast by Oscar night, with Lion being 22% higher than what we saw with $42.8M. And it was a no-brainer that Arrival with its eight Oscar nominations including best picture would beam past $100M.Out of all the best pic nominees, ComScore reports that those earning the most of their gross post noms are as follows: Lion (61%), Hidden Figures (44%),  La La Land (36%), and Moonlight (with a running cume of $15.9M, generated close to a third).

The top 10 chart per studio reported figures for the weekend of Feb. 24-26 (Oscar weekend) as of Sunday AM:

1). Get Out (UNI), 2,781 theaters / $10.8M Fri. (includes $1.8M in previews) /$12.7M Sat/ $7M Sun/3-day: $30.5M /Wk 1

2). The LEGO Batman Movie (WB), 4,057 theaters (-31) / $4.3M Fri. /$9.1M Sat/$5.6M Sun/ 3-day: $19M (-42%) / Total: $133M

3. John Wick: Chapter 2 (LGF), 2,954theaters (-159) / $2.48M Fri. /$4.16M Sat/$2.36M Sun / 3-day: $9M (-45%) / Total:$74.4M / Wk 3

4. The Great Wall (UNI/LEG), 3,328 theaters (+3) / $2.37M Fri. / $4.1M Sat/ $2.3M Sun/3-day: $8.7M (-53%) / Total: $34.4M / Wk 2

5. Fifty Shades Darker (UNI), 3,216 theaters (-498) / $2.6M Fri.  / $3.3M Sat/$1.8M Sun/3-day: $7.7M (-62%) / Total: $103.6M / Wk 3

6.) Fist Fight (WB/NL), 3,185 theaters (0) / $1.77M Fri.  /$3M Sat/$1.6M Sun/ 3-day: $6.38M (-48%) / Total: $23.2M / Wk 2

7) Hidden Figures (FOX), 2,022 theaters (-195) / $1.58M Fri. /$2.765M Sat/ $1.5M Sun/ 3-day: $5.87M (-18%) / Total: $152.8M / Wk 10

8). La La Land (LGF), 1,733 theaters (+146) / $1.22M Fri/$2.22M Sat/$1.1M Sun / 3-day: $4.6M (0%) / Total: $140.86M / Wk 12

9.) Split(UNI/BLUM), 1,901 theaters (-544) / $1.17M Fri. /$1.9M Sat/$1M Sun/ 3-day: $4.1M (-42%) / Total: $130.8M / Wk 6

10.) Lion (TWC) 1,802 theaters (+260) / $1M Fri. /$1.8M Sat/$1M Sun/ 3-day: $3.8M (-9%) / Total: $42.8M / Wk 14

Notables:

Rock Dog (LGF), 2,077 theaters / $902K Fri. /$1.67M Sat/$1.1M Sun/ 3-day: $3.7M / Wk 1

Collide (OR/IM Global), 2,045 theaters / $539K Fri./$625K  Sat/$375K Sun/3-day: $1.54M /Wk 1

A Cure for Wellness (FOX/NEW REG), 2,704 theaters / $430K Fri./$610K Sat/$340K Sun/ 3-day: $1.38M (-68%) / Total: $7.47M / Wk 2

My Life as a Zucchini (GKIDS), 2 theaters / $6K Fri. /$10K Sat/$7K/ Per screen average: $12,2K / 3-day: $24K / Wk 1

Writethru Saturday AM on 3rd Update, Friday PM: Universal/Blumhouse’s weekend box office hit Get Out, which is looking at a three-day of anywhere between $28M and $29M right now, is the fourth No. 1 opener for the studios’ partnership together after The Purge, Ouija and last month’s Split.

In addition, box office analysts currently believe that Jordan Peele’s feature directorial debut isn’t going to only be a front-loaded like other horror pics, but could see a 5% gain on Saturday over Friday’s $10.8M.

Also, get this — Get Out gets an A- CinemaScore which is largely unheard of for a horror title. Typically these movies are lucky to earn a B or B+, and that’s considered awesome, but Get Out is in rare air alongside The Conjuring 1 and 2 which both received A- grades. The 18-24 bunch who repped close to a third of all moviegoers gave Get Out an A+. Older females (53%) over 25 (61%) were the main crowd last night according to CinemaScore.

Seriously, consider for a minute how much of an anomaly Get Out is: It’s a horror film from a first-time filmmaker who is known for his Emmy-winning comedy work on Comedy Central’s Key & Peele. The movie doesn’t star any marquee draws, in fact, it’s the first major studio film for Girls’ Allison Williams. The director himself, Jordan Peele, given his TV work, is arguably the biggest draw on the one-sheet…and he doesn’t even appear in the movie. Even more amazing, Get Out is going to make more in its opening weekend than Peele’s Keanu ($20.6M), which was his first on-screen appearance following the mammoth success of Key & Peele. Seventeen percent came out because it was Peele’s directorial debut according to CinemaScore, while 50% were horror film fans. Blumhouse, once again following Split, demonstrates that when it comes to great horror films, it’s best handled by auteurs on a shoe-string budget.

“Horror and comedy are very linked to me,” said Peele at the Sundance secret screening for Get Out, “They’re about getting a physical reaction and pinpointing when that physical reaction happens. You need to know where your audience is. One is a laugh, and one is a scare. In truly scary scenes, you can get someone to laugh.”

Critics have warmed to Get Out given the real horror it exhibits: That racism unfortunately continues to exude strongly in our society.

During his Sundance post-screening Q&A, Peele added that Get Out “was a missing piece in the genre. One of my favorite movies is the Stepford Wives and the way it dealt with social issues in regards to gender. I just thought, that’s proof that you can pull off a movie about race, that’s a thriller and entertaining and fun.”

Peele hatched the story idea eight years ago “when Barack Obama and Hillary Clinton were up against each other for the Democratic (presidential) nomination. All of a sudden, the country was focused for a second on Black civil rights and the women’s civil rights movement and where they intersect and who deserves to be president more, and who has waited long enough. It’s an absurd thing that civil rights were divided. That was when the germ of the idea hit me. It marinated for a long time and I wrote the script three years ago.”

He pitched the idea to QC Entertainment’s Sean McKittrick who said “I’ve definitely never seen this movie before.”

Added Peele, “Here’s a movie that’s never gonna get made, and by the end (of our coffee), Sean was like, ‘Let’s make it.'”

The duo eventually made there way to Jason Blum who was quick to embrace. “I like a movie that uses horror to smuggle a social issue to a ton of people. That’s what I responded to in this script. That’s what resonated with me in The Purge: It’s really a movie about gun control gone crazy, the other way. It’s a cautionary tale. There’s a similar thing about a different issue in this movie,” said the Blumhouse chief at Sundance.

Further expounding on his inspirations for Get Out, Peele also said at the fest, “We had this Black president and we’re living in this post-racial lie. This whole idea that we’ve passed it all. For me, and many Black people out there, there’s racism. I experience it on an everyday basis. This movie was meant to reveal that there’s the monster of racism lurking underneath these seemingly innocent conversations and situations. It’s been fascinating watching the last few years develop, because now the movie is coming out in a very different America from where it began. I think it’s more important now, and far more interesting now. I respect Universal for having the F***king balls leaning into this kind of shit.”

“It was very important for me for this movie not to be about the Black guy going to the South and going to a red state where the presumption for a lot of people is that everyone is a racist there,” added Peele, “This was really meant to take a stab at the liberal elite that tends to believe that we’re above these things.”

Following the Sundance secret screening, some of the promo stunts that moved the needle for Get Out included Uni hosting a social influencer screening/ Q&A with Chance the Rapper followed by a high-profile Grammy spot that was supported by promoted tweets and ads through Snapchat’s Grammy Awards Live Story.  The Brooklyn Academy of Music in New York curated a series of movies that influenced Peele while making Get Out. In addition, there were numerous TV spots that aired on ESPN, Comedy Central, BET, Fox and CBS as well as during NBA Basketball games.

Russell Simmons’ All Def Digital was also involved with a Get Out marketing integration similar to their involvement with Screen Gems’ Don’t Breathe. Emerging artist Rome Fortune composed an original song with metaphors inspired by the movie further propped by the visual designs by All Def Digital’s creative director, Scott Weintrob. In less than one week, the music video has clocked 1.2M-plus views across Facebook and YouTube.

With Get Out riding atop the chart as well as three-weekend old holdovers, one of this weekend’s casualties is Open Road/IM Global’s Euro-auto action film Collide starring a bulk of talent from across the pond including Felicity Jones, Nicholas Hoult, Anthony Hopkins and Ben Kingsley. In combing through the ashes of this movie which cost an estimated net of $21.5M and is looking at a weekend opening outside the top 10 of $1.5M, we hear that IM Global chief Stuart Ford is the unsung hero when it came to rescuing this movie. Collide was in the clutches of Relativity and its bankruptcy crisis and if it wasn’t for FordCollide wouldn’t see the light of projection on stateside screens.

Collide was largely built for an overseas crowd, and as we saw last weekend with The Great Wall (10-day B.O. by Sunday is an estimated $33.7M), their tastes differ greatly from U.S. audiences in terms of spectacle. Tonight, those U.S. crowds who sat in the passenger seat for Collide, wanted to get out of the car, giving it a C+ CinemaScore. Open Road took a distribution fee and implemented a digital P&A in the spirit of such movies as Don’t Breathe and Sausage Party in an effort to draw a young crowd. That plan didn’t yield much, especially in the wake of Get Out.  P&A was not funded by IM Global or Open Road, but by a consortium of institutional P&A investors from the U.S. and China. In financing Collide, we understand that IM Global bankrolled the movie with DMG Entertainment from China and Sycamore Pictures. The original production cost was in the high $20M range and after soft money from Germany, that fell to a net of $21.5M. Seventy-five percent of the total budget, we hear, was covered via IM output deals and foreign sales. IM Global has very little exposure in the U.S. market despite Collide‘s crash, and that’s because they brought equity to the movie in their output deals. The movie currently counts $3.2M from seven territories according to ComScore with more European and Latin American openings to follow.  Of that $3.2M, $2.2M was generated in China.
A near split last night among men and women at Collide with females having the edge at 51%.  Over 25 bought most of the tickets at 68% giving it a C, however, the under 25 bunch were more tolerant giving it a B. They were in the minority though repping 32% of the crowd.

Lionsgate Premiere’s Rock Dog lands in ninth with an estimated $3.5M and a B+ from the families who dared watched this animated feature with the voices of  Luke Wilson, Lewis Black, J.K. Simmons and Eddie Izzard.  That said, those kids who showed up loved it with the under 18 at 47% giving Rock Dog a solid A. The opening is lower than last year’s Norm of the North ($6.8M) and slightly higher than last September’s The Wild Life ($3.3M).  The company argues that they’re in this flea market feature toon business because these movies are service deals with minimized risks with further upside in the home entertainment market. RelishMix reports that the social conversation for Rock Dog “was skeptical” buoyed off a light social media universe that’s just under 17M across Instagram, Twitter, Facebook and YouTube (notoriously low for a family film).

However, Rock Dog‘s performance is an afterthought in Lionsgate’s weekend. Better days in the sun lie ahead for the distributor, even if it rains on Sunday, as La La Land hopes to take home its 14 Oscar nominations. Should the Damien Chazelle original musical win best picture, industry analysts believe the film’s domestic B.O. will jump another 11% from $140M on Sunday to $155M.

Below are the top 10 films for the weekend of Feb. 24-26, 2017 (Oscar weekend) per Friday night industry estimates:

1). Get Out (UNI), 2,781 theaters / $10.8M Fri. (includes $1.8M in previews) / 3-day: $28M to $29M /Wk 1

2). The LEGO Batman Movie (WB), 4,057 theaters (-31) / $4.27M Fri. (-45%) / 3-day: $17.5M to 18M+ (-45%) / Total: $131M to $132M+

3. John Wick: Chapter 2 (LGF), 2,954theaters (-159) / $2.48M Fri. (-42%) / 3-day: $8.6M (-48%) / Total:$74M / Wk 3

4. The Great Wall (UNI/LEG), 3,328 theaters (+3) / $2.36M Fri. (-60%) / 3-day: $8M (-56%) / Total: $33.7M / Wk 2

5. Fifty Shades Darker (UNI), 3,216 theaters (-498) / $2.6 M Fri. (-61%) / 3-day: $7.35M to $7.6M (-62% to 64%) / Total: $103M+ / Wk 3

6/7). Hidden Figures (FOX), 2,022 theaters (-195) / $1.58M Fri. (-14%) / 3-day: $5.6M to $5.8M (-18%) / Total: $152.8M / Wk 10

Fist Fight (WB/NL), 3,185 theaters (0) / $1.7M Fri. (-54%) / 3-day: $5.7M to $5.8M (-59%) / Total: $22.6M / Wk 2

8). La La Land (LGF), 1,733 theaters (+146) / $1.2M Fri (+8%) / 3-day: $4.4M to $4.7M (-3%) / Total: $140.7M to $141M / Wk 12

9/10). Rock Dog (LGF), 2,077 theaters / $888K Fri. / 3-day: $3.5Mto $3.7M / Wk 1

Split(UNI/BLUM), 1,901 theaters (-544) / $1.17M Fri. (-38%) / 3-day: $3.78M to $4M (-44%) / Total: $130.7M / Wk 6

Lion (TWC) 1,802 theaters (+260) / $1M Fri. (-2%) / 3-day: $3.68M (-12%) / Total: $42.65M / Wk 14

NOTABLES:

Collide (OR/IM Global), 2,045 theaters / $538K Fri. / 3-day: $1.5M /Wk 1

A Cure for Wellness (FOX/NEW REG), 2,704 theaters / $430K Fri. (-72%) / 3-day: $1.3M to $1.4M (-68%) / Total: $7.45M / Wk 2

My Life as a Zucchini (GKIDS), 2 theaters / $6,900K Fri. / Per screen average: $12,250K / 3-day: $24K+ / Wk 1

2nd Update, 11:36AM: Early matinees indicate that Universal/Blumhouse’s Get Outis on its way to scare up an opening between $26.5M-$28M. Even if these industry projections calm down to the lower $20Ms by tonight, the Jordan Peele-directed movie will deliver both studios’ its second back-to-back hit after M. Night Shyamalan’s Split last month, which just cracked past $200M.

Get Out will easily slot the top spot giving Uni/Blumhouse their fourth No. 1 opening together after Split ($40M), The Purge ($34M), and Ouija ($19.8M). Also, in one weekend, Peele’s Get Out, which he does not appear in, will have outstripped the entire domestic cume of New Line/Warner Bros.’ Keanu ($20.6M), his first on-screen combo last year with his Key and Peele creator/co-star Keegan-Michael Key. Today, Get Out is expected to make between $10M-$10.5M, including last night’s $1.8M.

Holdovers will rule the rest of the top of the chart with Warner Bros. The Lego Batman Movie flying down to second with an estimated third weekend of $15.5M, -52% for a running cume by Sunday of $129.5M. The toy brick DC superhero is expected to gross $4M today.

Uni’s Fifty Shades Darkeris looking at $9.5M in its third weekend, -53% for running total of $105.4M. Friday looks to count an estimated $3.3M.

Lionsgate’s John Wick: Chapter 2 is now estimated at $2.2M today, $6.6M for its third weekend, -59% and a total by EOD Sunday of $72M.

20th Century Fox’s three-time Oscar nominee will see $1.6M today, $6M in its 10th weekend, -17% for a total by Oscar night of $152.9M.

And the new guys, as anticipated, are coming in low with Lionsgate Premiere’s animated Rock Dog whining $1.4M today, $6M for the weekend and IM Global/Open Road’s Collide crashing with $750K today and $2M for the weekend. Again, tonight might paint a different picture for the weekend. Split, which the distributors prefer to classify as a psychological thriller, wasn’t frontloaded like the typical genre movie, thus seeing a 13% spike from its Friday to Saturday money. We’ll know later how frontloaded Get Out is.

1st Update, 6:44AM: Jordan Peele’s feature directorial debut Get Outraised hell Thursday night, grossing $1.8 million at 2,240 theaters from showtimes starting at 7 PM.

Industry projections for Get Out are easily over $20M for the weekend, but Universal is forecasting in the high teens for this horror movie which cost under $5M before P&A. The movie is currently No. 1 on Fandango, repping 32% of all tickets sold this morning. QC Entertainment is also a producer on Get Out.

Last night’s cash is just $200K shy of Universal/Blumhouse’s previous collaboration together last month: M. Night Shyamalan’s Split, which went on to a jawdropping opening weekend of $40M and crossed $200M yesterday. In addition, Get Out beats the $1M Thursday night made by Shyamalan’s The Visit, and the $722K made by Ouija: Origin Of Evil. Get Out‘s Thursday is also $100K shy of Screen Gems’ Don’t Breathe which went on to open to $26.4M.

In addition — and the irony is that the comedic Peele doesn’t even appear in Get Out — the horror title beats the $560K Thursday night gross of Keanu, his R-rated combo with his Comedy Central series partner Keegan-Michael Key.

Ever since Get Out screened secretly at the Sundance Film Festival, critics’ drums grew increasingly louder for the film to the point where it now owns a 100% certified fresh rating on Rotten Tomatoes off 99 reviews. It used to be that horror titles ducked film reviewers since mainstream critics took delight in murdering them; essentially, genre press would be the only outlets granted access. With the renaissance in auteur horror cinema, there’s been a positive response from major metropolitan film critics, and thus their blessings spell victorious for a genre film’s outcome at the B.O. Wall Street Journal‘s Joe Morgenstern expounds on how this film about an African American young man who visits his Caucasian girlfriend’s family, strikes a nerve: “Get Out starts with a great title and a promising idea — a black man’s fear as he walks at night down a street in an affluent white suburb. Then it delivers on that promise with explosive brilliance.” Meanwhile, The New Yorker says that Peele with his combination of humor and political fury is “An American Bunuel.”

Fandango reports that 94% of the audience was inspired to buy a ticket based on the film’s trailer. That makes sense considering that when Uni launched the first trailer in October, it clocked more than 30M views and was fueled by an enormous volume of organic sharing, with more than a half a million shares on Facebook alone in under 24 hours.

Let’s not forget the Oscars are on Sunday night, and moviegoers will head out to get their last fix of nominees before the ceremony. AMC is bringing back all nine of the best picture nominees with its 11th annual Best Picture Showcase. Tomorrow the exhibitor will play all best pic nominees with some locations projecting all nine in a row. Best picture nominees La La Land from Lionsgate/Summit and Hidden Figures from 20th Century Fox remain in wide release in 1,733 and 2,022 theaters, respectively.

Also opening wide this weekend is Lionsgate’s animated title Rock Dogin 2,077 theaters and IM Global/Open Road’s Collide in 2,045. Neither is expected to shake up the chart, with industry projections of $6M-$7M and $3M-$4M, respectively. Collide, a Euro auto-action crime movie that stars Felicity Jones, Nicholas Hoult, Anthony Hopkins and Ben Kingsley, has already banked $3.2M per ComScore from seven territories including China and Germany. Bigger European markets and Latin America are to come following its U.S. bow. Open Road has a distribution fee on this title following IM Global rescuing their movie from Relativity’s bankruptcy close to two years ago.

Warner Bros’ The Lego Batman Movieis the biggest potential threat to Get Out should it slip from No. 1. Industry projections see a third weekend for the animated title between $16M-$18M, but if it overperforms due to matinees, it could invade Get Out‘s turf. Last night, Lego Batman drew $1.8M — (really, it did). Its two week cume stands at $114M.

Universal will also have a great weekend with Fifty Shades Darker, which will cross the $100M mark with an estimated $10M. The E.L. James sequel made $1.3M yesterday, ranking second for the day, with a two-week booty of $95.9M.

Lionsgate/Summit’sJohn Wick: Chapter 2 ranked third among all titles in play yesterday with $1.2M and a running cume of $65.4M at the end of its second week. It’s set to make between $8.9M-$9.7M in its third weekend, raising its tally close to $75M on the high end.

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