Clayface took the top spot at the North American box office with about $24 million in ticket sales. The R-rated DC horror film stars Tom Rhys Harries as a Batman foe who can change his form. Warner Bros. spent $44 million to make it.
That debut sat near the low end of what analysts had forecast. Still, DC Studios had reason to welcome the result. Its Supergirl movie had brought in just $126 million around the globe, despite a bill of at least $270 million for filming and ads.
Elizabeth Holmes also became an odd rival at the box office through You Can See Everything. The documentary has done well enough to rank sixth among nonmusical films of its kind in Hollywood, once past ticket sales are adjusted for inflation.
For context, Fahrenheit 9/11 still holds the genre record with $119 million in U.S. and Canadian ticket sales. That works out to about $212 million in current dollars. Michael Moore's Iraq war film had made $55.5 million from 1,725 screens after its second weekend.
You Can See Everything has yet to reach that level. Its adjusted total sits just behind the political film 2016: Obama's America, though its place among the top six is still rare for a documentary.
Wildwood came third with a debut near $11 million. Travis Knight made the PG-13 fantasy for Laika, the Oregon stop-motion studio his father, Nike co-founder Phil Knight, set up. The film follows a teen girl into a strange forest as she seeks her abducted brother.
Critics gave Wildwood strong reviews, and sales beat forecasts. But the film cost about $100 million to make, with ads not part of that sum. A good start does not mean the studio has earned back its cash.
Wicker brought in $6 million from a smaller set of theaters. Olivia Colman plays a fisherwoman who asks a basket maker to craft her a spouse, played by Alexander Skarsgard. Black Bear, the film firm set up by Teddy Schwarzman, is behind the romance.
La Bola Negra also had a notable run. Netflix bought the Spanish-language film at Cannes and grew its release to nine screens. It made about $245,000 more, taking its total to $650,104.
Its cinema run is rare for Netflix. The firm gave the film a 45-day period when viewers can see it only in theaters. That is its longest such deal yet, and the movie has earned praise from critics.
Klara and the Sun had a far worse debut. The sci-fi drama made just $725,000 from 880 venues against a $20 million budget. Jenna Ortega and Amy Adams star, with Taika Waititi in the director's chair.
The plot follows an AI friend bought to keep an ill teen girl company. Yet the cast and idea did little to draw crowds. Sony Pictures Entertainment and Spyglass Media Group had a rough result with this one.
That debut sat near the low end of what analysts had forecast. Still, DC Studios had reason to welcome the result. Its Supergirl movie had brought in just $126 million around the globe, despite a bill of at least $270 million for filming and ads.
Elizabeth Holmes also became an odd rival at the box office through You Can See Everything. The documentary has done well enough to rank sixth among nonmusical films of its kind in Hollywood, once past ticket sales are adjusted for inflation.
For context, Fahrenheit 9/11 still holds the genre record with $119 million in U.S. and Canadian ticket sales. That works out to about $212 million in current dollars. Michael Moore's Iraq war film had made $55.5 million from 1,725 screens after its second weekend.
You Can See Everything has yet to reach that level. Its adjusted total sits just behind the political film 2016: Obama's America, though its place among the top six is still rare for a documentary.
Wildwood came third with a debut near $11 million. Travis Knight made the PG-13 fantasy for Laika, the Oregon stop-motion studio his father, Nike co-founder Phil Knight, set up. The film follows a teen girl into a strange forest as she seeks her abducted brother.
Critics gave Wildwood strong reviews, and sales beat forecasts. But the film cost about $100 million to make, with ads not part of that sum. A good start does not mean the studio has earned back its cash.
Wicker brought in $6 million from a smaller set of theaters. Olivia Colman plays a fisherwoman who asks a basket maker to craft her a spouse, played by Alexander Skarsgard. Black Bear, the film firm set up by Teddy Schwarzman, is behind the romance.
La Bola Negra also had a notable run. Netflix bought the Spanish-language film at Cannes and grew its release to nine screens. It made about $245,000 more, taking its total to $650,104.
Its cinema run is rare for Netflix. The firm gave the film a 45-day period when viewers can see it only in theaters. That is its longest such deal yet, and the movie has earned praise from critics.
Klara and the Sun had a far worse debut. The sci-fi drama made just $725,000 from 880 venues against a $20 million budget. Jenna Ortega and Amy Adams star, with Taika Waititi in the director's chair.
The plot follows an AI friend bought to keep an ill teen girl company. Yet the cast and idea did little to draw crowds. Sony Pictures Entertainment and Spyglass Media Group had a rough result with this one.
