Box Office Roundup: The Minions Are Back, But "Baby Driver" Is Where You'll Get Your Money's Worth | 2 or 3 Things I Know About Film >> Film Film reviews, essays, analysis and more Film | 2 or 3 Things I Know About Film >> Film Film reviews, essays, analysis and more
Box Office Roundup: The Minions Are Back, But “Baby Driver” Is Where You’ll Get Your Money’s Worth

June 30-July 2, 2017

1. Despicable Me 3 (Opening) - $75.4M

2. Baby Driver (Opening) - $21.0M

3. Transformers: The Last Knight (2nd) - $17.0M

4. Wonder Woman (5th) - $16.1M

5. Cars 3 (3rd) - $9.5M

6. The House (Opening) - $9.0M

7. 47 Meters Down (3rd) - $4.7M

8. The Beguiled (2nd) - $3.26M

9. The Mummy (4th) - $2.8M

10. Pirates of the Caribbean: Dead Men Tell No Tales (6th) - $2.4M


The ace in Illumination Entertainment’s sleeve – the production company that produces the Despicable Me franchise, including the spin-off feature Minions, which are distributed by Universal Studios, is the comparatively tight budgets. Despicable Me 3 has a reported budget of $80m, which, when compared to Disney/Pixar’s Cars 3’s and Dreamworks’ The Boss Boby, which respectively had a reported cost of $170m and $125m, is remarkably thrifty. Despite Despicable Me 3 grossing $75.4m during this weekend, compared to Despicable Me 2’s opening gross of $83.5m and Minions’ $115.7m, Illumination is more than aware that they will multiply their profits many times over. This will especially be the case once the foreign box office is considered, where the film has grossed an estimated $192.3m, entering the top one-hundred worldwide openings, out-grossing Despicable Me 2’s $147.9m during its opening in four years prior.

While Despicable Me 3’s success is unsurprising, Edgar Wright’s Baby Driver outpaced expectations to gross $30m across five days (Wednesday – Sunday) and $21m across the three day weekend. Estimations from several Box Office scholars originally had the film opening in the mid-late teens across five days, which only grew as the film’s opening day figures were announced. R-rated comedies are rarely released on a Wednesday, making comparisons hard to make and due to a social media marketing campaign scoring well with audiences aged under 25, it was harder to track just how well the film’s campaign was being received. Compared to Edgar Wright’s previous filmography, Baby Driver has almost doubled Scott Pilgrim vs the World’s opening, which was his previous highest grossing opening weekend, earning $10.6m in 2010.   




The ever impressive Wonder Woman continues its stranglehold over its audience, dropping only 35.4% in its fifth weekend to gross $16.1m, with a total of $346.6m. It has now outpaced Batman v Superman: Dawn of Justice ($330m) and Suicide Squad $325m), making it the highest earning domestic film in Warner Brother’s DC Expanded Universe. Rumour has it that Justice League’s reshoots will include added scenes of Wonder Woman to please fans; one cannot blame them for trying to recapture the Amazonian princess’s success. 47 Meters Down also continues its modest success, dropping only 33.9% this weekend, making it the sleeper hit of the summer. It has grossed a total of $32.6m so far, following in the footsteps of last year’s shark-related sleeper hit, The Shallows. That film made a total of $55.1m in the US and a total of 119.1m worldwide; it is uncertain if 47 Meters Down will have the stamina to do as well, but when it has reached the end of its box office run, it will have made its production company, Entertainment Films, a tidy profit.

Box Office

47 Meters Down. (CREDIT: Source.)

Hovering just under the top ten at number 12 is The Big Sick, grossing over $1.6m in just 71 theatres, giving it a $23.5k per theatre average. Since its release at The Sundance Film Festival, people have monitored this movie very carefully as a potential breakout indie hit, and it seems such predictions will soon come true as it inevitably expands again next week into its third week of release. 


The House, starring Amy Poehler and Will Ferrell, continues the trend of R-rated comedies performing poorly. Coming just two weeks after Rough Night which opened on a similarly awful $8m, The House’s opening gross is perhaps indicative of the sense of fatigue that has come with the constant release of such loud, screechy comedies. A comparison can be made to Baby Driver, as they’re both R-rated comedies, but where Baby Driver appealed to people due to its mix of action, comedy, and music, The House appears like a movie that has been made many times before.