Disney’s “The Mandalorian and Grogu” ignited to $100 million at the domestic box office over the Memorial Day holiday weekend.
That’s ever-so-slightly behind Sunday’s estimates of $102 million for the four-day frame, which includes $81 million over the traditional weekend. The “Star Wars” spinoff, a continuation of the popular Disney+ streaming series, also collected a softer $63 million from international markets for a global debut of $163 million over the four-day period. “The Mandalorian and Grogu” is significant as the first “Star Wars” movie in seven years — since 2019’s saga-concluding billion-dollar tentpole “The Rise of Skywalker.” As “Star Wars” owner Lucasfilm failed for years to launch a new theatrical film, the company turned its attention to the small screen with Disney+ shows like “The Book of Boba Fett” and “Ahsoka” as well as “Andor” and “Skeleton Crew.”
So, is “Star Wars” still a cinematic property? Box office analysts believe it’s too soon to tell. They suggest the film’s second weekend in theaters will better indicate whether “The Mandalorian and Grogu” is only appealing to fans of the series, or if it’ll break out among families. For now, ticket sales are roughly even with Lucasfilm’s last spinoff attempt, “Solo: A Star Wars Story,” which arrived over Memorial Day in 2018 and ended in disaster. That movie opened to $103 million through the four-day holiday (including $84 million over the traditional weekend) and $168 million globally, not adjusted for inflation. With lackluster reviews and tepid word-of-mouth, “Solo” left the big screen with just $392 million globally and became the first “Star Wars” movie ever to lose money in its theatrical run. Part of the issue was “Solo” carried a gargantuan $300 million budget.
“The Mandalorian and Grogu,” meanwhile, was less expensive, costing roughly $165 million to produce, and seems to have far better word-of-mouth from critics and audiences. But “The Mandalorian and Grogu” will need staying power to prove that younger audiences care about a galaxy far, far away. Jon Favreau directed the film, which revolves around Pedro Pascal’s Din Djarin and his adorable green sidekick as they navigate a galaxy that’s recovering from the fall of the evil Empire.
Second place went to Focus Features’ breakout horror hit “Obsession,” which enjoyed a larger-than-expected sophomore outing. The film amassed $23.9 million over the weekend and $30.3 million through Monday — an unprecedented 39% increase from its strong debut. It’s an especially uncommon occurrence for horror, a genre that’s notorious for falling sharply after opening weekend. So far, “Obsession” has generated a remarkable $60.7 million in North America and $75 million worldwide. It was produced for less than $1 million and will easily become one of the year’s most profitable releases. YouTube breakout Curry Barker directed the well-reviewed and positively received “Obsession,” which follows a hopeless romantic who makes a dark Faustian bargain to win his crush’s heart.
Two other newcomers, Paramount’s gruesome thriller “Passenger” and Neon’s crime comedy “I Love Boosters,” launched outside the top five.
“Passenger” opened at No. 6 with $10.5 million from Friday through Monday, including $8.7 million over the traditional weekend. The R-rated film brought in $4.8 million overseas, bringing its worldwide tally to $13.5 million. “Passenger,” which follows a young couple who is relentlessly stalked by a demonic entity, has mixed reviews (42% on Rotten Tomatoes) as well as a “B-” CinemaScore grade. It cost just $15 million to produce.
“I Love Boosters” debuted in eighth place with $4.7 million through the four-day frame, including $3.8 million over the traditional weekend. Boots Riley (“Sorry to Bother You”) directed the film about professional shoplifters (portrayed by Keke Palmer, Naomi Ackie and Taylour Paige) who target a cutthroat fashion mogul (Demi Moore). Critics dug “Boosters,” which holds a 92% on Rotten Tomatoes, while audiences were mixed, giving a “B” grade on CinemaScore. It carries a $20 million production budget.
