5th Updates, Sunday 7:27 AM & 10:13AM: Cars 3   dipped 7% on Saturday for an estimated $18.1M, bringing its opening weekend to  $53.5M  per Disney. That’s the 16th Pixar film to open at No. 1.

While that’s the lowest opening stateside in the  Cars  series, it should be noted that this movie typically plays younger, evident in its G-rating (that’s why they call it a handholder pic, because the kids that attend need their hands held by their parents) versus the PG-fare of other Pixar films which also play to adults, with clever humor and/or big sociological or philosophical themes (i.e.  Wall-E, Inside Out ). The latter has more breadth at the B.O.

Seventy-five percent of Cars 3 ‘s attendees were families, per Disney. ComScore/Screen Engine’s PostTrak drills down to show 54% kids to 17% parents in attendance with those under 7 repping 19% of the kid population. Twenty percent were between the ages of 10-12, while those between 7-9 repped 14%.

Nonetheless, as we mentioned previously,  Cars 3  is about Disney continually upholding a brand through all of its ancillaries, and in this case one which is fully propped by $10 billion-plus in global merchandising sales. It’s essential for the studio to continually play  Cars  to each new generation of kids.

“This is a very important franchise for the company. The story and new characters are very gratifying and it’s exciting to have a new generation of Cars  fans,” said Disney distribution chief Dave Hollis this morning.

Cars 3  marks the 18th straight A CinemaScore for a Pixar movie. Disney is very encouraged by the pic’s exit polls, Cars 3 ‘s CinemaScore being an improvement on the previous sequel’s A-, not to mention the threequel’s reviews are better.  Parents love the movie too, and the studio hopes they’ll continue to champion the film and reign in business.  Cars  generated the biggest multiple and stateside gross in the trilogy with a 4x off its $60.1M opening and a final of $244M off its A score.  Cars 2  had a 2.89 multiple off its $66.1M debut for a final of $191.45M. Illumination/Universal’s threequel  Despicable Me 3  arrives in 12 days with an expected three-day of $85M-$90M. Again that’s a different type of animated film that appeals to a much older crowd with its belly laugh, in-your-face comedy.

Warner Bros. is reporting  Wonder Woman   with a $40.77M third weekend, which as we mentioned earlier is the second best third weekend ever for the studio behind 2008’s  Dark Knight  ($42.66M) and far ahead of  Batman v. Superman  ($23.3M) and  Suicide Squad  ($20.9M). Saturday was up a huge 45% over Friday for $15.8M.  Wonder Woman  looks to count $274.6M by the end of today, and she’s still counting the lion’s share of female business, slowing down other female-skewing titles like Sony’s misfire  Rough Night   which fell 16% for $2.8M on its way to an industry-estimated  $8.05M opening in 7th place (even Pirates of the Caribbean  wound up outpegging the R-rated comedy).

Gal Gadot’s husband Jaron Varsano tweeted out this photo on Instagram over the weekend about his Wonder Woman:

View this post on Instagram

#mywife #therealwonderwoman ??

A post shared by JaronVarsano (@jaronvarsano) on Jun 15, 2017 at 11:45am PDT

Lionsgate’s Codeblack Film’s  All Eyez On Me   was front-loaded on Friday due to Tupac Shakur’s birthday seeing an opening day of $12.9M. The industry got very excited and started projecting an opening weekend that was well north of $30M. Lionsgate always had a sense that the movie’s fate lied in the mid $20M range, and that’s what we’re apt to see with a three-day at $27M in 3rd place after a Saturday that was -40% from Friday with $7.7M. Still that weekend number is very good, and above the tracking which everyone was seeing last week which was between $15M-$22M.

There was an unprecedented amount of advance ticket sales for this movie.  Straight Outta Compton  by comparison had a bulk of walk-up business. Codeblack agreed to handle the movie back in January and following the trailer for  All Eyez On Me  at CinemaCon, exhibitors started phoning Lionsgate.

“Our style of marketing is that we try to event-ize our properties as best we can. We selected Tupac Shakur’s birthday as the release date given the event nature around that and we took the opportunity to engage his fanbase through social media. We had a strategic campaign to engage in one or two clicks; social media provides a way of purchasing tickets quickly,” said Quincy Newell, EVP of Codeblack about marketing  All Eyez on Me  straight to Tupac’s fanbase.

We detailed in the previous post the uphill battle Morgan Creek faced in getting  All Eyez on Me  to the screen. Landing the music rights via the Shakur family was key, and it’s not an easy feat for these movies. Typically the estate insists on having some kind of creative input, and that can curb a truly candid story from being told.  All Eyez on Me  has its fans, i.e. F. Gary Gray, Sean Combs, and Shakur’s former manager Atron Gregory, but like any of these musical biopics (read Lifetime’s  Whitney ) there’s a divide among those who were close with the artist, and in this case, it’s Jada Pinkett Smith who starred with Tupac on an episode of the TV series A Different World.

Entertainment Studios is calling the weekend opening for 47 Meters Down  at $11.5M . Mandy Moore’s This Is Us  halo and the fact that this is a shark genre are what’s winning here. “We are very happy with our first wide release. The movie is perfect for the summer, and an absolute crowd-pleaser as indicated by our outstanding per-screen average,” said Entertainment Studios Founder, Chairman and CEO Byron Allen this morning. Talking to Deadline, Allen added, “Our philosophy over at Entertainment Studios is to feed the audience, not to chase the audience which is apropos to our first movie being a shark movie.”

47 Meters Down  is in a slightly better financial position than  Rough Night.  While  Rough Night  cost $20M, and has a domestic P&A spend around $35M,  47 Meters Down  carried an estimated P&A of $30M, with only a seven digit acquisition cost (not high single digits) and has the extra benefit of being a genre title. On Rentrak heading into the weekend,  47 Meters Down  was leading among females under 25 for new wide releases.

It’s fine for  Wonder Woman  to kick WWI German guys’ butts, and OK for two sisters to battle sharks in  47 Meters Down,  but the line is drawn for women to kill a stripper, hence the results of  Rough Night . Many in town believe that’s the No. 1 thing that put off audiences, despite the glitzy package of Scarlett Johansson, Kate McKinnon and Ilana Glazer starring in a movie by  Broad City  EPs Lucia Aniello and Paul W. Downs. Even more so —  Rough Night  generates divided laughs. People were laughing at a promo screening last week in Hollywood, while anecdotally, at a Thursday night screening, the trailer for Amy Poehler and Will Ferrell’s  The House  drew more laughs. Yes, there’s too many party-hardy movies ,  but it’s also about positioning and  Rough Night  looked like a watered-down version of  The Hangover  versus STX’s  Bad Moms,  which was a more tangible concept that connected with older women. And reviews at 50% Rotten do not help Rough Night one bit.

Studio-reported figures for Father’s Day weekend, June 16-18 as of Sunday AM:

1.).  Cars 3   (DIS), 4.256 theaters / $19.5M Fri. (includes $2.8M previews) /$18.1M Sat./$15.9M Sun/3-day cume:  $53.5M /Wk 1

2.).  Wonder Woman   (WB), 4,018 theaters (-147)/ $10.85M Fri./$15.8M Sat/$14.1M Sun/3-day cume:  $40.77M   (-30%)/Total:$274.6M/ Wk 3

3.).  All Eyez On Me   (LG), 2,471 theaters / $12.9M Fri. (includes $3.1M) /$7.7M Sat/$6.5M Sun/3-day cume:  $27.1M /Wk 1

4.).  The Mummy   (Uni), 4.034 theaters (-1) / $3.8M Fri. (-68%) /$5.3M Sat/$4.8M Sun/3-day cume:  $13.9M (-56%)/Total: $56.5M/Wk 2

5.).  47 Meters Down   (ENT), 2,270 theaters / $4.5M Fri. (includes $735k) /$4M Sat/$3m Sun/3-day cume:  $11.5M /Wk 1

6.).  Pirates Of The Caribbean: Dead Men Tell No Tales   (DIS), 2,759 theaters (-920)/ $2.3M Fri./$3.2M Sat/$2.9M Sun/3-day cume:  $8.45M  (-21%)/Total:$150M/ Wk 4

7.).  Rough Night   (SONY), 3,162 theaters / $3.3M Fri. (includes $700k) /$2.8M Sat/$1.87M Sun/3-day cume:  $8.05M /Wk 1

8.).  Captain Underpants   (DWA/20TH), 2,968 theaters (-561)/ $2.1M Fri. /$2.8m Sat/$2.45M Sun/ 3-day cume:  $7.35M  (-40%)/Total: $58M/Wk 3

9.).  Guardians of the Galaxy Vol. 2   (DIS), 1,813 theaters (-1,098) / $1.2M Fri. /$1.8M Sat/$1.9m Sun/3-day cume:  $4.98M   (-21%)/Total:$374.9m/ Wk 7

10.).  It Comes at Night  (A24), 2,450 theaters (-83)  / $833K Fri /$1m Sat/$764K Sun/3-day cume:  $2.6M  (-56%) /Total:$11.1M/ Total: Wk 2

11.) Megan Leavey  (BST), 1,832 theaters (-124)  / $668K Fri (-46%)  /3-day cume:  $2.3M  (-40%) /Total:$8.1M/ Total: Wk 2

Notables:

The Book of Henry  (FOC), 579 theaters / $508k Fri. /$529K Sat/$370K Sun/3-day cume:  $1.4M /Wk 1

4th writethru, Saturday AM: It’s a no brainer that Disney/Pixar’s  Cars 3 is leading at the box office, but the more interesting tale this weekend is the counter-programming, specifically Lionsgate Codeblack/Morgan Creek’s Tupac Shakur biopic  All Eyez on Me  which has willed itself to existence on the big screen after six years and four director attachments to finally open on the late rapper’s 46th birthday, taking a third place of $31.2M.

All Eyez on Me  is also benefiting from its play in 200 premium large format theaters, which is included in its overall 2,471 theater count.

It doesn’t look like  All Eyez On Me  will defeat Warner Bros./DC’s  Wonder Woman  for second place,   now estimated at an eye-popping  $40M , a 32% dip . Nonetheless, All Eyez on Me ‘s bigger story is how it’s blowing its $15M-$22M projections away.

By the way, in regards to Wonder Woman,  that’s the second best third weekend haul ever for a Warner Bros. movie after  The Dark Knight  ($42.6M). By the end of tomorrow,  Wonder Woman  with an estimated $273.8M will be pacing 4% ahead of  Suicide Squad  which ended its domestic run at $325M.  

Cars 3 ‘s Friday has simmered down to an estimated $19.6M (including Thursday night’s $2.8M) putting its weekend debut at  $51.8M. That lower figure can obviously be attributed to threequel-itis, however, the big picture on all these  Cars  movies is its merchandising revenue which continues to swell with each installment. Current estimates figure that Cars  retail sales stand well north of $10 billion. Audiences loved  Cars 3  with an A CinemaScore, which is more than  Cars 2  (A-) and as much as  Cars  (A). That grade marks the 18th A CinemScore in a row for Pixar. There’s a lot of business to be had here from Saturday matinees and Father’s Day Sunday.

Meanwhile, in a reversal of fortune between a major studio and an indie, Sony’s R-rated Scarlett Johansson comedy ensemble Rough Night   has been pulled underwater by Byron Allen’s Entertainment Studios’ Mandy Moore shark thriller 47 Meters Down ,  $8.7M to $10.7M . Who would have thought? Audiences loathe both titles giving  47 Meters Down  a C CinemaScore, and  Rough Night  a C+. PostTrak isn’t any better with both movies respectively landing notorious 55% and 66% positive scores.

Fandango had a keen sense that All Eyez on Me  was going to blow past its tracking estimates when advance ticket sales began picking up closer to the film’s release date. On Thursday and Friday, All Eyez on Me  was the No. 2 ticket seller behind  Cars 3  on Fandango.   All Eyez  is a review-proof movie, something we don’t see that often in the Rotten Tomatoes era (24% Rotten), with audiences embracing the Tupac movie with an A- CinemaScore and an 82% positive score on Screen Engine/ComScore’s PostTrak. Fifty-four percent of  All Eyez  audience were men with 68% over 25. African Americans repped 47% of the audience, Hispanics 25% and Caucasians 19%. The buzz among audiences is actor Demetrius Shipp Jr.’s uncanny resemblance to the real Tupac.

To recap All Eyez On Me ‘s climb: Morgan Creek announced back in Feb. 2011 that they were developing and financing a Tupac Shakur movie after settling with Amaru Entertainment (the label founded by Tupac’s late mother, Afeni Shakur) to get the rapper’s life rights. Antoine Fuqua was set to direct off a script by Steven Bagatourian, Stephen J. Rivele, and Christopher Wilkinson. Production was to begin in Sept. 2013 with Emmett/Furla/Oasis Films financing and co-producing the $45M production cost . Ed Gonzalez and Jeremy Haft were then attached to write the latest draft.

In Feb. 2014, John Singleton boarded to direct and a few months later, Open Road Film would announce that it was taking domestic distribution rights on the title . A year later, Singleton would announce his departure from the project on Instagram saying “The reason I am not making this picture is because the people involved aren’t really respectful of the legacy of Tupac Amaru Shakur.” Carl Franklin was next in line to direct. By late October 2015 Emmett/Furla/Oasis sued Morgan Creek for $10M for breaking their co-production agreement which called for not exceeding a $30M budget, and mutual approval for the lead actor’s selection, budget, production schedule and distribution agreements.

All of this said, Emmett/Furla/Oasis didn’t ultimately fund 50% of the movie, while Morgan Creek didn’t sign the long form of their Open Road domestic deal. Overall, we hear that it was difficult to find a distributor for this film. Morgan Creek was on ticking time clock to make the movie before the end of 2015 or else the music rights would revert back to Afeni Shakur. Even more pressure: Universal’s N.W.A. biopic Straight Outta Compton  came out in August 2015 and was an immediate hit amassing $201.6M worldwide. By late November 2015, Morgan Creek selected music video director Benny Boom as the director for the Tupac biopic. Production began in Atlanta in mid-December 2015 and lasted through April 2016 in Las Vegas.

Lionsgate’s Codeblack Films, which has a P&A deal here on  All Eyez on Me,  launched the teaser trailer on  John Wick 2  back in February. The distributor worked with the City of Oakland to have June 16, 2017 declared Tupac Day in celebration of the movie’s opening. Pic is receiving  widespread praise from the talent community including Straight Outta Compton and Fate of the Furious  director F. Gary Gray, boxing legend Floyd Mayweather, Chance The Rapper, Sean Combs, The Game, 2 Chains, Digital Underground’s Money B and Tupac’s former manager Atron Gregory. 

Through its targeted social marketing campaign, Codeblack gathered a pool of 40M highly engaged fans who were the focus of the label’s efforts to drive ticket sales for opening weekend. RelishMix weighs  All Eyez on Me ‘s social media universe across Facebook, Twitter, Instragram and YouTube views at 100.2M, double a typical drama’s social count which is close to 49M.  On Thursday  night there were simultaneous promotional screenings held in 28 markets. Each screening included a host and celebrity/social media influencers including Ed Lover, Jeezy, Demetrius Shipp, Jr. Bun B, Benny Boom, 2 Live Crew’s Uncle Luke, and Sway

It would seem that the confluence of Scarlett Johansson,  SNL  star Kate McKinnon, and a script by  Broad City EPs Lucia Aniello and Paul W. Downs for a $20M budgeted R-rated comedy would be the quintessential greenlight for any major studio. That’s quite a deal and Sony believed there was potential in Aniello and Downs’ script; that’s why they won it out in a bidding war two years ago.

So, why then is Rough Night  having it so tough?

RelishMix’s observation of the negative social chatter: “Moviegoers are confused by the comedy element of actually killing a man – ‘where’s the joke?’, they ask.” No kidding, because many blame Rough Night ‘s black comedy set-up of stripper killing as its primary hurdle in hooking more crowds. Not to mention, the whole party hardy movie comedy subgenre has overstayed its welcome at the B.O. in the wake of  The Hangover  with  Neighbors 2: Sorority Rising   ($55.4M)   and  Mike and Dave Need Wedding Dates ($46M domestic) both tanking last year.  Rough Night ‘s 53% Rotten Tomatoes score isn’t unfair: The movie   is bogged down in cliche, has a manatee’s comedic pace, and feels like an also-ran hybrid of  Bridesmaids  meets  Weekend at Bernie’s. 

Rough Night will not leg out because it’s nothing special that female audiences haven’t seen before. Despite the low production cost of $20M, many estimate the pic’s P&A at $35M, and this start doesn’t spell for a breakeven situation down the road. Sony was hoping to profit here in the way that they did with such low budget fare as  Don’t Breathe, The Shallows  and Sausage Party  last summer, but  Rough Night  isn’t it. On to  Baby Driver  which currently is floating a 100% Rotten Tomatoes score off 24 reviews. In regards to Johansson’s overseas star power rescuing Rough Night  abroad, that’s not definite. As a comedy,  Rough Night  needs to work in the U.S./Canada first and foremost since the genre at best can only be counted on for 50% of its domestic haul at the overseas box office.  Rough Night  is also hurt by the fact that  Wonder Woman  continues to remain the prevailing choice among females.  Rough Night  is also losing some younger females to  47 Meters Down.  Both titles are pulling in close to a third of all women under 25, though  Rough Night  has more older females (38%) than  47 Meters Down (23%). CinemaScore also shows a slight overlap between both titles for older women:  47 Meters Down with 57% women, 51% over 25; and  Rough Night  with 69% female, 80% over 25.

CinemaScore also shows that women were nicer on  Rough Night  than guys (69% gave it a B-), while 32% turned up because of Johansson. That’s just under the 39% who bought tickets to watch the actress in the disaster  Ghost in the Shell,  and that even made more during opening weekend with $18.7M. By comparison, 35% of those moviegoers watching  47 Meters Down  went because of Mandy Moore and Claire Holt.

By comparison, rivals are more impressed by  47 Meters Down.  They expected that movie, which Entertainment Studios picked up from Dimension for seven digits last summer, to completely bomb in the low single digit range. “They will likely make a few bucks at the end of the day,” remarked one rival studio executive Friday night about Entertainment Studios’ prospects with  47 Meters Down. 

Focus Features also has Colin Trevorrow’s child drama  The Book of Henry  out in 579 theaters about a genius kid who learns that something’s up with his girl friend’s stepfather next door, and aims to solve the problem. At one point, the label was considering an awards run for this, but then realized it didn’t have the goods. Critics have piled on top of the movie saying Henry  is a manipulative weepie that’s a watered-down version of Spielberg movies (25% Rotten). Those bad reviews are slowing this pic’s traction among older audiences with a $1.65M opening.  Focus fared better with  The Zookeeper’s Wife  which made $3.3M at a similar amount of theaters, 521, earlier this spring.

Weekend box office for June 16-18 per industry estimates on Saturday AM:

1.).  Cars 3   (DIS), 4.256 theaters / $19.6M Fri. (includes $2.8M previews) /3-day cume:  $51.8M /Wk 1

2.).  Wonder Woman   (WB), 4,018 theaters (-147)/ $10.8M Fri./3-day cume:  $40M   (-32%)/Total:$273.8M/ Wk 3

3.).  All Eyez On Me   (LG), 2,471 theaters / $12.8M Fri. (includes $3.1M) /3-day cume:  $31.2M /Wk 1

4.).  The Mummy   (Uni), 4.034 theaters (-1) / $3.8M Fri. (-68%) /3-day cume:  $13.5M (-57%)/Total: $56.1M/Wk 2

5.).  47 Meters Down   (ENT), 2,270 theaters / $4.3M Fri. (includes $735k) /3-day cume:  $10.7M /Wk 1

6.).  Rough Night   (SONY), 3,162 theaters / $3.3M Fri. (includes $700k) /3-day cume:  $8.7M /Wk 1

7.).  Pirates Of The Caribbean: Dead Men Tell No Tales   (DIS), 2,759 theaters (-920)/ $2.3M Fri./3-day cume:  $8.5M  (-21%)/Total:$150.1M/ Wk 4

8.).  Captain Underpants   (DWA/20TH), 2,968 theaters (-561)/ $2.1M Fri. (-40%) /3-day cume:  $7.3M  (-40%)/Total: $57.9M/Wk 3

9.).  Guardians of the Galaxy Vol. 2   (DIS), 1,813 theaters (-1,098) / $1.2M Fri.  (-27%)/3-day cume:  $4.8M   (-23%)/Total:$374.7m/ Wk 7

10.).  It Comes at Night  (A24), 2,450 theaters (-83)  / $822K Fri (-67%) /3-day cume:  $2.45M  (-59%) /Total:$10.8M/ Total: Wk 2

Megan Leavey  (BST), 1,832 theaters (-124)  / $668K Fri (-46%)  /3-day cume:  $2.4M  (-36%) /Total:$8.3M/ Total: Wk 2

Notables:

The Book of Henry  (FOC), 579 theaters / $509k Fri.  /3-day cume:  $1.65M /Wk 1

 

2nd Update, 12:38PM:  Disney’s  Cars 3   will lead today with an estimated $21M based off of matinees, which is higher than the $19.7M that 2006’s  Cars  made on day one and just under the $25.7m that  Cars 2  deposited. One industry estimate sees the Pixar film at $57.5M , but with Saturday matinees and Father’s Day, plus its fresh reviews, it won’t be a surprise to see  Cars 3  pace past $60M.

Lionsgate Codeblack/Morgan Creek’s All Eyez on Me   is very strong and could send  Wonder Woman   to the No. 3 spot for the weekend. Both are respectively at $35M and $37.5M  as of right now, but the notion is that the Tupac Shakur movie could pull ahead. Most of tracking saw All Eyez in the low $20M for the weekend, but one rival major studio’s estimates saw the film at $25M-$30M given the pic’s momentum in advance ticket sales. Those projections were considered to be too aggressive, but now they’re more than a reality. Today is Tupac’s birthday (he would have been 46) and Lionsgate is wisely harnessing the rapper’s fanbase by opening  All Eyez  today.

There’s also a draw at the weekend box office between Entertainment Studios’  47 Meters Down  and Sony’s   Rough Night  which are each looking at between $10M-$11M over three-days per industry estimates. The Mandy Moore-Claire Holt-Matthew Modine shark thriller is slightly ahead of the Scarlett Johansson romp film, $4.25M to $4M today.  47 Meters Down  made more than  Rough Night  last night, $735K to $700K, and those figures are rolled into both titles opening day figures. Reviews for  47 Meters Down  have settled down in the 54% Rotten range.  47 Meters Down  has the added benefit of being a PG-13 genre film, which is an easy grab for those younger women who may not be able to get into  Rough Night  auditoriums.

1st Update, 8:12AM:  Lionsgate’s Codeblack Films/Morgan Creek’s  All Eyez on Me   led all films previewing last night with $3.1M . The pic was in play in 2,000 theaters and expands to 2,471 today.

The Tupac Shakur biopic directed by Benny Boom has been a hot ticket in advance sales, ultimately ranking as the second for Fandango yesterday, and remaining in that spot today. The $40M financed movie from Morgan Creek is expected to gross between $20M-$23M . One comp being used here is  Think Like a Man Too  which made $1.8M on its Thursday night before opening to $29.2M for the weekend.  All Eyez on Me  is a P&A deal for Lionsgate, meaning they put up the P&A and would recoup a little more of the backend (versus a service deal whereby a distributor gets a fee). Voltage handled foreign sales on  All Eyez on Me. 

Disney/Pixar’s  Cars 3   began its weekend last night with $2.8M , a figure that’s above the preview cash for  Monsters University  ($2.6M) and just under  Inside Out  ($3.7M). Early tracking during the week had  Cars 3  in the high $50M-low $60M , which on the high end would park it near the openings of its predecessors,  Cars  ($60.1M) and  Cars 2  ($66.1M). Off its preview night,  Monsters University,  which was rated G just like  Cars 3,  went on to make $30.5M in its first day and a massive $82.4M opening. Father’s Day on Sunday is a big money moviegoing time for Pixar, and they typically program their releases around it.  Cars 3  has better reviews (62% fresh on Rotten Tomatoes) than  Cars 2  (39% Rotten), but is still under the 74% certified fresh of the original’s 2006 chapter.

Sony’s female party hardy film  Rough Night   directed and co-written by Broad City  EP Lucia Aniello drew $700K last night in previews at 2,503 theaters. That’s exactly how much Warner Bros./MGM’s raunchy female comedy  How to Be Single  drew in its Thursday night previews and that movie went on to make $5.25M on its opening day, with an opening weekend (juiced by Valentine’s Day Sunday) of $17.8M. Sony is looking at low teens for this Scarlett Johansson ensemble comedy, others believe  Rough Night  is coming in between $10M-$12M . The studio made a point to keep this film on a low, strict budget with an estimated cost of $20M with a thrifty digital P&A spend. LStar Capital has a 25% stake in the film.  Rough Night  and  How to Be Single  had similar Rotten Tomatoes Scores (50% Rotten and 47% Rotten, respectively). Next to other party movies,  Rough Night ‘s Thursday night is beneath  Bad Moms  ($2M),  Neighbors  ($2.5M) and  Neighbors 2: Sorority Rising  ($1.67M).

The last time Disney had Pixar’s  Cars 2  dominating the box office back in late June 2011, Sony counter-programmed with a female-skewing R-rated pic, Cameron Diaz’s Bad Teacher.  That $20M movie actually overperformed with an opening of $31.6M and final domestic north of $100M. Reviews were even lower than  Rough Night ‘s at 44% Rotten, but that was at a time when the aggregate site didn’t have the power of a Roman Emperor, dictating the financial fates of movies.

Entertainment Studios’ shark thriller  47 Meters Down  starring Matthew Modine, Claire Holt and Mandy Moore is debuting in 2,300 locations this weekend. Tracking has the movie in the low single digits. The Byron Allen studio acquired the Dimension title last summer for seven digits.

Warner Bros./DC’s  Wonder Woman  was the top film yesterday with $6M at 4,165 theaters, and a two-week running cume of $233.8M. The movie is expected to ease around 40% for a third weekend take in the neighborhood of $35.1M .