'Wonder Woman' whips Tom Cruise at the U.S. box office, but 'The Mummy' rules the world
Sorry Tom Cruise, but Wonder Woman is just too powerful.
Patty Jenkins' juggernaut had the best week-over-week hold for a modern superhero film at the domestic box office, dropping only 45% for $57.2 million in its second week and casting a dark shadow over Universal Studios' attempt at launching its own "cinematic universe" with The Mummy.
But if we've learned anything from Tom Cruise over the years, it's to never count him out.
The Mummy did a sickly $32.2 million in North America for its opening weekend, according to estimates provided by ComScore, but its overseas haul of $141 million is one of Cruise's best ever. Critics may have hated it and U.S. audiences aren't fooled by whose name is on the marquee, but around the world, it's been proven time and again that movie stars still sell tickets.
Universal is launching its monster-mashup "Dark Universe" with The Mummy -- next up, the still-uncast Bride of Frankenstein in 2019 -- in an attempt to build what Marvel and DC have for their men (and now women, praise Zeus) in tights. Turns out it's not that easy to do in reverse: The Mummy couldn't even beat 1999's The Mummy ($43.3 million), 2001’s The Mummy Returns ($68.1 million), 2002’s The Scorpion King ($36 million) or 2008’s The Mummy: Tomb of the Dragon Emperor, ($40.5 million) -- which is even worse if you factor in inflation.
But that global haul for The Mummy should have Universal executives breathing a little easier.
Meanwhile, with weekday returns, Wonder Woman is now at $205 million in North America alone, and its strong hold bodes well for a long, prosperous run over many weeks. Its $57.2 million second frame outright beats the sophomore sessions of both Suicide Squad and Batman v Superman: Dawn of Justice, giving it a real chance to overtake both films by the time it's played out in theaters.
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Josh Dickey is Mashable's Entertainment Editor, leading Mashable's TV, music, gaming and sports reporters as well as writing movie features and reviews.Josh has been the Film Editor at Variety, Entertainment Editor at The Associated Press and Managing Editor at TheWrap.com.A finalist for the Los Angeles Press Club's Best Entertainment Feature in 2015 for "Everyone is Altered: The Secret Hollywood Procedure that Fooled Us for Years," Josh received his BA in Journalism from The University of Minnesota.In between screenings, he can be found skating longboards, shredding guitar and wandering the streets of his beloved downtown Los Angeles.