Spider-Man: Homecoming has beaten out all competition for the No. 1 spot this box office weekend — all in a weekend’s work for a family friendly neighborhood Spider-Man movie.

The latest movie in the Marvel Cinematic Universe earns an estimated $117 million this weekend, making it the biggest opening for a new actor taking on the role — 2002’s Spider-Man starring Tobey Maguire as the titular hero earned $114.8 million, while Andrew Garfield’s debut in the red-and-blue suit ten years later in The Amazing Spider-Man earned $62 million. However, Homecoming still trails behind 2007’s Spider-Man 3 ($151 million) when it comes to the biggest opening box office for a Spider-Man movie, despite having opened to better reviews from fans and critics (a rare A on Cinemascore compared to Spider-Man 3‘s B+).

Nonetheless, Homecoming has one of the stronger opening weekends compared to the rest of the Spider-Man films, including the well-received Spider-Man 2 (A- on Cinemascore) which earned $88 million its first week out, and The Amazing Spider-Man 2 ($91.6 million). In fact, it’s even performed well compared to box office premieres for recent superhero fare like Wonder Woman ($103 million), Logan ($88 million), and Doctor Strange ($85 million), coming second only to May’s Guardians of the Galaxy Vol 2 ($146 million).

Internationally, Homecoming had a strong opening, with a foreign haul of $140 million from 60 percent of its overseas market. This brings the latest Spider-Man release to worldwide earnings of $257 million.

The movie sees actor Tom Holland once again step into the role of Peter Parker in this post-Captain America: Civil War film, which sees the young web-slinging hero attempt to serve as a hero and earn his way into the Avengers by proving himself to Tony Stark (Robert Downey Jr.), while also balancing schoolwork and friendships. Peter go after the Vulture (played by Michael Keaton), and stars Zendaya as Michelle, Marisa Tomei as Aunt May, Laura Harrier as Liz Allan (Peter’s crush), Tony Revolori as Flash, and Jacob Batalon as Peter’s best friend, Ned. Also featured in the movie are Donald Glover, Martin Starr, and Hannibal Burress.

In second place this week is Illumination and Universal’s Despicable Me 3, which sees an estimated 53.1 percent drop for a box office haul of $34 million. This is less than both 2015’s Minions and 2013’s Despicable Me 2, which saw drops of 57.4 and 47.4 percent, and earnings of $49.2 million and $43.9 million, respectively. DM3 is also the only film in the franchise to not earn an A on Cinemascore, instead, receiving an A- from audiences. In the latest franchise entry, Gru and the crew reunite with his long-lost twin brother Dru (also voiced by Steve Carell) as they team up and take on Balthazar Bratt, a former ’80s star who is looking to get revenge against the world.

In third is Edgar Wright’s latest film, Baby Driver, which sees only a 38 percent drop for estimated earning of $12.7 million. This brings the film’s total domestic earnings to $56.9 million, making the music-driven heist movie Wright’s highest earning film yet. The movie also fared well internationally, earning $14 million from a few big markets, bringing the worldwide box office total to $70.9 million in only its second week in theaters. By comparison, Wrights’ previous movies Scott Pilgrim vs. the World, The World’s End, Hot Fuzz, and Shaun of the Dead earned, respectively, $47.7 million, $46.1 million, $80.6 million, and $30 million at the end of their entire runs.



In its sixth week in theaters, Wonder Woman still finds herself in the top 5, landing at No. 4. The DC Extended Universe movie continues its streak with another gentle 35.5 percent drop as it brings in an estimated $10.1 million, for a total domestic haul of $368.8 million (cementing its position as, domestically, the highest grossing DCEU movie) and a worldwide total of $745.8 million. Internationally, WW has surpassed Suicide Squad‘s $745.6 million international haul, making Batman v Superman, with its $873.3 million total, the only other DCEU movie ahead of it.

At No. 5 this week is Transformers: The Last Knight with an estimated $6.3 million. This marks another 62 percent drop in the three weeks since the movie’s been in theaters, and the lowest third week earning in the Transformers franchise to date, a continuing trend in the domestic box office compared to previous sequels with 2009’s Revenge of the Fallen ($24.2 million), 2011’s Dark of the Moon ($21.3 million), and 2014’s Age of Extinction ($16.3) all steadily earning less by their third weeks. However, The Last Knight has performed well internationally where it’s banked $375.7 million so far. Added to the total domestic haul of $118.9 million, the latest Transformers film has earned an estimated worldwide total of $494.6 million.

Meanwhile, The Big Sick capitalizes on its limited release success and highly positive word of mouth buzz to earn an estimated $3.7 million and crack the domestic top 10 after adding 255 locations for 326 in total. Landing at No. 8, the movie stars Silicon Valley‘s Kumail Nanjiani and Zoe Kazan (Ruby Sparks) as a couple who fall and love and break up when he can’t tell his conservative Muslim parents that he doesn’t want an arranged marriage. However, when Kazan’s American grad student Emily falls into a coma, Nanjiani’s Pakistani stand-up comedian begins to bond with her parents Terry and Beth (Ray Romano and Holly Hunter).





Rounding out the top 10 is Sofia Coppola’s The Beguiled, which brings in an estimated $2.1 million after expanding to a wider release with 267 more locations. This brings the Nicole Kidman, Colin Farrell-starrer’s total domestic earnings to $7.4 million. The movie also stars Kirsten Dunst and Elle Fanning.

In terms of limited release fare, A Ghost Story earns an estimated $108,067 from four locations for a strong per theater average of $27,017. The movie, which generated a lot of buzz at Sundance, stars Casey Affleck as the husband of Rooney Mara’s character. After he dies and returns as a white-sheeted ghost, he’s unstuck from time and unable to offer his still-living spouse any comfort, now watching as she slowly begins to move on from him, prompting him to go on a journey exploring (and intertwining) memory and history and the ways they can impact us.

Per ComScore, overall box office is down 0.1 percent with the same frame from last year. Check out the July 7-9 box office figures below.

1 – Spider-Man: Homecoming – $117 million
2 – Despicable Me 3 – $34 million
3 – Baby Driver – $12.7 million
4 – Wonder Woman – $10.1 million
5 – Transformers: The Last Knight – $6.3 million
6 – Cars 3 – $5.6 million
7 – The House – $4.8 million
8 – The Big Sick – $3.7 million
9 – 47 Meters Down – $2.8 million
10 – The Beguiled – $2.1 million

5 Reasons Why ‘Spider-Man: Homecoming’ Landed a Heroic Box Office Debut

With an estimated $257 million worldwide opening, “Spider-Man: Homecoming” is about as unmitigated a success as is possible for a movie.

That’s been a rare sentiment this summer. Franchises like “Transformers,” “Pirates of the Caribbean,” and even “Despicable Me” are showing signs of fatigue and have begun banking more on the international market. The domestic box office has slumped about 8 percent below this point last year for the season. Nowadays, getting people into movie theaters can seem like a heroic effort.

That’s where superheroes come in. The following three big-budget movies have earned their stay this summer: “Guardians of the Galaxy Vol. 2” ($857.7 million worldwide); “Wonder Woman” ($745.8 million worldwide); and now “Spider-Man: Homecoming.” If this summer has been reassuring in any way for the film economy, it’s that superhero movies still work. Below are five reasons why this latest release in particular stood out.



1. It captured buzz

It started, as many things do, at Comic-Con. There, last year, director Jon Watts and Tom Holland set the tone of what the movie would be for an already enthusiastic gaggle of fans. The job was an important one. There had been, after all, two other actors in the suit within the last decade and a half. Potential viewers had to have a reason to care about this particular version of the character. Spider-Man meets John Hughes? That was something different. The first official trailer dropped months later and raked in 266 million views globally in its first week. Then came partnerships with the NBA, Amazon, YouTube, and a media campaign that dominated social platforms for weeks leading up to the film’s release. But the tone was perhaps best captured by posters that showed Holland on the side of building in Midtown Manhattan, off an expressway sign, and lounging by the water wearing headphones. Combined, the ever-elusive and ephemeral buzz stuck around long enough to lead to a successful launch.

2. It appealed to younger viewers

Setting Spider-Man’s story in high school helped distinguish him from other Spideys, but it also did the same for the rest of the superheroes who have witnessed cityscape after cityscape crumble in recent years. In a landscape filled with sometimes very adult themes, “Homecoming’s” promotions suggested a guilt-free trip to the theater for families. Sure, it still carried a MPAA rating of PG-13, but he’s in high school. And former Disney Channel star Zendaya is there too! So far, the young male audience seems to be the movie’s biggest fan. Men below the age of 25 made up the largest portion of the audience, 35 percent, according to data from ComScore and Screen Engine’s PostTrak. The highest approval rating came from audience members between the ages of 13 and 17, 96 percent of whom rated the film either “excellent” or “very good,” the two highest marks in the poll.

3. Critical approval

But young men aren’t the only cheerleaders. The grand finale of the marketing process came on June 29 when reviews for the movie were unleashed allowing the studio to claim one of the best-reviewed superhero movies of all time. It’s a testament to a whole host of individuals involved, but particularly Kevin Feige, who has set a precedent with the Marvel Cinematic Universe that a superhero movie can have it all — critical success, audience approval, and, of course, a massive payday in the end.



4. The right date

These days, the release dates for big studio movies are set years in advance. Heck, this film’s sequel’s release date was announced more than half a year before “Homecoming” even hit theaters. But as the launch approached, this weekend looked like a solid pick. It’s been six weeks since “Wonder Woman” entered theaters, and even that movie’s lasting waves of enthusiasm have seemingly trailed off at least enough for another hero to enter the picture. That, combined with the aforementioned fatigue that grazed last weekend’s big release, “Despicable Me 3,” was the perfect set-up for “Homecoming” to score.

5. Partnering with Marvel

As was teased earlier, Feige’s involvement in the project proves, yet again, that the Marvel label is the gold standard. Holland’s involvement in “Captain America: Civil War” meant that audiences weren’t coming to him in “Homecoming” cold. Fans who may have balked at yet another Spider-Man movie were more likely to be compelled to be invested now that he’s part of a larger narrative. The factors that lead to a successful launch are many and often times personal. But Feige and Marvel’s track record is such that audiences can trust — another rare sentiment in Hollywood that applies to what will end up as one of the biggest box office hits of the summer.
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