By Lindsey Bahr | Associated Press
Not even a global pandemic or a 12-year hiatus could stop the Jackass guys at the box office. “Jackass Forever,” the fourth film in the anarchic series, grossed $23.5 million in ticket sales in its first weekend in theaters, according to studio estimates on Sunday.
It not only exceeded expectations, but also easily beat its other main competitors, the big budget sci-fi show “Moonfall” and “Spider-Man: No Way Home”, which has 6 of its 8 weeks in the halls at No. 1.
“Jackass Forever” brings back Johnny Knoxville, Steve-O, Chris Pontius and Wee Man for another round of pranks, stunts and injuries and became the most talked about series. Playing on 3,604 screens in North America, “Jackass Forever” sits at the lower end of “Jackass” openings, above only the premiere, which grossed $22.8 million in its weekend. opening end in 2002. The series’ biggest opener was the last, “Jackass 3D” debuted to $50 million in 2010. But, costing just $10 million to produce, “Jackass Forever” is already a great success for Paramount. The studio was planning a mid-teens launch.
Males made up 68% of “Jackass Forever’s” audience, which was 67% between the ages of 18 and 34.
‘Scream’ and ‘Jackass Forever’ had a very long delay between installments and the absence made hearts grow fonder for ‘Jackass’,” said Paul Dergarabedian, senior media analyst for Comscore. “They have always been very successful. They’re cheap to make, and the community nature of theater elevates a comedy like “Jackass.”
“Moonfall,” meanwhile, which cost around $140 million to produce, is not doing well in the United States. Lionsgate estimated the film’s opening weekend gross to be just over $10 million, which was in line with its projections. Directed by Roland Emmerich and starring Halle Berry and Patrick Wilson, “Moonfall” was not well received by critics. The disaster photo about a possible collision between the moon and Earth holds 40% on Rotten Tomatoes. Like “Jackass”, its audience was also predominantly male (60%).
“Moonfall” was independently produced and financed through Emmerich’s Centropolis Entertainment and foreign deals and, like many big-budget disaster pics of its ilk, is believed to earn most of its money from the international. Lionsgate has only overseen distribution in North America and it should be profitable for the studio.
“Spider-Man: No Way Home” earned an additional $9.6 million in its eighth weekend in North American theaters, bringing its domestic total to $748.9 million. Worldwide, its revenues total $1.77 billion.
“Films that appeal to younger audiences have much greater potential for success (during the pandemic),” Dergarabedian said. “And young male audiences really seem to want to go to the movies.”
In arthouse releases, Neon debuted “The Worst Person In The World” on four screens this weekend for $135,042. The Norwegian film about a young woman who finds herself is shortlisted for an Oscar nomination (to be announced on Tuesday), topped many critics’ best reviews list in 2021 and earned a fair share of celebrity endorsements (from Nancy Meyers to Paul Thomas Anderson). Its average per room ($33,760) is the highest of 2022. Neon will be adding rooms in the coming weeks.
While still a long way from a normal pre-pandemic weekend, it has broken a small lull that will likely continue until “The Batman” opens on March 4.
“It’s not the greatest weekend ever, but given the calm in the market, it’s very welcome,” Dergarabedian said.
Estimated Friday-Sunday ticket sales at US and Canadian theaters, according to Comscore. Final national figures will be released on Monday.
- “Jackass Forever,” $23.5 million.
- “Moonfall,” $10 million.
- “Spider-Man: No Way Home,” $9.6 million.
- “Scream,” $4.7 million.
- “Sing 2,” $4.2 million.
- “The King’s Man”, $1.2 million.
- “Redemptive Love,” $1 million.
- “American Underdog”, $800,000.
- “The 355”, $700,000.
- “The Wolf and the Lion”, $675,027.
Follow AP Film Writer Lindsey Bahr on Twitter: www.twitter.com/ldbahr