Box Office: Daniel Craig, No Time to Die, and an industry restored

Daniel Craig uses the spirit of Bond to take us back to a time before COVID as No Time to Die breaks out.
Daniel Craig as James Bond in No Time to Die

No Time to Die is also No Time to Go Broke, as the long-delayed James Bond film hits the Australian screens. It made $11.23 million off 817 screens in 319 theatres. Let the good times roll!

It is the only opening film this year which cleared the $10 million barrier and is $2.4 million ahead of Fast and Furious 9. It also opened on 60 more screens in the first 800+ release. [All figures in AU$].

In the US it made $75 million on its first weekend and $200 million in its first month, while the world total is $963 million, actually only the fourth highest opener since Covid, but it was only beaten by Fast and Furious 9 in markets outside China. According to Forbes, ‘No Time to Die has the lowest domestic gross of any film that still topped $700 million worldwide.’

It has just started to stream in the US; no word on the official date here.

Read: Film Review: No Time to Die is Daniel Craig’s victory lap

In Australia Eternals has made $10.48 million in two weeks, and the 58% drop says it has been carved up by Bond. Then we drop off a cliff. Family robot flick Ron’s Gone Wrong has made $1.73 million in three weeks, Shang-Chi is dribbling past $16.8 million after 11 weeks and Halloween Kills dropped 58% in week three to record a total of $2.56 million.

Nitram has taken $427,000 in seven weeks. This weekend deportation story Blue Bayou from Justin Chong opens to shatter audiences. It has 93% on Rotten Tomatoes though the critics are sneery about melodrama.

Edgar Wright’s Last Night in Soho is starting as well, again with great audience figures.

Still not a lot going on.

David Tiley was the Editor of Screenhub from 2005 until he became Content Lead for Film in 2021 with a special interest in policy. He is a writer in screen media with a long career in educational programs, documentary, and government funding, with a side order in script editing. He values curiosity, humour and objectivity in support of Australian visions and the art of storytelling.