Box Office: more fangs than fun as Venom spreads

At last, a simple creature feature with a silent hero. Other than Venom, the weekend was quiet.
Monster teeth

Venom: Let There Be Carnage charged onto our screens with a weekend box office of $6.48 million, impressive but No Time to Die took $11.22 million when it launched just two weeks ago. The Bond romp made $3.88 million in week three to hold the number two slot as it giggles over a total of $26.47 million. All figures in AU$.

It is still really the only bright spot on the list.

Eternals has nearly finished with $14 million in four weeks, perhaps reflecting the fact that the one audience is following the tentpoles from title to title.

Shang-Chi, the first breakout, has now made $17.1 million in 13 weeks, and took $35,000 last weekend. Orange peel in a dusty street, though it has hung in pretty well. A tribute to the lack of competition.

Family animation Boss Baby made $1 million off 313 screens – not a thrilling number perhaps because its key parent audience is tranking the kids so it can get a bit of sleep as the snot hardens on tiny bibs. It still did much better than A Boy Called Christmas, which made $516,000 off 233 screens in its launch.

According to the synopsis, ‘Taking with him a headstrong reindeer called Blitzen and a loyal pet mouse, Nikolas soon meets his destiny.’ I wish they would stop stealing characters from Dostoevsky.

Bad Luck Banging or Loony Porn opened on 13 screens and made $971.

Read: Bad Luck Banging or Loony Porn is one of the year’s best. By our international celebrity reviewer Adrian Martin.

Next weekend Dune launches, along with The Battle at Lake Changjin, which will show us the strength of the Chinese audience in Australia.

In the US, it was Thanksgiving weekend, which launched:

  • Encanto – $56 million
  • Ghostbusters Afterlife (week 2) – $33.6 million
  • House of Gucci – $20.1 million
  • Eternals (out for 24 days) – $11 million
  • Resident Evil – $7 million

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.