As one could have surmised from last weekend’s reception to Patty Jenkins‘ Wonder Woman, The Mummy has a tough few days ahead of it if it’s hoping to topple the DCEU’s best film by a country mile from its spot at the top of the box office.
This morning brings news that Wonder Woman was able to beat out The Mummy on Friday, with Jenkins’ film bringing in $15.8 million and The Mummy bringing in a little over $14 million, which also includes the Tom Cruise vehicle’s $2.7 million from Thursday previews. These are not blow-out numbers but no one was expecting The Mummy to do particularly big business as compared to, say, a Marvel picture or the latest in a well-established franchise like Pirates of the Caribbean: Dead Men Tell No Tales, which is now looking at a $12 million weekend. In comparison, The Mummy is a reboot of a remake meant to induct a new extended universe for Universal and though it’s already given Cruise his best opening in China to date, its domestic sights should be set a little lower than usual for Cruise.
Meanwhile, the near-universal love for Wonder Woman should keep the movie in the sunlight until next week when Cars 3 motors into town. If it is somehow able to defeat the Pixar flick, it will certainly be brought down by Michael Bay‘s Transformers: The Last Knight the weekend after. The introduction of those two blockbusters will likely see both Guardians of the Galaxy Vol. 2, which will likely cling onto the fifth spot by the end of the weekend, and Captain Underpants: The First Epic Movie, looking at number three for the weekend with $13 million, head down into the lower half of the box office top ten.
It’s unclear if either the latest Cars or Transformers entries will be able to give the box office the adrenaline rush that Wonder Woman gave upon its opening weekend, however. For all its issues, and there are plenty, Wonder Woman represents something new, both in its overall plot and in its unique dramatic structure, as compared to both its DCEU brethren and superhero films in general. Transformers might be bringing in nazis, knights, and lord knows what else, and Cars 3 may be trying for a darker tone from the looks of it, but they are not new, fresh, audacious, or any other synonym you might be able to think or look up. That’s one of about a dozen reasons why Jenkins’ film feels so galvanizing.