Paramount’s action-comedy NOVOCAINE eked out a win at the box office with an opening weekend of $8.7M. The total for all films came in at $52.7M, with assistance from three other new titles including Focus Features’ spy thriller BLACK BAG, A24’s psychological thriller OPUS, and Warner Bros. and Ketchup Entertainment’s animated sci-fi comedy THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. This compares to $87.8M earned last year on this same weekend when KUNG FU PANDA 4 led the pack with $30.1M in its second weekend.
This weekend’s total box office was the lowest this year. Ouch. A negative storyline is setting in, with this being the third straight weekend in 2025 with a box office that trailed its matching weekend last year. It is also the fourth weekend of 2025 with ticket sales in the $50M range.
Next weekend should bring some relief, with expectations running high for the debut of Disney’s live-action remake of SNOW WHITE. It will need to do well to match the $45.0M earned by GHOSTBUSTERS: FROZEN EMPIRE on the same weekend last year when the total for all films was $103.7M.
NOVOCAINE attracted just enough attention to snatch first place in a weak field. It was created by the filmmaking duo of Dan Berk and Robert Olsen, known for thrillers such as SIGNIFICANT OTHERS (2022) and VILLAINS (2019). The film stars Jack Quaid, the son of famous actor Dennis Quaid. The younger Quaid earned praise for his performance in the sci-fi thriller COMPANION, which was released only six weeks ago on January 31st.
Quaid said he was inspired to take on NOVOCAINE after watching JOHN WICK 4, which he described as a transformative action role. NOVOCAINE tells the story of Nathan Caine, a bank executive with a congenital insensitivity to pain (CIP), who embarks on a daring mission to rescue a coworker who was kidnapped during a bank robbery. The film is full of adrenaline-pumping sequences, with Nathan’s inability to feel pain playing a key part in innovative and intense action scenes.
In a creative marketing ploy, Jack Quaid attended an NBA game last week between the Los Angeles Clippers and Sacramento Kings at Crypto.com Arena in Los Angeles. Throughout the game, Quaid made appearances with progressively more serious injuries, beginning with a black eye and arm sling and later progressing to a neck brace and arm casts. Of course, Quaid was mimicking his character’s progression of injuries in NOVOCAINE. This humorous gimmick drew significant attention both from fans and the media.
Reviewers have enjoyed the film for the most part, with a solid 82% critics’ score on Rotten Tomatoes, and audiences have responded even better with an 88% rating. Some are praising the film’s unique premise as well as Quaid’s engaging performance.
Vulture highlighted the movie as a “comic slaughter fest,” noting that its co-directors Berk and Olsen leveraged the protagonist’s condition for maximum mayhem. Similarly, Collider described NOVOCAINE as a “beautifully bonkers action-rom-com” that leans into body horror territory for laughs and love. However, some others found the film’s central proposition to be tiresome. The Guardian commented that the “one-joke premise runs thin quickly,” with repetitive action scenes and flat directing failing to generate excitement.
The San Francisco Chronicle also pointed out tonal inconsistencies, stating that the film struggles to balance comic violence with overly brutal villain scenes. From a business point of view, the film was able to be created on a modest production budget of $18M, so it will only need to earn $45M in the global box office to be profitable. Despite its domestic opening of $8.7M, the international markets could give it enough support to cross that threshold.
Warner Bros.’ dark sci-fi comedy MICKEY 17 finished in second place in its second weekend with $7.51M, a steep decline of 60% from its opening last weekend when it was the #1 movie with $19.1M. After 10 days, the Bong Joon-ho-directed movie has earned $33.3M domestic and $90.5M worldwide.
The movie’s rather steep $118M production budget requires it to perform well in subsequent weeks to earn the $295M in worldwide sales it will take to break even. The relatively sharp drop this weekend is not a good sign, together with the fact that only 63% of its worldwide gross so far has come from international markets.
Joon-ho’s 2019 hit PARASITE earned an amazing 80% of its total gross from foreign markets and many had expected his global reputation to lead to better results abroad. In addition, MICKEY 17 has earned only middling reviews, having Rotten Tomatoes scores of 78% from critics and 73% from audiences. Here is how MICKEY 17 and PARASITE compare in their theatrical runs.
MICKEY 17 vs. PARASITE after 10 Days
- MICKEY 17 (3/7/2025) – Domestic Opening $19.0M (3,807), Domestic 2nd Weekend $7.5M (-60%), Domestic 10-Day $33.3M, Budget $118M, RT Critics/Audience 78%/73%
- PARASITE (10/11/2019) – Domestic Opening $393K (3), Domestic 2nd Weekend $1.2M (+207%), Domestic 10-Day $1.8M, Domestic Total $53.4M, Worldwide Total $258.1M, Budget $11.4M, RT Critics/Audience 99%/95%
It’s unfair to compare a movie such as PARASITE, which began its run in 3 domestic locations, to a film like MICKEY 17 which started wide right out of the gates at 3,807 domestic locations. Of course, the early box office will always favor the wide opening film, but the comparison does become meaningful over time.
PARASITE expanded eventually to 2,001 domestic locations and kept playing for 157 days, or 22 weeks. It was only when COVID shut down the industry on March 15, 2020, that PARASITE stopped earning box office.
When studio executives’ greenlit MICKEY 17, they must have used PARASITE’s performance as a benchmark, justifying spending $118M to make the new movie, nearly 10 times more than PARASITE’s $11.4M budget. Having earned only $90.5M worldwide in its first 10 days, MICKEY 17 has no realistic chance of getting close to PARASITE’S $258.1M global take.
Finishing third is Focus Feature’s spy thriller BLACK BAG with $7.5M in its opening weekend. The movie was directed by Steven Soderbergh, known for films such as OCEAN’S ELEVEN and TRAFFIC, the 2000 movie won him a Best Director Oscar at the 2001 Academy Awards. The new film tells the story of a married couple and intelligence agents George and Kathryn Woodhouse. When Kathryn is suspected of betraying the nation, George is torn between his loyalty to his wife and his country.
The leading roles go to Michael Fassbender (X-MEN: APOCALYPSE from 2016, STEVE JOBS from 2015) and Cate Blanchett (TAR from 2022, NIGHTMARE ALLEY from 2021). The screenplay was written by David Koepp who became famous in the 1990s through his work on JURRASIC PARK, CARLITO’S WAY, and MISSION: IMPOSSIBLE. Soderbergh is known for using innovative techniques and with BLACK BAG he employs a minimalist approach, with character-driven storytelling.
Reviewers have been exceptionally positive about BLACK BAG, with a 97% critics’ score on Rotten Tomatoes, while audiences have offered a significantly lower score of 73%. Professionals are praising the film’s engaging narrative, with the Associated Press describing it as a “sleek and thrilling spy drama,” highlighting its “sharp dialogue and stylish direction,” and likening its tension to that found in John le Carré’s novels. Similarly, Vulture commends Soderbergh’s masterful direction, noting the film’s “intense storytelling driven by the emotional and sexual dynamics between characters.”
The chemistry between the lead actors is described as “electrifying,” exploring the themes of trust and loyalty in an espionage movie. Fassbender’s and Blanchett’s performances have been called out in particular, with the San Francisco Chronicle pointing to the “psychological tension” between the lead characters, showing a complex marriage tested by suspicion and betrayal.
It cost $60M to make the film, due to the expense of its on-location filming in London and its talented and established cast and crew. As a result, it will need to earn a worldwide box office of $150M to make a profit. With the first weekend coming in at $7.5M domestic, it will be a tall order to get there. However, the positive reviews will help, together with a potential strong appeal in international markets because of its London setting.
Disney and Marvel’s CAPTAIN AMERICA: BRAVE NEW WORLD finished in fourth place, with $5.5M and a drop 35% in its fifth weekend. The superhero sequel now has a 31-day total of $185.4M domestic and $388.6M worldwide. Here is a look at how it compares to the three previous movies from the CAPTAIN AMERICA franchise.
CAPTAIN AMERICA Movies After 31 Days
- CAPTAIN AMERICA: THE FIRST AVENGER (7/22/2011) – Domestic Opening $65.1M (3,715 locations), Domestic 2nd Weekend $25.6M (-61%), Domestic 3rd Weekend $13.0M (-49%), Domestic 4th Weekend $7.2M (-45%), Domestic 5th Weekend $4.1M (-43%), Domestic 31-Day $164.7M, Domestic Total $176.7M, Worldwide Total $370.6M, Budget $140M, RT Critics/Audience 80%/75%
- CAPTAIN AMERICA: THE WINTER SOLDIER (4/4/2014) – Domestic Opening $95.0M (3,938 locations), Domestic 2nd Weekend $41.3M (-57%), Domestic 3rd Weekend $25.6M (-38%), Domestic 4th Weekend $16.2M (-37%), Domestic 5th Weekend $7.8M (-52%), Domestic 31-Day $237.2M, Domestic Total $259.8M, Worldwide Total $714.4M, Budget $170M, RT Critics/Audience 90%/92%
- CAPTAIN AMERICA: CIVIL WAR (5/6/2016) – Domestic Opening $179.1M (4,226 locations), Domestic 2nd Weekend $72.6M (-60%), Domestic 3rd Weekend $32.9M (-55%), Domestic 4th Weekend $15.4M (-53%), Domestic 5th Weekend $7.8M (-50%), Domestic 31-Day $389.2M, Domestic Total $408.1M, Worldwide Total $1,153M, Budget $250M, RT Critics/Audience 90%/89%
- CAPTAIN AMERICA: BRAVE NEW WORLD (2/14/2025) – Domestic Opening $88.5M (4,105 locations), Domestic 2nd Weekend $28.2M (-68%), Domestic 3rd Weekend $15.0M (-47%), Domestic 4th Weekend $8.5M (-43%), Domestic 5th Weekend $5.5M (-35%), Domestic 31-Day $185.4M, Budget $180M, RT Critics/Audience 49%/79%
BRAVE NEW WORLD should wind up with around $400M in worldwide ticket sales, 10%-15% below the $450M it would take to be profitable. This is somewhat concerning, and casts a shadow on what had been a very profitable sub-franchise within the MCU.
THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE finished in fifth place in its opening weekend with $3.2M in ticket sales. The animated sci-fi comedy was produced by Warner Bros. and distributed by Ketchup Entertainment, and is the first fully animated feature film based entirely on original Looney Tunes material to have a worldwide theatrical release.
The movie marks the directorial debut of Pete Browngardt in a full-length feature movie. Its plot revolves around two Looney Tunes favorites, Daffy Duck and Porky Pig, who uncover an alien mind-control plot at a bubblegum factory and become Earth’s unlikely heroes. It combines classic animation styles with 1980s body horror elements, reminiscent of John Carpenter’s THE THING. The film walks a fine line in mixing horror elements, effectively blending slapstick comedy with terrifying creature features. Some parents may find it too intense for younger children.
Critics and audiences have responded positively to the film with scores of 86% and 88% respectively on Rotten Tomatoes. Vulture commends the movie as a “comically audacious sci-fi spoof” that effectively recaptures the chaotic spirit of classic Looney Tunes through a rapid succession of familiar antics and imagery. Slant Magazine describes the film as a “delightful” homage to the Looney Tunes franchise, noting that it emphasizes the earliest character traits of Porky and Daffy, delivering a story filled with slapstick humor and cartoon ultraviolence.
The Chicago Reader praises the animation’s seamless blend of CGI and hand-drawn elements, calling it “an absolute treat” and a loving throwback to early Looney Tunes animations. Director Browngardt is to be commended for his ability to deliver a first-class animated film on a production budget of only $15M. Despite its modest $3.2M opening weekend may still be profitable given the wide name recognition of Looney Tunes characters and the bar for profitability at only $38M worldwide.
Where Are We as of 3/13/2025
After the 10th week of 2025, the domestic box office stands at 97% compared to 2024 and 62% compared to 2019.
