jungle cruise is hit or flop

10 Big-Budget Box Office Flops, Ranked By The Amount of Money Lost

Movies that cost a lot, and made very little.

Sometimes, big budgets don't pay off when it comes to the box office. A film can look like a hit, and have studios spending hundreds of millions of dollars on a film's budget and marketing, only for critics and audiences to respond with a shrug, and the cinema earnings to end up a mere fraction of the movie's costs.

RELATED: Box Office Bombs That Are Now Considered Classics

The following 10 films are some of the most dramatic examples of this phenomenon. All cost a great deal to make and market, yet dramatically underperformed at the box office. They are ranked from least costly to most costly, and the loss is calculated by comparing what they earned to their approximate production and marketing costs (meaning some estimates are made when calculating these numbers, as sometimes, precise budgets and marketing costs are not disclosed).

Mulan (2020) - $141 million lost

Mulan was a box office failure, though not an overall flop, due to the circumstances of its release. The live-action retelling of the 1998 Disney classic about a young woman pretending to be a man and going to war in place of her father was an early victim of the COVID pandemic, only recovering about 30% of its budget from box office earnings.

RELATED: ‘Mulan’ Review: The Best Live-Action Disney Adaptation Thus Far and By Far

Still, the fact it wasn't as significant a failure as this would suggest is because of its somewhat controversial Disney+ release , where it was made available as a "premium rental" which cost money, before eventually being free to stream for the service's subscribers. It's not known exactly how much it made from this release, but there's a good chance it did solidly, considering the popularity of most live-action Disney remakes so far.

Mars Needs Moms (2011) - $144 million lost

Mars Needs Moms is not the most expensive movie on this list, but it's the one with the smallest box office take. It's a mostly forgotten science-fiction family film that focuses on a nine-year-old boy and his mission to save his mother when she's captured by aliens.

With poor reviews, unsettling animation, and its odd premise, Mars Needs Moms made about $39 million on a $150 million budget, with the rest of its losses coming from the estimated money spent on other expenses, like marketing. It remains a mystery, over a decade later, why so much money was thrown at this movie in the first place.

Pan (2015) - $150 million lost

There have been a surprisingly large number of movies related to Peter Pan , but 2015's Pan may have been one too many. It serves as a prequel of sorts to the Peter Pan story most are familiar with, and features several familiar characters plus... Blackbeard? Played by Hugh Jackman? Yeah...

When it came to critical reviews, Pan got panned . With production costs and marketing taken into account, it may have cost up to $275 million , and made less than half of that at the worldwide box office. Like many costly, unsuccessful films of the last decade or so, it's been quickly forgotten. At least it didn't seem to hurt its star's reputations too badly, nor director Joe Wright's , despite the film's failure making him consider an early retirement from filmmaking.

Tomorrowland (2015) - $150 million lost

Tomorrowland looked good on paper. It had a reliable star in George Clooney , a great director in Brad Bird , and an interesting science-fiction premise involving adventures within an alternate dimension.

It ultimately didn't amount to much, though, as what sounds like a respectable $209 million cinema haul worldwide didn't help when the film and its promotion were so costly. Whether Bird returns to live-action filmmaking, or continues to make animated films like his most recent one, Incredibles 2 , remains to be seen.

Battleship (2012) - $150 million lost

It was strange that producers had faith in Battleship from the get-go, as the idea of a film being based on the famous tabletop board game of the same name seemed ludicrous. Even if the Transformers movies had been reliable earners around the same time of Battleship's release, it did seem like far more of a stretch to base a movie on it.

It was an incredibly costly film that failed to earn back its money due to poor word of mouth and negative reviews. It's more than understandable why most people have forgotten its existence, some 10 years on now.

Jungle Cruise (2021) - $151 million lost

Jungle Cruise , like Mulan a year before, was another Disney movie impacted by what COVID did to movie theaters . It's an adventure film with a journey through a jungle setting that was probably betting on Dwayne Johnson's star power to achieve success.

RELATED: ‘Jungle Cruise’ Is Like Diet ‘Pirates of the Caribbean’ But It Still Hits the Spot | Review

Still, like Mulan , it's not known how much revenue it ultimately earned from being available to rent from home, but it was enough for an apparent sequel to be considered . So ultimately, it's another case where a disappointing box office take didn't 100% reflect a movie's overall earnings.

King Arthur: Legend of the Sword (2017) - $153 million lost

King Arthur: Legend of the Sword was always a risky venture, even though the story told is a well-worn and classic one. Modern audiences just don't seem to be keen on historical epics lately, what with the disappointing earnings of The Last Duel in 2021 and The Northman in 2022.

It was an ambitious film, and was apparently supposed to be the first film in a six-film series, but underwhelming reviews and a poor box office performance cut those plans down quite abruptly. The making of Legend of the Sword ended up being a cautionary tale of not biting off more than you can chew when it comes to planning and financing movies in today's entertainment landscape.

Mortal Engines (2018) - $175 million lost

Despite a relatively recent release, Mortal Engines is one of those movies that's seemingly dropped off the face of the earth. It's based on a book set in a dark future where cities are mobile and human life is cheap.

It may have been trying to chase the young adult fantasy novel adaptation trend that's been out of fashion for a little while now. If the trend wasn't entirely dead in 2018, Mortal Engines' dismal box office performance may have dealt the killing blow, and it's a film no one seems to remember; maybe because no one seemed to actually watch it.

The Lone Ranger (2013) - $190 million lost

Director Gore Verbinski found some success with animated Western Rango in 2011 ; maybe more when it came to reviews, but it still performed decently at the box office. The same couldn't be said for his follow-up, The Lone Ranger , which was something like a buddy comedy/action movie set in an over-the-top Wild West.

It seemed like a messy film from start to finish, with a troubled production followed by less than stellar reviews all leading to a huge loss for the movie's producers. The Western has been a risky genre to gamble with for decades now, and perhaps no film demonstrates that better than The Lone Ranger .

John Carter (2012) - $200 million lost

John Carter looked like it could have been a big success, being a science-fiction epic based on a classic novel, and having a strong cast and talented director, Andrew Stanton . But like many other box office failures, reviews and marketing let it down, which is odd, considering that its marketing budget (on top of its production budget) was huge.

Sequels were canceled due to the film's lack of success, and another potential franchise was halted due to its first installment not working or resonating with audiences. John Carter goes to show that there might not be such a thing as a guaranteed hit, and reinforces the need for care, planning, and thought to go into both a film's production and its marketing in equal measure.

NEXT: Box Office Flops That Are Actually Worth Watching

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‘jungle cruise’ producers discuss the ingredients of a hit and how to secure a future for movie theaters.

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Producers John Davis (left) and John Fox (right) at the world premiere of Disney's 'Jungle Cruise' ... [+] at Disneyland Park in Anaheim, California.

With a $90 million debut in theaters and on streaming, Jungle Cruise appears to be something that few other movies inspired by theme park rides have managed to do. That thing is to be a hit.

The result is music to Disney’s DIS ears as well as the film’s primary producers, John Davis and John Fox. In his 30 year career, Davis, the founder and Chairman of Davis Entertainment, has produced more than 100 feature films and television projects. His movies have collectively grossed more than $5 billion worldwide. Fox, the company’s President of Production joined the firm in 2011 and has overseen a slew of hits.

I caught up with the producers to discuss the ingredients that make Jungle Cruise work, the power of brands and IP, what the future looks like for movie theaters, and what the industry needs to do to ensure their survival

Simon Thompson: Movies inspired by theme park rides are more often than not a hard sell at the box office. What were the ingredients that made Jungle Cruise work?

John Fox: We went back to its origins, to what inspired the ride, the movie, The African Queen , and we built it out from there. We never read previous versions of the film, but from what I hear, it was a present-day high concept approach; that’s very different from what we were doing. We intended to make something that felt classic and a bit nostalgic. Movies like Indiana Jones and Pirates of the Caribbean were the guiding lights for us. Hopefully, the audience appreciates what we were going for. 

John Davis: What we wanted to do was eventize it and make it a true blockbuster event. We wanted it to be larger than life, give it a freshness. We admired to a large degree what Jerry Bruckheimer did with Pirates . It worked great, and that was a great ride. There was something nostalgic, but it also put your characters in a great deal of jeopardy to do a period piece. It’s not like you can have your cell phone and call a helicopter to get you out. It’s not like you have antibiotics, and you’ve had all your shots. It was a real adventure. Emily’s character, she’s an adventurer. Coming up with that character was cool because she’s a female Indiana Jones. She’s what women in that day and age weren’t allowed to be and does what they weren’t allowed to do, which was to go out into the world and explore.

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Thompson: Seeing the reactions on social media, has it been a relief for you guys knowing that audiences are responding in the way you hoped they would?

Fox: You set out with a vision, you hope you can realize it, and you hope the audience understands what you're going for. The reaction has been gratifying. Audiences seem to really appreciate the movie, and that's always better than the opposite.

Davis: Pre-pandemic, we had the opportunity to test this movie a few times in theaters with 750 people, away from Hollywood, and it was raucous. The entire theater was alight, it was on fire, and the jokes landed. It’s one of the reasons why we hope movie theaters will still be a great art form that will be around after this pandemic passes. Half the fun of seeing an epic movie, where people hold their breath and laugh and scream and whatever, is that fourth dimension of the audience.

Thompson: Dwayne Johnson not only stars in the movie, but he’s also a producer on Jungle Cruise , along with his Seven Bucks Production co-founder, Dany Garcia. From your experience, what do Dwayne and Dany bring to the table that others can’t or don’t?

Davis: He is a great marketer, and he’s a great promoter. In my early days, when I was working with Arnold Schwarzenegger, Arnold made himself a star by his willingness to go out and promote movies in any country at any time. He did it tirelessly. I think Will Smith has those same instincts. Those foreign markets have to see you; you have to be there. That is the only way you’re going to culture an audience there. Dwayne understands what Will did, he understands what Arnold understood, and he’s made himself an international star

Fox: Dwayne is elevated beyond movie star. Dwayne is a global brand. Both he and Dany Garcia are so smart in the way that they handle that brand. Their instincts on Dwayne’s audience, what they like, what they don’t like, what they want to see, what they don’t want to see, are impeccable. I think they truly have done an extraordinary job. He’s got 200 million or more Instagram followers; that’s a lot more than most major companies or movies or anything in this world. Dwayne is THE brand, and you don’t get there by being a dummy. You get there because you are incredibly shrewd, clever, and self-aware about what you can bring and how you can bring it to the audience.

Dwayne Johnson (left) as Frank and Emily Blunt (right) as Lily in Disney's 'Jungle Cruise.'

Thompson: While you have continuously made original movies, a lot of Davis Entertainment’s success over the years has been the result of IPs such as Predator and Dr. Dolittle . Two of your IPs I am sad we haven’t seen more from are Chronicle and The Man from U.N.C.L.E.

Davis: Chronicle was literally the best return on investment, any of my movies ever made. Chronicle we did for $12 million, and it grossed $126.64 million worldwide. Then it had a huge afterlife in syndication. It’s one of the most financially successful movies in my stable. We’re working on Chronicle 2 right now, and I think it’s going to be great. We’re working on it at Fox (20th Century Studios). It’s going to give us a chance to tell the story in a different way. We’re going to tell it from the female point of view. It will have been ten years since the event happened in Seattle, and a lot of it’s going to deal with fake news and real news and cover-ups. More interestingly, it’s the next generation getting these powers that are corruptive. These are young women just finishing college, they are empowered, and this is their journey. I mean, what a new and interesting story you can tell there. With The Man from U.N.C.L.E. , it took me 27 years to make that movie. It was my favorite TV show when I was growing up as a kid. I loved it. One of the first things I did was get the rights to it. We developed it and developed it, went through multiple directors, went through various stars, and it finally came together. We were supposed to do it with Steven Soderbergh and George Clooney, which would have been a very interesting way to go. Maybe one day we’ll go and make a sequel to it. Many people seem to have liked the movie, but it wasn’t a huge box office success.

Thompson: You also mentioned movie theaters, and there continues to be raging debate about the industry’s health and what can be done to safeguard its future. What do you think needs to be done?

Davis: Theaters took it on the chin, as hard or harder than any industrial segment, because people completely couldn’t go. It was never a high-margin business. Theaters make most of their money off of popcorn and concessions, so you started off with a business that was vulnerable, and it got hit hard. I think it makes sense as a country to see if we need to throw out special loans, guarantee those loans, and help them get on their feet. I think it makes sense to preserve this industry. There are many small chains. These are companies that have 100 theaters in the southwest or 15 theaters in Oklahoma, and so on. That’s the backbone of a lot of our audience. We saved GM, and it became a huge business again. For the theater owners who are in trouble, we should make liquidity available to them so they can make it through this. It’s going to be two years before people come back to theaters. It just is. We see spikes, things get better, then things get worse, and then things get better, and so on. It will be a couple of years before you have that vibrant, willing movie-going theater audience again. The best things that we export are American movies that entertain the world; they are unique and special. They love our brand or storytelling and entertainment, and nobody else has been able to copy it. I think it makes sense to preserve and protect that.

Thompson: What about cutting ticket prices to entice people back to theaters? Perhaps studios could take a smaller cut of the ticket sales?

Davis: I would hope the studios would understand, especially those that now have big streaming platforms bringing in a lot of money, and give theaters a break for a couple of years. It would make a lot of sense. Usually, ticket sales are a 90/10 split in favor of the studios for the first week and then 80/20, and then you’re six weeks in before it’s a 50/50 split between the studios and the theaters. I think we’d be wise to throw them a lifeline from the industry to get them back on their feet.

Jungle Cruise is in theaters and streaming on Disney+ with Premier Access now.

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Is ‘Jungle Cruise’ a Box Office Hit? During COVID, It’s Hard to Know

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Prior to the pandemic, assessing the financial success or failure of a film was relatively simple and finite.

For a big-budgeted movie, the volume of ticket sales collected in its first three days in movie theaters gave a good indication of whether or not it would be profitable. There were exceptions, of course, but for the majority of studio movies, all it took to read the box office tea leaves was a quick look at opening weekend revenues.

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COVID-19 has scrambled that calculus. The movie theater business is still struggling to recover from the public heath crisis, reshaping the criteria for success and making it exceedingly difficult to separate the hits from the misses.

Take last weekend’s new release, Disney ’s “ Jungle Cruise .” The family friendly tentpole, starring Dwayne Johnson and Emily Blunt, debuted atop North American box office charts with $34 million. It generated $27.6 million internationally and $30 million on Disney Plus, amounting to $90 million in combined revenues. In any other environment, that would have been catastrophic because the film cost the studio $200 million to produce and at least $100 million more to market. Box office experts estimate it would have needed to generate at least $500 million at the global box office to have a chance of breaking even. For back-of-the-cocktail-napkin math purposes, studios and movie theaters essentially split ticket sales.

Yet in the COVID era, the $34 million domestic debut of “Jungle Cruise” exceeded industry expectations and ranks on par (or slightly above) previous all-audience offerings like “Space Jam: A New Legacy” ($31 million), “Godzilla vs. Kong” ($31 million) and “Cruella” ($21 million). Despite boasting two bankable movie stars in Johnson and Blunt, however, the film didn’t come close to matching “Black Widow” ($80 million), “F9” ($70 million) and “A Quiet Place Part II” ($47 million), which were all sequels in popular, pre-existing franchises. Only “Black Widow,” “F9: The Fast Saga” and “A Quiet Place Part II” came close to the opening weekend hauls that would have been expected prior to the pandemic, and even they fell a little bit short of planet-straddling, universe-shaking blockbuster status and look to lose money.

“At this point, the recurring theme on these day-and-date releases is that they’re merely fine in the best of times, and even that feels generous to say,” says Shawn Robbins, the chief analyst at Box Office Pro. “Success is extraordinarily relative right now and hard to qualify.”

Around 85% of U.S. cinemas have reopened, according to Comscore, which is the highest percentage since March 2020. But as concerns about the Delta variant rise, the moviegoing landscape is nowhere near what it used to be and it’s unclear when, or even if, things will get back to normal. With that in mind, is it fair to categorize a movie as a disappointment given the still-impaired marketplace? Or is it reasonable because, in the case of “Jungle Cruise,” it may not dig itself out of the red to justify its production budget? “Jungle Cruise” is far from the only movie that won’t come close to earning the revenues that the studio expected when it was initially greenlit. Hybrid releases or not, it’s been a similar fate for everything from “Tenet” and “Wonder Woman 1984” to “In the Heights” and “Snake Eyes.” Almost all of these movies will fail to achieve profitability.

“‘Jungle Cruise’ was weak because, even without headwinds, it’s so far from what would be considered good,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “That movie needed to open at $80 million to $100 million to fulfill its tentpole aspirations.”

During the pandemic, studios delayed their biggest blockbuster hopefuls for as long as possible. Once COVID restrictions began to ease and indoor venues were able to loosen capacity constraints, Hollywood companies started to add their films back to the release schedule. Since movie theaters hadn’t (and still haven’t) reached any semblance of normalcy, studios, particularly Disney, Warner Bros. and Universal, created a streaming component to offset expected losses. In the case of Disney and Warner Bros., their high-profile tentpoles were slated to premiere on the studio’s respective streaming services to mitigate any theatrical losses and hopefully boost streaming service subscribers in the process. Those subscribers were, in some sense, even more valuable than traditional customers are, because for a Disney or a Netflix, growing that audience can goose their share price. Wall Street cares a lot more about churn on Disney Plus and a lot less about how “Jungle Cruise” did in international markets.

But having a movie available at home on the same day as its theatrical release creates another challenge. Detractors of the day-and-date method of releasing a movie argue that putting a film on a streaming service cuts into the film’s traditional premium video-on-demand window. Following the release of “Black Widow,” the National Association of Theatre Owners criticized Disney and the huge second-weekend decline of the Marvel hero. “It ignores that Premier Access revenue is not new-found money,” the trade organization said in a statement. “Combined with the lost theatrical revenue and forgone traditional PVOD revenue, the answer to these questions will show that simultaneous release costs Disney money in revenue per viewer over the life of the film.”

So far, “Black Widow” has generated $343 million globally, making it both among the highest-grossing movies of the pandemic and by far the lowest-grossing Marvel movie. Prior to the pandemic, it would have been expected to surpass $1 billion worldwide. Scarlett Johansson, the actor who portrays Black Widow, sued Disney last week , alleging the studio’s decision to put the Marvel tentpole on Disney Plus was a breach of contract and cost her tens of millions in backend deals. Disney, in return, has claimed Johansson benefitted from its hybrid release on Disney Plus and asserted her lawsuit showed “callous disregard for the horrific and prolonged global effects of the COVID-19 pandemic.”

Overall, the domestic box office collected $76 million between Friday and Sunday, according to Comscore analyst Paul Dergarabedian. That’s well below any traditional weekend tally in a pre-COVID era, though it ranks as one of the best weekends since March of 2020.

“We are not where we were a year ago, but we’re still not in a normal marketplace,” he says. “It’s difficult to apply any traditional analysis to these numbers.”

In pandemic times, does that mean a $30 million opening weekend is the new $100 million? For the sake of Marvel’s “Shang-Chi and the Legend of the Ten Rings,” the James Bond sequel “No Time to Die” and other $200 million-plus budgeted movies slated for 2021, Hollywood certainly hopes not.

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Sunken ‘Jungle Cruise’ Sales Reflect Hollywood’s Delta Variant Troubles

The mega-budget comedic adventure took in $34 million in North America and $30 million on Disney+ worldwide.

By Brooks Barnes

LOS ANGELES — As Disney’s pun-filled “Jungle Cruise” demonstrated over the weekend, moviegoing remains disrupted, with the Delta variant, immediate streaming availability and squishy reviews combining to depress ticket sales.

Any other takeaway would be de-Nile.

“ Jungle Cruise ,” a period comedic adventure that cost at least $200 million to make and another $100 million to market, collected about $34 million at 4,310 theaters in the United States and Canada, including Thursday-night previews, according to Comscore, which compiles box office data. The PG-13 film, which stars Emily Blunt as a British version of Indiana Jones and Dwayne Johnson as a wisecracking river boat skipper, took in an additional $28 million overseas.

“The market is vulnerable right now,” David A. Gross, who runs Franchise Entertainment Research, said in an email. “There’s Covid, there’s simultaneous streaming, there’s piracy, there’s the nature of the movies themselves — different factors for each film. Simultaneous streaming does appear to reduce a movie’s income in total across all windows.”

Over the weekend, “Jungle Cruise” also arrived on the Disney+ streaming service, where subscribers (more than 100 million worldwide) could watch the film (and have permanent access to it) for a $30 surcharge. Disney said “Jungle Cruise” generated about $30 million from global Disney+ Premium Access sales. To compare, “Black Widow,” the recent Marvel spectacle, collected roughly $60 million over its first three days of availability on Disney+ Premium Access.

Scarlett Johansson , who has played the superassassin Black Widow in eight films, sued Disney on Thursday, contending that making “Black Widow” on Disney+ at the same time it opened in theaters “dramatically” lowered box office revenue, which cost her tens of millions of dollars in compensation. Her lawsuit drew a blistering “no merit whatsoever” response from Disney.

“Jungle Cruise” had all the makings of a box-office smash. Mr. Johnson is perhaps the world’s most bankable movie star, someone who can fill seats with his mere presence on a theater marquee. Ms. Blunt is no slouch in that department, either; her most recent film, “A Quiet Place Part II” (Paramount), was a big hit in May, collecting about $48 million over its first three days in North American theaters and ultimately taking in about $300 million worldwide.

In addition, “Jungle Cruise” was based on a classic Disney theme park ride, giving it built-in audience awareness, and it had Disney’s unrivaled marketing machine revved up around it. Disney justified spending a king’s ransom on the film in the hope it could become the next “Pirates of the Caribbean,” a five-film franchise (also based on a Disneyland ride) that collected $4.5 billion at the box office and created a merchandising bonanza.

Going into the summer, Hollywood, citing the rollout of vaccines and pent-up demand, had high hopes for a box office surge . Instead, a couple movies have succeeded — notably ones like “A Quiet Place Part II” and “F9” that arrived in June and exclusively in theaters — and a parade of others have disappointed, including “ Snake Eyes: G.I. Joe Origins,” “In the Heights ,” “ Old ” and “Black Widow.”

In particular, Mr. Gross faulted the “Jungle Cruise” concept. Action adventures as a genre have struggled over the last decade, he noted, although the “Jumanji” (Sony) and “Jurassic World” (Universal) series have been exceptions. Overall, “Jungle Cruise” received lukewarm reviews , with some critics finding the film’s computer-generated effects cartoony and not believable.

Audiences seemed to disagree, giving “Jungle Cruise” an A-minus grade in CinemaScore exit polls.

In a statement on Sunday, Disney said, “We remain focused on offering consumer choice during these unprecedented times, and it is clear that fans and families value the ability to make decisions on how they prefer to enjoy Disney’s best-in-class storytelling.”

Because of the continuing coronavirus threat around the world, Disney noted, “markets are open to varying degrees and not all exhibitors are currently open. Capacity restrictions are also in place in most markets.” About 85 percent of the theaters in North America are open, according to Comscore.

Brooks Barnes is a media and entertainment reporter, covering all things Hollywood. He joined The Times in 2007 as a business reporter focused primarily on the Walt Disney Company. He previously worked for The Wall Street Journal. More about Brooks Barnes

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‘late night with the devil’ possesses week 2; duo of indian films hits top ten – specialty box office, disney pulls ‘jungle cruise’ into weekend port with $91.8m in global b.o. & disney+ premier spend.

By Anthony D'Alessandro

Anthony D'Alessandro

Editorial Director/Box Office Editor

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Sunday AM Final:   Jungle Cruise kept its ship together at the domestic box office over the weekend, and actually saw an uptick in Friday-to-Saturday grosses (when you back out Thursday previews of $2.7M) of +16% which puts the adventure film at $34.2M , an opening that’s not far from Dwayne Johnson’s pre-pandemic event film Rampage ($35.7M), and the biggest family film start during the pandemic to date.   All in, add $27.6M in overseas box office and $30M+ in Disney + Premier global spend and  Jungle Cruise  counts a first weekend’s worth of revenues of $91.8M.  Similar to  Black Widow,  the bulk of Disney+ Premier spend, I understand, is coming from the U.S. as our market is more accustomed to making purchases on the Disney+ streaming service, while offshore markets are still adopting.

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'Jungle Cruise' Review: Dwayne Johnson & Emily Blunt Are E-Ticket Teaming In Special Effects-Heavy Movie Based On Disneyland Ride

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Beamed Disney EVP of theatrical distribution Tony Chambers, “We have delivered the No. 1 family film opening of the year and take great solace in that; one can’t compare the numbers to anything pre-pandemic. With great word of mouth and audience exits, we’ve exceeded our own and industry expectations.” Jungle Cruise  was expected to open to $25M domestic; Deadline heard that global theatrical estimates at $65M.

At a time when many might be worried that the delta variant is curbing business, and that families are staying home, Jungle Cruise ‘s pure U.S. and Canadian theatrical ticket sales show—once again after Warner Bros.’ Space Jam: A New Legacy’ s $31M opening—the demographic is willing to head out. Again, when we see such holds and successes in the face of dynamic windows, the question continually begged is how much more could Jungle Cruise have made this weekend at the domestic B.O. without Disney+ Premier blocking its path? Overall domestic theatrical weekend per Comscore for all movies stands at $76.7M, +9%. The gap between 2021 and 2020’s running comparative U.S./Canada B.O. is now -11% with the current Jan. 1-Aug. 1 period being $1.7 billion.

However, there are those in the industry this morning who are not impressed with  Jungle Cruise ‘s numbers. Again, blame the global pandemic and dynamic windowing. A $91.8M combined global theatrical and PVOD start are not the ingredients to profit off a tentpole with excellent audience exits which cost an estimated $362M in negative cost, distribution and marketing expenses. But then again, what is truly making money right now in the current global marketplace? At the end of the day, a simultaneous theatrical and PVOD window brings the streaming revenue forward in time. “There’s too much evidence that the model diminishes the aggregate streaming revenue as well as cuts into a movie’s theatrical gross,” one film finance insider tells us this morning.

There are some industry analysts who claim that those sitting on the couch to watch  Jungle Cruise  were never going to head to the movies anyway, but there is a looming concern out there by the business that the casual moviegoer is showing some doubt about returning to the cinema. There’s no worry about avid moviegoers going out to see movies now.

On the other hand, a sign that the offshore markets still aren’t back for Jungle Cruise : Rampage  posted a $114.1M an international B.O. first weekend ($55M came from China then, which wasn’t in the mix for Jungle Cruise; the remaining balance on the giant ape movie debuted to $59.1M).  Disney is all about global day-and-date launches which are hampered here because of territory closures and capacity restrictions, which is why the studio continues to argue their Disney+ Premier day-and-date theatrical model. We don’t know yet which future movies on the Disney theatrical slate will commit to the experimental model.

Despite being sued by Scarlett Johansson over crushing the theatrical and PVOD window on Black Widow,  Disney will defend that by putting  Jungle Cruise  on its streaming service for $29.99 (versus $19.99 or lower), they’re trying to put a high price point so that they’re not directly competing with movie theater ticket prices which average around $10-$15 each. Counter that with the fact that a Disney+ Premier purchase for Jungle Cruise is the better bargain for a family of four. Or it costs absolutely nothing at home if the consumer is taking in the Disney pic over a pirated site.

Some have asked me why I’m comping Jungle Cruise  to  Rampage,  a pre-pandemic title: Because in regards to pure domestic box office, we need to see where we are versus normal standards; it’s an indicator of whether we are in a state of recovery or not. Disney and Warner’s current experimenting with dynamic windows only clouds any signs of rebound. Note, it’s not prudent to comp  Jungle Cruise  to  Rampage  in weekend 2, the latter fell -44% without any event pic competition mid-April 2018 and  Jungle Cruise  is apt to lose its premium large format screens to Warner Bros.’  Suicide Squad  next weekend. With avid moviegoers choosing the premium theatrical experience for tentpoles in their first weekend, and  Jungle Cruise  doing 25% between Imax and PLF, ticket sales are apt to decrease in weekend 2 without such additions for a movie title.

Meanwhile,   Black Widow ‘s weekend 4 at the box office is the lowest fourth weekend for a Disney-released Marvel title ever at $6.4M .

But going back to the pic’s theatrical success at least here in the states: Johnson is always a pro in championing his movies, and he kept fans in the loop about starting the recent press tour back on July 15 (see below). In fact, the campaign started way back pre-pandemic at D23 Expo 2019 with Johnson and Blunt arriving onstage in a custom-built La Quila boat and classic car. Marketing reignited in May with a new trailer, poster, and announcement of dual theatrical and Disney+ Premier Access release on July 30, exclusively revealed on Good Morning America . Johnson shared all of this on his social media handles to his huge following.

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In the face of a pandemic, Johnson and Blunt bravely appeared at the Disneyland premiere for the film and even took a surprise ride on the Jungle Cruise much to the delight of fans (see below). Social media analytics corp RelishMix reports that that pic’s social media was massive “connecting Disneyland 29.7M into the mix along with Disney Studios 62.2M, Disney+ 11.8M, Disney Channel 21.9M for a total social media universe of 559.8M total which is exceptional in relation to family live-action comps. Superfan channels on YouTube are also reposting cast junkets with a viral repost rate of 23:1 for the five owned trailers which exceeds the norm of 16:1 along with key performance indicators which popped from the Disneyland premiere event last weekend.”

The Rock’s social media pull across Instagram, Facebook, Twitter counts 333.8M which according to RelishMix reps 59% of the entire reach metric for Jungle Cruise along with the action star’s YouTube channel, with 5.6M subs, which dropped trailers including the No. 1 trailer from 17 months ago at 8.3M views . And while Blunt, and stars Jesse Plemons and Paul Giamatti are non-social, the Rock’s social powers mixed with Jack Whitehall’s 10.2M fans and Edgar Ramirez’s 5.2M fans picked up the slack.

After Focus Features’ Roadrunner, arthouses continued to see the light this weekend thanks to A24’s The Green Knight   which opened to $6.784M at 2,790 theaters in the No. 2 spot. That’s a result that’s just ahead of the Oscar-winning distributor’s Midsommar  which did $6.56M over the three days of the 2019 Independence Day weekend and was a Wednesday opener. Green Knight  played notably in upscale and hipster arthouses, i.e. Alamo Drafthouse had five of the top ten runs, I hear. The movie did well in big cities with cash coming from New York, Los Angeles, Chicago, Dallas, San Francisco, Boston, DC, Seattle and Phoenix. A24 hung onto this David Lowery-directed, Dev Patel fantasy film throughout the pandemic, rather than relegate it to a PVOD release, and I’m sure they aren’t sorry. The pic cost under $30M, but I understand a majority of that production cost was covered by foreign sales. The pic is on a 20-day theatrical window.

Relish Mix says that a bulk of  Green Knight’ s near 45M social media universe before opening weekend came from 41.3M views on five YouTube videos which were re-dated from the pic’s original February 2020 drop of materials. In regards to chatter, “Conversations shout with excitement about the approach that A24 has taken to introduce the pic’s mythology with early calls for Oscars cinematography nominations as fans of Patel and Alicia Vikander await the release.”

The studio dropped a video that clocked 7.4M views on YouTube about the pic’s origins which is the 14th Century epic poem Sir Gawain and the Green Knight.

Always keen on connecting with Gen-X and millennials, A24 even created a real roleplaying game for  Green Knight. 

Last weekend’s pure theatrical releases, Universal’s M. Night Shyamalan Old   and Paramount’s  Snake Eyes  took tumbles in their second weekends respectively with -60% and -70%.  Old,  which posted a drop on par with Shyamalan’s 2006 misfire  Lady in the Water,  was good enough to take No. 3 (some have it at No. 2) with $6.76M and a ten-day of $30.6M. Snake Eyes at 2,348 theaters made $4M for a ten-day tally of $22.2M. Again the lackluster results here strictly boil down to lack of interest in the IPs, as indicated by both pics’ sour audience exits last weekend.

In 5th place is Focus Features/Participant’s Stillwater   which is coming in right where many expected with $5.1M in 5th at 2,531 theaters and 232 DMAs.

“We’re thrilled to see so many parts of the country, like the Midwest and the South, returning to theaters to watch Matt (Damon) in Stillwater . Those audiences came out solidly, which is promising for the weeks to come on the film,” said Focus Features President of Distribution Lisa Bunnell. As we told you yesterday, the movie which is partially set in Stillwater, OK where Damon plays an oil-rig worker, saw five out of its top ten theaters this past weekend coming from Oklahoma which is uncommon for the domestic B.O. Stillwater ‘s top theaters over Friday and Saturday were 1.) Warren 14, Oklahoma City ($16k) 2.) the Carmelview, Phoenix ($10,4K) 3.) Broken Arrow, Tulsa ($10,1K), 4.) Tibbs, Indianapolis ($8,3K), 5.) Cinemark 17, Tulsa ($7,5K), 6.) Cal Oaks, LA ($7,2K) 7) Showbiz, Oklahoma City ($7,1K), 8) AMC Stillwater ($7,1K), 9) Estrella Falls, Phoenix ($7K) and 10) Cinemark West Plano ($6,7K).

Top markets for  Stillwater  included LA and NY with the most runs respectively 127 (7.1% of the B.O.) and 103 cinemas (4.2%).  Phoenix, San Francisco, Oklahoma City, and Denver were above their normal market share with Oklahoma City continuing to be the most impressive placing 9th with only 17 runs. Best grossing region for the film was the South. Overall in rank the other top-grossing markets were 3) Dallas (69 theaters, 3.9% of B.O.), 4) Phoenix (43 theaters, 3.3%), 5) San Francisco (56 theaters, 2.5%), 6) Houston (49 theaters, 2.4%), 7) Chicago (69 theaters, 2.4%), 8) Denver (47 theaters, 2.2%), 9) Oklahoma City (17 theaters, 1.9%) and 10) Atlanta (54 theaters, 1.9%).

This weekend’s top 10 chart:

• Jungle Cruise   (Dis) 4,310 theaters, Fri $13.378M/Sat $12.2M/Sun $8.5M/3-day $34.2M /Wk 1
• The Green Knight (A24) 2,790 theaters (-25)/Fri $2.878M/Sat $2.17M/Sun $1.7M/3-day $6.78M Wk 1
• Old   (Uni) 3,379 theaters (+24), Fri $2.1M (-70%)/Sat $2.65M/Sun $1.99M/3-day $6.76M (-60%)/Total: $30.6M /Wk 2
• Black Widow  (Dis) 3,360 theaters (-890)/Fri $1.9M (-46%)/Sat $2.6M/Sun $1.9M/3-day $6.4M (-45%)/Total $167M /Wk 4
• Stillwater   (Foc) 2,531 theaters, Fri $1.85M/Sat $1.92M/Sun $1.35M/3-day $5.12M / Wk 1
• Space Jam 2  (WB) 3,501 (-501) Fri $1.34M (-57%)/Sat $1.67M/Sun $1.26M/3-day $4.265M (-55%)/Total $60.7M /Wk 3
• Snake Eyes   (Par) 3,540 (+19) Fri $1.19M/Sat $1.6M/Sun $1.19M/3-day: $4M (-70%)/Total $22.2M /Wk 2
• F9   (Uni) 2,348 (-502) theaters Fri $760K/Sat $1.06M/Sun $830K/3-day: $2.65M (-45%)/Total $168.5M /Wk 6
• Escape Room 2 (Sony) 2,086 (-729) Fri $670K/Sat $860K/Sun $670K 3-day $2.2M (-37%)/Total: $20.55M /Wk 3
• Baby Boss 2  (Uni) 1,865 (-908) theaters Fri $400K/Sat $510K/Sun $390K/3-day $1.3M (-55%)/Total: $53.4M /Wk 5

Saturday AM Update:  Typically these theatrical day-and-date in-home releases tend to be frontloaded, so it will be interesting to see if Disney’s  Jungle Cruise  goes off course tonight after posting a solid Friday of $13.378M which has predictions at a $32.5M opening. That’s a better-than-expected opening for the Dwayne Johnson-Emily Blunt film, and bests the former’s pre-pandemic debut of Skyscraper ($24.9M) and isn’t too far from the start of his 2018 Rampage ($35.7M).  Jungle Cruise  is also outstripping the theatrical 3-day of family pic Cruella ($21.5M) (granted, it was a largely female skewing title), which was also available in homes on Disney+ Premier for $29.99. Imax and premium large format screens are delivering around 33% of the gross; another indicator that when people go to the movies during the pandemic, they’re choosing to watch movies in the most platinum means possible. The best markets for Jungle Cruise  was the West (nine out of the top 10 theaters were in the region), Midwest, and Southeast.

How much more does  Jungle Cruise  make on Disney+ Premier over the weekend (at a $29.99 price)? We’re expected to find out more tomorrow.

Despite being sued by Scarlett Johansson over their shake-up of the distribution model on  Black Widow, I’m sure Disney is still unapologetic about sticking to a dynamic window here on Jungle Cruise in the face of the delta variant. Last night, Paramount unset their eOne title Clifford the Big Red Dog out of concerns for the lingering virus. Disney’s defense for day-and-date remains families’ hesitation to venture out while the virus is still around, giving consumers the option of when and where to see the movie. At the same time, that has some in the industry wrinkling their eyebrows at the conglomerate as Disney theme parks remain open; in fact they pushed the state of California greatly to ease their Covid restrictions so that Disneyland could re-open.

While the overall weekend box office remains low with an estimated $73.2M from all titles – though up 3% from last weekend, we’ll never know what a full box office recovery looks like, even in the face of the pandemic, until all this day-and-date experimenting ceases. There’s no doubt that we’ll close the gap between the 2021 and 2020 box office. Through last Sunday July 25, 2021, box office was running only 18% behind the Jan. 1-July 25, 2020 period with $1.55 billion.

Jungle Cruise did well with audiences earning an A- CinemaScore, which is the same Johnson received on Rampage and San Andreas. CinemaScore/Screen Engine audience exits on PostTrak were very good with 80% in the top two boxes and a 60% from the general audience, while kids under 12 enjoyed the Disney theme park-inspired pic even more with 87% positive and a 70% recommend. Males showed up at 52%, females at 48% with 52% over 25 with 34% under 17 years old. Diversity demos were 55% Caucasian, 18% Latino, 13% Black, & 14% Asian/other.

Universal’s M. Night Shyamalan movie Old will hold the No. 2 spot a second Friday of $2.09M (-70%) and a second weekend of $6.67M (-60%) for a ten-day of $30.5M, however, A24’s  The Green Knight   is coming in higher than the $4M expected with its Dev Patel fantasy movie  The Green Knight with an estimated $6.58M at 2,790 theaters which earned a C+ CinemaScore. That’s par for the course with A24 on their edgy genre fare: win over critics (this title at 89% certified fresh) and divide audiences (but keep them discussing the film on the way home). Green Knight ‘s start is right in the wheelhouse for A24: currently slightly ahead of Midsommar ‘s 3-day of $6.56M (though that Ari Aster title had a 5-day debut). With a short window of 20 days, can Green Knight leg out and do a 4x multiple like  Midsommar ($27.4M)? That would come as a wonderful sign for arthouses as they are hungering to do a pre-pandemic level of business.  Green Knight  hooked a great 18-34 demographic of 70%, with 62% over 25, leaning male at 62%. Those who showed up were 60% Caucasian, 19% Latino, 10% Black and 11% Asian/other. The David Lowery-directed movie played best on the coasts, and in big cities, and we hear that the Scotiabank in Toronto cracked its top ten theaters — a great sign for moviegoing in the Canadian cinema capital as it reopened just over two weeks ago.  Green Knight  made $2.878M yesterday (including $750K previews), which is higher than  Midsommar ‘s Friday of $2.2M.

Disney’s  Black Widow is estimated to do $6.09M in weekend 4, -48%, for a running total of $166.7M in 4th place. For those keeping track, if that estimate holds up, it will be the worst fourth weekend ever for a Disney-released Marvel title after  Ant-Man ‘s fourth weekend of $7.9M. Typically, all Disney-released MCU titles post fourth weekends in the double digits, with the exception of  Ant-Man  and  Ant-Man and the Wasp  ($8.76M).

Focus Features/Participant’s Stillwater   will crack the top 5 with a $1.84M Friday (including $280K Thursday previews) and a $4.5M estimated Friday-Sunday start at 2,531. Audiences weren’t wowed with a B- CinemaScore. PostTrak was awful at 63% positive, and a 34% recommend. Audience leaned male at 51% with older audiences coming out at 81% over 25, 46% over 35, and 36% over 45 years old. Diversity demos were 66% White, 17% Latino, 8% Black, & 9% Asian/other. Stillwater played best in the Midwest and South with five of its top ten runs coming from Oklahoma; which rarely pops at the box office. Best numbers were in Oklahoma City, Tulsa, Dallas and Houston.

Top 5 estimates for the weekend of July 30-Aug. 1

• Jungle Cruise   (Dis) 4,310 theaters, Fri $13.378M /3-day $32.5M /Wk 1
• Old   (Uni) 3,379 theaters (+24), Fri $2.09M (-70%)/3-day $6.67M (-60%)/Total: $30.6M/Wk 2
• The Green Knight (A24) 2,790 theaters (-25)/Fri $2.878M /3-day $6.58M Wk 1
• Black Widow  (Dis) 3,360 theaters (-890)/Fri $1.9M (-46%)/3-day $6.09M (-48%)/Total $166.7M /Wk 4
• Stillwater   (Foc) 2,531 theaters, Fri $1.84M /3-day $4.5M / Wk 1

Friday afternoon update revised: While the town is getting used to projecting Warner Bros.’ day-and-date theatrical and streaming numbers, Disney’s throwing a bit of a curveball: Remember, many box office analysts didn’t see the Friday-to-Saturday 41% collapse of Black Widow   coming.

Warner’s theatrical titles in the home are free to HBO Max subscribers, whereas Disney+ subs have to pay an extra $29.99 to see  Jungle Cruise. To date in the pandemic, we’ve had a greater number of Warner Bros/HBO Max movies vs. Disney/Disney+ Premier titles. In revised afternoon estimates, we hear the projection for the Dwayne Johnson-Emily Blunt pairing stands between $12M-$13M today, which could near a $30M 3-day at 4,310 theaters, the pandemic’s widest opening title to date. That Friday figure includes last night’s $2.7M. Again, take these numbers with a grain of salt.

Comparing to another Disney family film that’s on a dynamic window, Jungle Cruise ‘s Friday is ahead of  Cruella ‘s first day of $7.7M. That movie over three days of a four-day holiday weekend wound up at $21.5M. Should Jungle Cruise ‘s Friday remain high, it will also best the first day for a Johnson pic since 2018’s Skyscraper  ($9.2M), which went on to do $24.9M — that’s without any competition from a home release.

A24 is looking to take No. 2 with its David Lowery fantasy The Green Knight headed toward an estimated $2.5M-$3M Friday, including $750K previews . At 2,790 venues, the pic could do between $6.5M-$8M.

Universal’s M. Night Shyamalan-directed genre pic Old  is seeing a $1.9M Friday (-72%), $6M second weekend, -64%, for a 10-day of $29.8M in the No. 3 spot.

Seven Bucks Productions’ Hiram Garcia On The ‘Jungle Cruise’ Release, Creating A Bubble For ‘Red Notice’ Shoot & Where He Got The Idea For ‘Red One’

Disney’s fourth weekend of  Black Widow  is seeing around $6.1M, -47%, after a $1.8M Friday (-48%) on its way to $166.7M for No. 4.

Focus Features’ Tom McCarthy-directed drama  Stillwater  is looking at $1.4M at 2,531 for a 3-day of $3.5M, further down the charts.

Friday AM update: Disney is reporting $2.7M for its Dwayne Johnson-Emily Blunt family adventure movie  Jungle Cruise from shows that began at 7PM. The film, which was delayed due to the pandemic, is also hitting Disney+ Premier at $29.99 today. In the wake of Scarlett Johansson’s lawsuit against Disney for breach of contract on its failure to deliver an exclusive wide theatrical release on Black Widow,  I hear that the Dwayne Johnson and his Seven Bucks camp have no intention of battling Disney for any anticipated loss of dollars on this day-and-date release on the Jaume Collet-Serra-directed movie; the action star’s camp was in lock-step with the Mouse House when the announcement was made to deliver the pic to a global audience everywhere at a time when certain offshore theatrical markets (like Southeast Asia) are offline due to Covid.

Jungle Cruise  is looking to do $25M this weekend, with another $40M from international territories for $65M WW at the box office.

In regards to pandemic box office numbers, and in particular Disney+ Premier-box office releases, Jungle Cruise  bested the Thursday night of  Cruella  which did $1.4M. Note these latest experiments by Disney have roughly an exclusive Thursday night window before they hit the streaming service at midnight Friday.

Jungle Cruise ‘s Thursday night is ahead of Johnson’s 2018  Skyscraper  which wasn’t a high for him at the B.O.; that pic doing a $1.95M in previews at 2,950 theaters off 7PM showtimes before posting a $9.2M Friday, $24.9M 3-day. The pic finaled at $68.4M in U.S./Canada.  Jungle Cruise  is also ahead of Rock’s New Line/Warner Bros’  Rampage which made $2.4M on its first Thursday. That translated into a pre-pandemic 2018 Friday of $11.5M, and a $35.7M 3-day.

Disney is expected to report first weekend global PVOD numbers on  Jungle Cruise  on Sunday AM.  Black Widow ‘s first weekend on Disney+ Premier was $60M. Add in $158M WW theatrical debut, and the first weekend global B.O. and Disney PVOD take on that film was $218M. Samba TV, which only clocks terrestrial Smart TV households in streaming viewership, reported a 10-day U.S. household viewership of Black Widow  of 2M which translates into a PVOD gross revenue over that frame of $59.98M stateside. To date, at the domestic B.O., the Johansson MCU movie counts $160.6M.

A24’s Dev Patel fantasy movie Green Knight   came up strong with $750K at 2,790 theaters. The NY-based indie distrib’s previous preview highs include Ari Aster’s  Midsommar  (which started on a Tuesday) with $1.1M and the filmmaker’s  Hereditary  which did a $1.3M Thursday.  Green Knight  has the best reviews of the weekend for a wide entry at 91% fresh.  Jungle Cruise  is down to 63% fresh.  Green Knight  was previously reported to do around $4M this weekend.

Focus Features’  Stillwater  also held previews at 7PM yesterday making only $280K from 1,970 locations. The Matt Damon drama, which made it world premiere at Cannes, is at 70% fresh on Rotten Tomatoes. The movie is expected to do around $5M this weekend at 2,531 locations.

Universal’s   Old   was the No. 1 film throughout the week with a 7-day estimate of $23.9M at 3,355 theaters. The No. 2 movie? Black Widow  in its third week, which did $17.44M at 4,250.

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China box office: disney’s ‘jungle cruise’ flops after delayed release.

The Dwayne Johnson- and Emily Blunt-starring fantasy adventure film, which cost over $200 million to make, opened to just $3.3 million in China.

By Patrick Brzeski

Patrick Brzeski

Asia Bureau Chief

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Disney’s Jungle Cruise , starring Dwayne Johnson and Emily Blunt, finally opened in China over the weekend, over three months after its theatrical and Disney+ streaming release in the U.S. The family-friendly adventure thrill ride went absolutely nowhere at the Chinese box office , however, opening to a paltry $3.3 million.

The film is estimated to have cost Disney some $200 million to make, and a sequel recently was greenlit by the studio. It opened July 30 to more than $35 million at the U.S. box office and more than $30 million on Disney+ Premier Access in its first three days, according to the studio. At present, the film has earned about $215 million worldwide.

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Jungle Cruise received quite respectable social scores from the Chinese filmgoers who did see it, suggesting that rampant piracy, a limited marketing effort from Disney and a growing audience tendency toward local Chinese fare may have conspired to keep seats empty. Ongoing COVID-19 outbreaks in the country, which have shuttered a sizable minority slice of cinemas in as many as 50 cities, are also taking a toll on ticket sales.

Jungle Cruises scored 8.9 on Maoyan and 6.1 on Douban, similar to MGM’s James Bond installment No Time to Die , which has earned much more in the Middle Kingdom. No Time to Die added $4.4 million in its fourth frame, taking its China total to a healthy $58 million.

But Maoyan Pictures’ Chinese period mystery Be Someday put both the Rock and Bond to shame, opening solidly with $20 million. It was followed in second place by Edko Pictures’ Anita , a biopic of the great Hong Kong Canto-pop star and screen icon Anita Mui, which debuted with $6.3 million. Chinese war epic The Battle of Lake Changjin , meanwhile, continued marching into the record books over a month and a half after its release, beating both Bond and Jungle Cruise with a $4.8. million weekend haul, lifting its historic total to $882 million.

Reflecting the increasingly dire distribution difficulties for Hollywood in China, no major U.S. studio title is currently scheduled for an upcoming release in the country.

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‘Jungle Cruise’ Beats Box-Office Expectations as ‘Old’ Plummets. How Is This PVOD’s Fault?

Tom brueggemann.

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The National Association of Theater Owners blamed the disappointing performance of “Black Widow” on its same-day $29.99 availability for Disney+ customers. Of course, home platforms take some revenue away from theaters. Enough to blame it for underperforming opening weekends and the precipitous drops that often follow? Evidence increasingly shows that’s not the case.

The $200 million-budgeted “ Jungle Cruise ” opened to $34.2 million domestic, an impressively strong result when tracking suggested $25 million, and a studio-reported $30 million in Premium VOD revenue via Disney+ subscribers worldwide. No breakdown was given for PVOD, but the Disney+ viewership is much bigger in North America.

For “Jungle Cruise,” Saturday was down 9 percent from opening day. For “Black Widow” — also on Disney+ PVOD — the drop was 41 percent. Reaching back to the pre-PVOD opening days of summer 2019, Disney’s family-friendly “The Lion King” saw a 22 percent Saturday drop.

Last weekend saw the debut of two theater exclusives with “Old” (Universal) and “Snake Eyes” (Paramount); this weekend, they fell 60 and 70 percent, respectively. “Black Widow” fell 68 percent in its second weekend. None of this fingers PVOD as the villain responsible for the Marvel title’s fall.

PVOD has an impact, but that parallel play also gives theaters better deals on film rentals.

Overall gross this weekend will be around $77 million, a slight improvement over last weekend’s $71 million. Of note here is the Olympics — or rather, how the Olympics didn’t figure into this week’s results. Studios traditionally steer films around the two-week global impact, but Disney took the chance on seeing Olympic viewership decline. It’s possible that it may have been a greater factor overseas; in foreign territories (China and some other Asian countries not yet playing), “Jungle Cruise” totaled $27.6 million (with the same home play option in most places, but not all). Covid issues, including greater restrictions, also were a factor.

This weekend’s $77 million represents 53 percent of the same 2019 date. On a rolling four-week basis, it stands at 55 percent. That’s a slight improvement from last week’s 53 percent.

Two wide releases from specialized distributors placed in the top five. David Lowery’s “ The Green Knight ” (A24), a retelling of the medieval Sir Gawain legend, currently stands at #2 with nearly $6.8 million. Typical of many A24 wide-play films, it both had terrific reviews and bad audience response (C+ Cinemascore). It leads “Old” by under $100,000 for totals through Saturday, but the Universal film was $600,000 ahead yesterday, and still could end up at #2.

“ Stillwater ” (Focus) with Matt Damon managed $5.1 million, in its expected range. The drama about an American father trying to clear his daughter of French murder charge was helped by coverage of its Cannes premiere, as well as its lead actor’s presence. But mixed reviews and a still-challenged older audience muted its opening.

Both “Knight” and “Stillwater” are anticipated on PVOD within three weeks and their theatrical appearances should benefit both.

“Black Widow” held on to fourth place with a 45 percent fall, tied for second best among top 10 holdovers. It is closely bunched with “Knight” and “Old” just ahead, and likely leads them next weekend, although the opening of “Suicide Squad” will provide competition. “Black Widow” domestic now stands at $167 million, tops for the year.

Among limited specialized openings the best was  “Nine Days” (Sony Pictures Classics), a 2020 Sundance premiere (it won the screenwriting award) about unborn souls being interviewed for possible human existence. Its $18,455 in four theaters is normal under current circumstances.

1. Jungle Cruise  (Disney) NEW – Cinemascore: A-; Metacritic: 49; Est. budget: $200 million; also on Premium VOD via Disney+

$34,181,000 in 4,310 theaters; PTA (per theater average): $; Cumulative: $34,181,000

2. The Green Knight (A24) NEW – Cinemascore: C+; Metacritic: 84

$6,784,000 in 2,790 theaters; PTA: $2,432; Cumulative: $6,784,000

3. Old (Universal) Week 2; Last weekend #1

$6,700,000 (-60%) in 3,379 theaters (+24); PTA: $1,983; Cumulative: $30,600,000

4. Black Widow  (Disney) Week 4; Last weekend #3; also available on Premium VOD via Disney+

$6,426,000 (-45%) in 3,360 theaters (-590); PTA: $; Cumulative: $167,067,000

5. Stillwater  (Focus) NEW – Cinemascore: B-; Metacritic: 60; Est. budget: $20 million

$5,120,000 in 2,531 theaters; PTA: $3,396; Cumulative: $5,120,

6. Space Jam: A New Legend  (Warner Bros.) Week 3; Last weekend #4; also on HBO Max

$4,265,000 (-55%) in 3,501 theaters (-501); PTA: $1,218; Cumulative: $60,739,000

7. Snake Eyes  (Paramount) Week 2; Last weekend #2

$4,000,000 (-70%) in 3,540 theaters (+21); PTA: $1,130; Cumulative: $22,283,000

8. F9  (Universal) Week 6; Last weekend #5; also on Premium VOD

$2,650,000 (-45%) in 2,348 theaters (-502); PTA: $1,129; Cumulative: $168,545,000

9. Escape Room: Tournament of Champions  (Sony) Week 4; Last weekend #6

$2,200,000 (-37%) in 2,086 theaters (-729); PTA: $; Cumulative: $20,522,000

10. The Boss Baby: Family Business  (Universal) Week 5; Last weekend #7; also on Peacock

$1,300,000 (-55%) in 1,865 theaters (-908); PTA: $697; Cumulative: $53,400,000

Additional specialized/limited/independent releases

Nine Days  (Sony Pictures Classics) NEW – Metacritic: 71; Festivals include: Sundance 2020

$18,455 in 4 theaters; Cumulative: $4,614

Enemies of the State  (IFC) NEW – Metacritic: 71; Festivals include: Toronto 2020, Tribeca 2021

$5,000 in 13 theaters; PTA: $385

Joe Bell  (Roadside Attractions) Week 2

$163,200 in 1,053 theaters; Cumulative: $1,259,000

Without Getting Killed or Caught  (Slow Uvalde) Week 2

$14,430 in 7 theaters; Cumulative: $23,893

Ailey  (Neon) Week 2

$4,732 in 2 theaters; Cumulative: $2,366

Roadrunner: A Film About Anthony Bourdain  (Focus) Week 3

$330,000 in 537 theaters; Cumulative: $4,560,000

Pig  (Neon) Week 3

$232,000 in 336 theaters; Cumulative: $2,643,000

Summer of Soul  (Searchlight) – Week 5; also on Hulu

$52,000 in 85 theaters; Cumulative: $2,200,000

Queen Bees  (Gravitas Ventures) Week 8; also on Premium VOD

$13,325 in 47 theaters; Cumulative: $1,881,000

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Box Office: ‘Jungle Cruise’ Sailing to No. 1 With Estimated $32 Million Debut

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All aboard the “ Jungle Cruise ” — the Disney film, starring Emily Blunt and Dwayne Johnson, is riding to an estimated $32 million opening weekend at the domestic box office.

“Jungle Cruise,” based on the famed Disney theme park ride, took in $13.378 million from 4,310 theaters on Friday. Despite the delta variant possibly deterring some moviegoers, if the film meets industry predictions — which range from $28 million to $32 million — it will debut on par with the opening weekend of a “Space Jam: A New Legacy.”

The film, directed by Jaume Collet-Serra and also starring Jesse Plemons, Édgar Ramírez, Jack Whitehall and Paul Giamatti, is also available to rent on Disney Plus for $30. This release strategy has recently caused controversy, with “Black Widow” star Scarlett Johansson filing a breach of contract lawsuit against the company for allegedly costing her millions of dollars in profit participation.

Coming behind “Jungle Cruise” on the domestic charts is M. Night Shyamalan’s “Old,” which brought in $2.09 million on Friday from 3,379 theaters. The thriller, which topped the box office charts in its opening weekend, is expected to bring its haul to $30.5 million in its second week of release.

A24’s “The Green Knight” debuted at an impressive third place, making $2.79 million on Friday from 2,790 locations. The fantasy adaptation, starring Dev Patel, is poised to end its first weekend at the box office with a cume of $6.36 million. Meanwhile, “Black Widow” is holding its own at No. 4, earning $1.934 million on Friday and set to bring its total to $167 million.

Cannes darling “Stillwater,” directed by Tom McCarthy and starring Matt Damon, is expected to round out the top five, having raked in $1.84 million on Friday from 2,531 theaters. The drama, about a father visiting his daughter in prison overseas for a crime she didn’t commit, is poised to debut with a total of $4.5 million this weekend.

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‘Jungle Cruise’ sails atop box office despite COVID concerns

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Despite growing concerns over the Delta variant of the coronavirus, “ Jungle Cruise ” still drew moviegoers out to theaters during the film’s opening weekend to sail atop the North American box office.

The Disney film starring Dwayne Johnson and Emily Blunt exceeded expectations by pulling in more than $34.1 million over the weekend. The adventure movie was estimated to open with around $25 million to $30 million domestically, but it outpaced those numbers despite the surge in coronavirus cases.

Globally, “Jungle Cruise” brought in a total of $90 million, including $27.6 million at the international box office and more than $30 million from Disney+.

How the ‘Jungle Cruise’ movie helped bring change to Disneyland’s ride

Dwayne Johnson, Emily Blunt and the ‘Jungle Cruise’ filmmakers discuss honoring, and updating, the beloved Disneyland ride for a big-screen adventure.

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“Jungle Cruise” also earned five times more than “The Green Knight,” which came in at No. 2 with $6.78 million. The A24 film starring Dev Patel barely edged M. Night Shyamalan’s “Old,” which had $6.76 million after scoring the top spot last weekend.

“Black Widow” placed fourth after a week of turmoil between Disney and the film’s lead, Scarlett Johansson. Johansson sued the studio over the film’s streaming release, which she said breached her contract and deprived her of potential earnings.

Disney responded to the actor’s claim saying she received $20 million in compensation and that she benefited from the Disney+ revenue.

Matt Damon’s “Stillwater” opened at No. 5 with $5.1 million but faced criticism as well. The drama film was blasted by Amanda Knox, who spoke out last week about her name being associated with the new movie, saying any connection ripped off her story with her consent at the “expense of my reputation.”

Amanda Knox accuses Matt Damon, Tom McCarthy’s ‘Stillwater’ of profiting off her name

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Knox called out the film’s director, Tom McCarthy, in a series of tweets for using her name to promote the movie.

“Space Jam: A New Legacy” has progressively dropped to No. 6 after going No. 1 two weeks ago. “Snake Eyes” fell to seventh after the film starring Henry Golding as the warrior-in-training debuted at No. 2 last week.

“F9: The Fast Saga” placed eighth at the box office. The film pulled in $2.6 million and totaled more than $168 million domestically after six weeks.

“Escape Room: Tournament of Champions” and “The Boss Baby: Family Business” rounded out the top 10.

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Jungle Cruise Ending: What Happens And What It Means For The Potential New Disney Franchise

The following contains major spoilers for Disney's Jungle Cruise .

Disney's Jungle Cruise movie is here, following a year long delay that changed it from a 2020 release to one of 2021's new movies . And whether you watched it in theaters or on Disney+, the movie is a fun adventure that is absolutely worth seeing. Dwayne Johnson and Emily Blunt are incredible together and they make the movie so much fun. Jungle Cruise is clearly following in the footsteps of Pirates of the Caribbean , a film that was also based on a Disneyland theme park attraction. The Pirates movies became a massive franchise worth billions of dollars, and it seems quite clear based on the Jungle Cruise ending that there are hopes this movie could become a franchise as well.

So just what happens at the end of Jungle Cruise , and what does it mean to this potentially brand new franchise? And just what sort of inspiration could the theme parks be for future films? Let's take a look at how Jungle Cruise ends to see where it may be going in the future.

How Disney's Jungle Cruise Ends

The quest of Jungle Cruise is all about the discovery of a mystical tree that legend tells has magical healing powers. If this tree could be found it could potentially save millions of lives. That's the goal of Emily Blunt's Dr. Lily Houghton, but we learn earlier in the film that Dwayne Johnson 's Skipper Frank Wolff is also looking for the tree for his own reasons. He's been cursed and he needs the tree to break the curse so that he can finally die.

It turns out Frank was part of the same group of Conquistadors who went searching for the tree hundreds of years before, and he was cursed along with his leader Aguirre (Edgar Ramirez). Frank hopes that the tree will set him free of the curse, which forces him to stay near the Amazon River. After living several hundred years, Frank is ready to simply find his final rest, though Lily, who realizes she has feelings for Frank, is not as interested in this possibility.

In the end, the tree is discovered, but Lily is only able to obtain a single petal from it before the tree goes dormant. At the same time, Frank blows up his ship in order to use it as a dam and block the Amazon River inside the cave. By separating Aguirre and his soldiers from the water, they become frozen in time and trapped among the tree roots. Unfortunately, since Frank is under the same curse, the same fate befalls him.

Lily ends up using the one petal from the tree to attempt to rescue Frank and it works. However, instead of dying, by choice or luck, Frank lives on rather than dying.

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And luckily, a last minute ray of moonlight creates one final petal, which Lily and her brother take back to London to prove that their theory about the tree had been true. In the final moments we see that Frank is in London with Lily, proving that the curse is truly broken and the two drive off together, and Lily has even learned to pun.

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What The Ending Means For The Future Of The Jungle Cruise Franchise

The cast and crew of Jungle Cruise have been open about the fact that sequels are very much a possibility here. Having said that, the first movie ends having simply opened the door to them, without any specific set up in the film. Frank and Lily are together. Frank's curse is broken, meaning he can travel anywhere he wants to go, and so, if adventure calls them, they can answer.

A lot of comparisons were made between between Jungle Cruise and the Indiana Jones movies, as well as Romancing the Stone , which also was a movie that got a sequel. And those comparisons make a lot of sense after seeing the movie, especially in regards to how it ends. While those movies saw their main characters go off onto new adventures, those adventures were not directly connected to what came before. Each story was complete in itself, and each new entry simply told of the next big adventure the character(s) experienced.

That feels like what Jungle Cruise is doing here. This particular entry feels complete and it seems unlikely that there would be any particular need to return and continue this story. Instead, if we do see sequels, they will likely be entirely new adventures that Dwayne Johnson , Emily Blunt , and Jack Whitehall go on together, maybe searching for other mystical objects or traveling the world in search of something else. And the Jungle Cruise itself really does lend itself to that idea.

What Disneyland's Jungle Cruise Could Tell Us About Future Movies

The movie is called Jungle Cruise and because of the cross promotional opportunities between the movie and the theme park, we can be fairly certain that any sequels will use the same name, and will likely thus involve our heroes traveling down a river in the middle of a jungle. But that's just fine because the actual Jungle Cruise attraction includes many of the world's greatest rivers already.

The story of the Jungle Cruise attraction at Disneyland suggests that guests actually travel down several of the biggest rivers in the world, one right after the other. The Amazon, the setting for the new movie, is actually the last river you travel down, after already visiting the Irrawaddy and Mekong rivers, then traveling down the Nile and the Congo.

As such, it would make all the sense in the world for future Jungle Cruise movies to be set in one of these other places. All the next movie would need is a reason that Frank, Lily, and McGregor would want to travel there, and then they can head down the river once more, in search of some new mystery and with all new dangers trying to stop them.

There's even more inspiration from the ride to be found, both the Disneyland and Magic Kingdom versions of the Jungle Cruise just saw significant updates that creates a bit more of a cohesive story for part of the ride. It also introduces a host of new named characters within the lore of the attraction, who could be introduced as characters in future movies, as happened with Trader Sam, or they could simply be name-dropped as part of the backstory, as was done here with Dr. Albert Falls. In fact, Dr. Falls granddaughter is now part of the ride's story , so perhaps she could appear in a future film.

Whether or not there will actually be Jungle Cruise sequels will be determined by Disney from a combination of the film's success at the box office and on Disney+. But if it does happen there are many cruises left to take.

CinemaBlend’s resident theme park junkie and amateur Disney historian, Dirk began writing for CinemaBlend as a freelancer in 2015 before joining the site full-time in 2018. He has previously held positions as a Staff Writer and Games Editor, but has more recently transformed his true passion into his job as the head of the site's Theme Park section. He has previously done freelance work for various gaming and technology sites. Prior to starting his second career as a writer he worked for 12 years in sales for various companies within the consumer electronics industry. He has a degree in political science from the University of California, Davis.  Is an armchair Imagineer, Epcot Stan, Future Club 33 Member.

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Possible Future Presidential Candidate Attempts to Save American Box Office

In terms of both bankability and musculature, Dwayne Johnson has become inextricably linked in the public imagination with a certain gigantism. The 270-pound former WWE superstar has reigned as Hollywood’s highest-paid actor for two years and counting — commanding $23.5 million for an above-the-marquee turn in the upcoming Netflix thriller Red Notice, and earning a whopping $87.5 million between June 2019 and June 2020. Johnson’s last ten movies have combined to gross over $7.3 billion, with nine of those titles claiming the box office’s top spot over their respective opening weekends (the outlier: 2017’s Baywatch reboot), with his Jumanji: Welcome to the Jungle squashing Spider-Man as Sony’s top-grossing film ever.

And in addition to Johnson’s renown as an MTV Generation Award winner and holder of the Guinness World Records title for most selfies taken in a three-minute period, a recent poll indicated at least 46 percent of Americans would support the star running for president. “I don’t think our Founding Fathers EVER envisioned a six-four, bald, tattooed, half-Black, half-Samoan, tequila-drinking, pickup-driving, fanny pack wearing guy joining their club,” Johnson said in an Instagram post that has been liked over 5.7 million times.

In an era when franchise power and superhero IP — with their forever loops of reboots, interconnected universes, and prequelization — have eclipsed individual performers as Hollywood’s most lucrative box-office draw, Johnson is one of the last of a dying breed: a star who can “open” a movie on the basis of name recognition alone. But that bulletproof box-office reputation will be put to the test this weekend with Johnson’s latest star vehicle, Jungle Cruise . Set to arrive in more than 4,200 theaters Friday (while bowing simultaneously on Disney+ for a supplemental $30 rental on top of subscription fees), the $200 million family-friendly action-fantasy will demonstrate whether The Rock’s star power can withstand the general diminishment of theatrical moviegoing associated with COVID-19.

At a moment when the Delta variant is causing a spike in infection rates across the country and around 15 percent of North American cinemas remain shuttered, Jungle Cruise is widely expected to claim the No. 1 spot over the July 30–August 1 release corridor. But whether its grosses surpass Disney’s conservative projection of $25 million domestically (and $40 million overseas) or challenge the pandemic-era box-office record currently held by Black Widow will almost singularly come down to Johnson’s ability to put butts in seats.

“He’s not only one of the last action heroes, he’s one of the last stars with his name above the title of a film,” says Jeff Bock, senior box-office analyst at Exhibitor Relations. “If Dwayne Johnson is in it, his name deserves to be in front of the title because the title isn’t as important as the man himself being in the film. You’re talking about a guy who could be president down the line.”

An old-fashioned two-hander , Jungle Cruise showcases Johnson as a debt-ridden, dad-joke-spouting riverboat captain enjoined by Emily Blunt’s intrepid British scientist character for a journey into the deepest wilds of some unnamed Latin American jungle in pursuit of the mythical Tree of Life. Loosely plotted around one of Disneyland’s hoariest theme-park rides (which, even after recent updates , still teems with faux savagery and denatured exoticism), however, the film is being positioned to follow in the global blockbuster-juggernaut footsteps of Pirates of the Caribbean . Never mind that just about every other Disneyland theme-park attraction turned movie — 2003’s Haunted Mansion , The Country Bears , and Tomorrowland (2015) among them — flopped upon release.

“People are making movies based on board games, Tetris, Magic 8 Ball ,” Bock says. “Anything that has IP value right now is going to be considered for a Hollywood film. Jungle Cruise has been around for a long time at Disneyland and it’s not really based on anything. So this is a chance for Disney to continue on the path they started with Pirates of the Caribbean — which is to sell merch, right?”

Ascending to Hollywood’s A-list in 2011 after a decade of middling success with his debut appearance as hard-charging special agent Luke Hobbs in Fast Five , Johnson has groomed his superstardom through tireless social-media outreach. The actor-producer currently has more than 300 million followers across YouTube, Facebook, TikTok, Snapchat, and Twitter (with 257 million on Instagram alone), and in May won a Webby Award for using his platforms to “connect with people, amplify important issues, and provide inspiration, motivation, and exclusive content.” As part of a reported $1 million “ social-media fee ” that is baked into his deals nowadays, Johnson has been relentlessly promoting Jungle Cruise across his socials for weeks.

Some industry observers say that internet interface could be the film’s secret weapon. “More than just star power, Jungle Cruise ’s success could come down to his social-media presence,” says Paul Dergarabedian , senior media analyst at Comscore. “He’s extraordinarily activated. So I think it’s more of a stress test of, Does that social-media complement translate into a bigger box office? ”

But according to another influential analyst who spoke to Vulture on condition of anonymity, Johnson’s vast Instagram outreach will matter for little if Jungle Cruise fails to connect with viewers on a visceral level. “In terms of correlation between a movie’s success and social media, it’s hit or miss,” the person says. “People think there are slam dunks. And then we’ve seen movies where the ensemble cast was off the charts with their social-media activity. But if the movie didn’t resonate, it didn’t do that well. I don’t think social media alone will put [ Jungle Cruise ] over the top. It’s an old-fashioned-looking movie. The Rock and Emily Blunt doing cute repartee and they’re falling through roofs.”

More immediately, though, Jungle Cruise ’s opening-weekend ticket sales will be measured against such recent hits as Godzilla vs. Kong , A Quiet Place Part 2 , F9 , and Black Widow , each of which toppled successive pandemic box-office records over the past four months. Like Jungle Cruis e, Marvel Studios’ Black Widow arrived in multiplexes — where it took in a strong $158.8 million worldwide, despite the concerns of certain lawsuits — and on Disney+ for streaming rental on the same day. The upshot of that success: Disney made the rare disclosure that the superhero prequel had grossed $60 million via PVOD. Now the studio is under pressure to publicly announce streaming revenues for Jungle Cruise , whether the film is a hit or a miss.

“If they don’t, it sends the message that the numbers weren’t that good,” says Bock.

• jungle cruise
• dwayne johnson
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• emily blunt

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A Ride on the Lazy River

Jaume Collet-Serra does his best to inject some weird electricity into ‘Jungle Cruise,’ but even a B-movie virtuoso like him can get swallowed up in Disney’s waters

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There’s a wry bit of staging early on in Jungle Cruise diagramming the brutal, bottom-line realities of the food chain; bugs, fish, and birds of different sizes keep consuming one another until the last one gets picked off by a hawk. No matter how deadly something may be, there are bigger predators hovering somewhere up above.

For fans of the Spanish B-movie virtuoso Jaume Collet-Serra— and I am one of them —this little bit of CGI choreography could read as the coded admission of a genre specialist about the nature of his latest job-for-hire. “I like to work within certain limitations and find creative solutions to the problems I’ve been given,” Collet-Serra told me in 2016. The problem posed by taking on a $200 million family franchise movie is a unique one: how to keep from completely disappearing in the belly of the beast.

Typically, Collet-Serra’s thrillers effectively hinge on the logistics of emancipation or escape, whether it’s Liam Neeson stuck on an airplane in Non-Stop , Liam Neeson stuck on a train in The Commuter , Liam Neeson stuck at Madison Square Garden in Run All Night , or (best of all) Blake Lively stuck on a rock in the ocean, trying to evade a ravenous great white shark. The Shallows ’ Jaws- meets- Gravity riff—with a little bit of Frogger thrown in—was a surprise summer hit and deservedly so: It’s a primal scare machine infused with serene, aquamarine beauty. (When Lively encounters a school of glowing jellyfish just before the climax, it’s a close encounter with a sort of Spielbergian sublimity.) Even a nasty, tasteless little throwaway like 2009’s Orphan has its ingenious aspects, including a hidden-in-plain-sight twist executed in a way that would make M. Night Shyamalan himself grin.

Jungle Cruise is not ingenious, or nasty—no nuns take a claw hammer to the skull in this one—and there’s no universe in which something this ostentatiously expensive could reasonably be called a B-movie. Like Pirates of the Caribbean before it , it’s a corporate exercise in intellectual property renovation, and in order to work, it doesn’t require artistry; if anything, too much independent vision could be a liability. But even working in mercenary mode, a bit of Collet-Serra’s trademark wit bleeds through. An early sequence shows curmudgeonly riverboat helmer Frank (Dwayne Johnson, whose muscles do not look like they belong in the year 1916) scamming a gaggle of tourists with an array of clunky, prefab mechanical gimmicks he’s rigged along his usual route—a veteran’s tricks of the trade. Over and over again, Frank’s passengers willingly fork out wads of cash for the pleasure of being taken advantage of; without ever officially breaking the fourth wall, the scene simultaneously celebrates and lambasts the movie’s roots as an old-school theme park ride.

The original Walt Disney World Jungle Cruise, which wound its way through 1,900 feet of artificially murky water in Lake Buena Vista, Florida, was conceived of as an experiential cousin to the studio’s 1950s True-Life Adventures documentary series—exotic travelogues aimed at family audiences, featuring on-location footage narrated with pedagogical stiffness. The ride has gone through multiple upgrades over the years, but the theatrical release of Jungle Cruise dovetails with Disney’s PR-driven decision to refurbish the attraction on an intellectual level: the newly unveiled versions will excise “negative depictions of native people,” and curb the underlying British-imperialist pastiche.

The contradiction between an old-school adventure serial tone à la Raiders of the Lost Ark and cautiously progressive politics can be uneasy, and Jungle Cruise struggles when it downshifts into PC point-scoring mode. It’s considerably more successful when it leans into its retro textures and acknowledges the sources it’s so brazenly stealing from. In addition to the True-Life Adventures docs, designer Bill Evans based Jungle Cruise on John Huston’s classic romance The African Queen , and Johnson’s rumpled Humphrey Bogart cosplay as Frank is one of several nostalgic touches that show Collet-Serra and his screenwriting team goofing sweetly on movie history.

For instance: Having secured Frank’s services for a trip down the Amazon in search of the mythical Tree of Life—specifically in hopes of procuring an enchanted petal that could be used to cure all of the world’s sicknesses—indomitable British botanist Dr. Lily Houghton (Emily Blunt) brings aboard a hand-cranked camera that she uses to capture twitchy, pixelated black-and-white footage of the skipper. These interludes must be the first time (notwithstanding any wrestling promos) that the Rock has ever been shot in black and white, and the effect is unexpected and charming. Meanwhile, as an evil German aristocrat trying to outpace Lily to the Tree (and use its powers to swing World War I to the Fatherland), Jesse Plemons seems to be impersonating Werner Herzog circa the cursed, jungle-set making of the documentary Burden of Dreams —a suspicion heightened by the equally maligned presence of a supernaturally reanimated 16th century conquistador named Aguirre (Edgar Ramírez), whose wrath poses its own threat to our heroes.

That these references are likely to go over the heads of the film’s intended audience of children (and most of their parental guardians) is a strictly no-harm, no-foul proposition; where a movie like Space Jam: A New Legacy is fully dependent on its pop-cultural allusions, Jungle Cruise is aiming for the kind of broad, crowd-pleasing tone that Stephen Sommers achieved in 1999’s The Mummy (the franchise that turned Johnson into a movie star in the first place). What made The Mummy enjoyable was a dopey charm distinct from actual stupidity, and which had a lot to do with the performances of Brendan Fraser and Rachel Weisz. Johnson and Blunt have a similar dynamic: her graceful slapstick physicality bounces humorously off his granite-like presence, as do her deadpan line readings. The back-and-forth banter isn’t at the level of The African Queen but the rhythm they work up isn’t too bad, and it suits Collet-Serra’s on-the-fly sensibility—his gift for keeping even the most clichéd material moving fluidly from left-to-right.

Where Jungle Cruise slows down—and gets stuck—is in its elaborate mythology (which also scuttled the Pirates series) and those aforementioned attempts at political correctness, the most widely publicized of which involves the character of Lily’s brother McGregor (Jack Whitehall). In the wake of Avengers: Endgame offering up a blink-or-miss-it bit involving a gay member of a support group and Josh Gad taking credit for supposedly queering his goofy sidekick role in Beauty and the Beast —neither exactly a cause for celebration— Jungle Cruise is being proudly touted by its studio as a third-time’s-the-charm breakthrough. During a bit of downtime in between action scenes, McGregor explains to Frank that he puts up with Lily’s globe-trotting antics because his sister stood by him at a moment of familial ostracization because his romantic interests “lay elsewhere.” “To elsewhere,” Frank toasts, all but winking at the screen, a live-and-let-live benediction from the People’s Champ.

All of which is nice enough, but there’s a crucial difference between having a major character just casually be gay and hinging his development on closeted frustration. The early 20th century setting becomes justification for a deceptively double-edged kind of representation—an exchange that scans more like a lesson in tolerance than genuine narrative or emotional development. (Jungle Cruise gets to have its gay-panicky innuendo “fun”moments later anyway, when McGregor asks Frank about sticking something into him.) A bolder movie might have had Johnson meet him face to face, or at least given Whitehall a more desirable comedy-duo partner than an animated jaguar. But then it would be more difficult to neatly excise the moment in order to appease conservative foreign censors. (Compare the calculated coyness of the McGregor subplot with the centering of a queer teenage girl in Netflix’s recent and acclaimed animated comedy The Mitchells vs. the Machines .)

There’s a similar self-consciousness in the way Jungle Cruise revises the retrograde (and Disney-driven) trope of indigenous cannibals, turning the mid-film appearance of an Amazon tribe into another joke about expectations and fakery—one that lands with a thud. By the time Collet-Serra cuts to an upper gallery of women applauding Lily’s stinging, public rebuke of boys’ club sexism, the pandering has become as much of a lazy cliché as the the magic totems and sunken civilizations stitching the story together—line items getting ticked off methodically in the service of broad, cross-demographic appeal. The nicest thing that you can say about Jungle Cruise is that it’s well-made, with florid colors, intricate production design, and a moody musical score by James Newton Howard that sounds weirdly like Metallica’s “Nothing Else Matters.” But it’s a fine line between craftsmanship and engineering, and between being an artist and following a blueprint. At one point, Lily looks over an ancient river map and concludes that the cartographer must have been a “minor genius,” which could be another inside joke about authorship. Hopefully, as far as Collet-Serra and his minor moviemaking genius are concerned, he follows his own path out of the theme park toward somewhere grittier.

Adam Nayman is a film critic, teacher, and author based in Toronto; his book The Coen Brothers: This Book Really Ties the Films Together is available now from Abrams.

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Jungle Cruise Won the Domestic Box Office With $34.2 Million in Theaters, $30 Million on Disney+

We're going to need a bigger boat..

Disney's Jungle Cruise sailed its way to a domestic box office win with $34.2 million earned in its opening weekend. The film earned another $30 million through Disney+ Premier Access and $27.6 million in the international box office for a global total of $90 million.

Disney shared the news in a press release, also saying that it remains focused on "offering consumer choice during these unprecedented times."

“Jungle Cruise is the perfect summer adventure film, bringing a beloved theme park attraction to both the big screen and living rooms in a way that only Disney can," A Disney spokesperson said. "We remain focused on offering consumer choice during these unprecedented times, and it is clear that fans and families value the ability to make decisions on how they prefer to enjoy Disney’s best-in-class storytelling.”

In our Jungle Cruise review, we said that it is "a rollicking adventure full of humor and heart anchored by Dwayne Johnson and Emily Blunt's winning heroes."

While Jungle Cruise didn't quite surpass Black Widow opening weekend that saw the MCU film earning $80 million at the domestic box office and $60 million on Disney+ Premier Access, it did surpass Cruella's opening of $21.5 million domestically.

Variety notes that Jungle Cruise cost $200 million to produce, meaning that it would be considered a major disappointment if times were different, as a film "with that price tag would typically have to generate at least $500 million globally to break even."

Jungle Cruise, much like Black Widow and Cruella, released day-and-date in theaters and on Disney+. This has led to a major issue between Disney and Scarlett Johansson, as the Black Widow star has sued the company over a contract breach after the film released day-and-date on Disney+ after she was reportedly assured it would release exclusively in theaters.

Have a tip for us? Want to discuss a possible story? Please send an email to [email protected] .

Adam Bankhurst is a news writer for IGN. You can follow him on Twitter @AdamBankhurst and on Twitch.

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19 Biggest Box Office Bombs of All Time, Ranked

Even with the help of Hollywood heavy hitters, thrilling screenplays, and stunning visuals, some films are simply destined to fail at the box office.

Sometimes, even with the help of A-list Hollywood stars, thrilling screenplays, and stunning visuals, some movies are simply destined to fail at the box office . No amount of star power behind such pictures can save these projects from themselves, with production woes, budget issues, and uninspired storytelling often being a major leading factor to their ultimate demise with moviegoers. Big-screen blunders are nothing new in Tinseltown, but there are a select few with notorious reputations that precede them.

Few can forget the promotional mess that was the box-office bust John Carter , a creative endeavor that would go down in history as having one of cinema’s worst receptions thus far. Just like Brad Pitt’s animated adventure Sinbad: Legend of the Seven Seas couldn’t seem to attract audiences, and its failure almost led to DreamWorks going bankrupt. From Disney adaptations to poorly conceived action flicks, these are some of the biggest box office bombs of all time, and just how much money they lost when adjusted for inflation. Some of these figures aren't the most precise, as advertising, home media sales, and the refusal of studios to announce exactly how much they lost are all contributing factors.

Updated on September 18th, 2023 by Jack Deegan: This article has been updated with even more box office flops, including one high-profile movie that was released in theaters earlier this year.

19 Dark Phoenix

$79–133 million.

As the last mainline X-Men movie produced by 20th Century Fox, Dark Phoenix promised to bring the epic Dark Phoenix Saga from Marvel Comics to the silver screen for the second time. Everything was working against this film from its inception. The previous film, X-Men: Apocalypse left a bad taste in the audience's mouth. Then, Disney would shockingly purchase all of Fox, cutting off this universe with viewers knowing there wouldn't be anything after this. Finally, the film itself opened to poor reviews landing a 21% on Rotten Tomatoes upon release, which wasn't exactly motivating people to go and see it. It's by far one of the weakest X-Men movies and retreads a story they've already done, albeit in somehow an even more bland and uninspiring way.

The film centers around Jean Grey after a rescue mission to space imbues her with mystical cosmic energy known as the "Phoenix Force". This leads Jean to start spiraling, turning her against the X-Men she once called her teammates. More powerful and unstable than ever, the X-Men are forced to embark on a more personal battle than ever to save Jean from herself. Despite the iconic comic story it's pulling from, the movie doesn't do anything too interesting with it and squanders the premise for the second time in the franchise's history.

18 King Arthur: Legend of the Sword

$112–153 million.

Released in 2017, King Arthur: Legend of the Sword disappeared from pop culture as quickly as it arrived. The Guy Ritchie-directed film takes heavy inspiration from Arthurian Legends with Charlie Hunnam starring in the titular role. After Arthur's father is brutally murdered, his Uncle Vortigern takes control of the throne and seizes power. Years go by with Arthur growing up on the streets not knowing his true role in the role hierarchy, until one day he miraculously pulls the legendary sword Excalibur from the stone, becoming the legendary fighter and leader he was always meant to be.

As for what went wrong that led the film to become one of Warner Bros' biggest bombs, there's a multitude of reasons for why it underperformed. For one, the film focuses more on setting up a cinematic universe than telling a cohesive and interesting story. There were plans for six films at one point, and the studio was hoping this would launch an Arthurian cinematic universe. The biggest reason as to why the film didn't work was the studio interference that got in the way. A few large changes to the film's script changed the direction of the story, and the biggest came with the character of Guinevere. While she's one of the most important women in Arthurian legends, for some reason midway through shooting her character was renamed and changed inexplicably. Everything came together to the film's detriment, making it a forgettable experience that cost the studio hundreds of millions.

17 R.I.P.D.

$116 million.

If you ask anybody to name a box office bomb that starred Ryan Reynolds, they would probably tell you about Green Lantern , and they will not be wrong. However, the 2011 movie was not the only disaster the actor starred in before redeeming himself with Deadpool . In 2013, R.I.P.D was released and performed very poorly despite its unique plot.

The movie tells the story of a police officer who dies and ends up as... a police officer of the afterlife. Named the Rest in Peace Department, their job is to capture the souls who have escaped from judgment after death. The sci-fi movie has quite a few twists and turns but failed to win the hearts of the audience. It made only $78.3 million against its $154 million budget. It opened at number 6 in its opening weekend and was beaten out by newly released films The Conjuring and Red 2 .

16 Moonfall

$138 million.

It's fitting that 2022's Moonfall is a disaster movie, given that's how you could also describe its box office run. Opening night, the film only managed to bring in $700 thousand , and with a budget of $144 million, that wasn't exactly the response the studio was hoping for. Believe it or not, the film centers around the idea of the Moon falling towards Earth. NASA scientist Jo Fowler (Halle Berry) teams up with a man from her past (Patrick Wilson) and a conspiracy theorist (John Bradley) in an attempt to discover how the Moon was mysteriously knocked out of orbit, and with the impossible task of stopping the world's destruction.

Moonfall is one of the more curious additions to this list because it's harder to pinpoint exactly why it failed. The most obvious answer would be the bad reviews that came out of the film. Word of mouth travels fast, and with a 35% on Rotten Tomatoes, it's a hard sell for audiences to buy into. After the COVID-19 pandemic, theatergoers are more particular about what movies they see. Moonfall already didn't have a strong marketing campaign, so it's likely people didn't know about it or didn't want to waste their time with a bad movie.

15 Tomorrowland

$103-171 million.

Despite having both the power of Disney and Hollywood A-lister George Clooney backing up the sci-fi spectacular, 2015's Tomorrowland failed to captivate audiences with its wondrous tale of a brilliant yet cynical inventor who teams up with a savvy, aspiring scientist to travel to the titular alternate dimension.

Clooney shares the screen alongside fellow stars Hugh Laurie, Britt Robertson, and Kathryn Hahn in the visually stunning film, which is based on the futuristic Magic Kingdom-themed land at the iconic amusement parks. While the thrilling aesthetics, action sequences, and compelling performances earned praise, Tomorrowland 's choppy screenplay and failure to properly explore the marvelous world left audiences wanting more.

Related: Highest-Grossing Movies of 2022, Ranked

$98-171 million

Touting a star-studded cast led by Hugh Jackman , Rooney Mara, and Amanda Seyfried, the 2015 fantasy film Pan serves as a unique spin on the beloved J. M. Barrie novel that provides audiences with an origin story for both The Boy Who Wouldn't Grow Up and a fictionalized Blackbeard.

Criticism and controversy plagued both the production and release of the picture, with many outraged over the decision to cast a white actress (Mara) as the Native American Tiger Lily. A petition was even created urging Warner Bros. studios to stop casting Caucasian actors in roles that were meant for people of color; Mara herself would later express her regret in taking on the part in the box-office bomb. The film is widely estimated to have lost Warner Bros. more than $100 million.

13 Mars Needs Moms

$120-173 million.

Following the heroic actions of a nine-year-old little boy to rescue his kidnapped mother from a Martian society, the 2011 animated sci-fi flick Mars Needs Moms should have been a slam dunk with moviegoers but ended up a dud of epic proportions. Director Robert Zemeckis and Disney had partnered up to create ImageMovers Digital Studio back in 2007, with Mars Needs Moms being the second and final CGI performance-captured film released under the company.

The underwhelming performance of both A Christmas Carol and the failure of Mars Needs Moms ultimately led to the studio being shut down. When analyzing why the Disney production did so poorly, The New York Times mused, "Critics and audiences alike, with audiences voicing their opinions on Twitter, blogs and other social media, complained that the Zemeckis technique can result in character facial expressions that look unnatural."

12 A Wrinkle in Time

$152 million.

Disney, as successful as they are as a production company, sometimes fails to grab the attention of its audience with their movies, which was the case with A Wrinkle in Time , which was released in 2018. Based on the 1962 novel of the same name by Madeleine L'Engle, the movie tells us the story of a young girl who struggles with depression and bullying. She sets off on a quest to search for her missing astrophysicist father with the help of three astral travelers.

The plot of the movie was praised by the critics, but it failed to live up to the promises everywhere else. This resulted in the audience being so disappointed with the movie that it completely tanked at the box office. With marketing and production combined, the movie had a budget of about $150 million, while it only managed to make $71 million worldwide, making it a high-profile box office bomb from Disney.

$159 million

Mulan in 2020 has a caveat to it. The film was scheduled to be released in theaters but was pulled at the last minute due to theaters being shut for the COVID-19 pandemic. The film was given a brief theatrical run in some markets where theaters were opened.

It also premiered on Disney+ Premier Access in other parts of the country where theaters were closed. As a result, the movie, which had a budget of $200 million, only made about $70 million worldwide and was deemed a flop.

10 Turning Red

$167 million.

It's rare to see a Pixar film considered a box office bomb, and unfortunately Turning Red is a rare case to make this list. The film follows Mei, a thirteen-year-old girl as she's coming of age and into her own. While Mei wants to embrace her interests, her Mother doesn't support this and would prefer her to stay the dutiful daughter she knows and loves. Oh, and while she's dealing with the changes of adolescence she also has to navigate life with an ancient family curse that turns her into a giant red panda anytime she gets excited.

The reason as to why Turning Red lost Disney and Pixar so much money comes down to circumstance. It was in the wrong place at the wrong time as the COVID-19 pandemic was starting to ramp up again. Disney made the decision to release the film in limited theaters for a short time and on streaming, for no extra charge, simultaneously. Because of this, the film only made $20 million from theaters which isn't ideal for its $175 million budget. Turning Red is one of the only films that bombed only because of the way it was handled, as it still remains an enjoyable movie and a fun take on the coming-of-age experience.

Related: MCU Movies That Made the Least at the Box Office

9 Battleship

$177 million.

Based on the popular board game of the same name, the 2012 sci-fi action extravaganza Battleship had all the key elements to be a blockbuster hit: a superb ensemble cast, thrilling action sequences, and a gripping showdown between man and an alien enemy.

Sadly, the adaptation couldn't seem to make movie magic and instead became a notorious box office bomb, losing both Hasbro and Universal hundreds of millions of dollars. While the Peter Berg picture earned praise for its electrifying visuals, many critics felt the filmmaker chose style over substance, and the screenplay, dialogue, and lack of character development were critiqued.

8 Sinbad: Legend of the Seven Seas

$184 million.

Even sensational leading man Brad Pitt couldn't save the 2003 animated adventure Sinbad: Legend of the Seven Seas , an adaptation of the Persian fictional tale that follows the eponymous hero as he travels the seas in search of a highly-coveted ancient artifact known as the Book of Peace.

Despite audiences awarding the flick a solid A- CinemaScore rating, it still failed to attract a widespread audience at the box office and faced steep competition with fellow releases like Finding Nemo, Hulk, and Pirates of the Caribbean: The Curse of the Black Pearl. The crushing financial loss of the animated film almost caused DreamWorks to go bankrupt, with then-CEO Jeffrey Katzenberg commenting, "I think the idea of a traditional story being told using traditional animation is likely a thing of the past."

7 Cutthroat Island

$187 million.

Renny Harlin directed the 1995 swashbuckler adventure Cutthroat Island , featuring a cast led by Geena Davis, Matthew Modine, and Frank Langella. The film follows a spunky female pirate in search of a mysterious, hidden island home to a lucrative hidden treasure. The production of the picture was infamously turbulent, with recasts, rewrites, and shooting delays all contributing to a bloated budget that doomed the fate of the flick.

Its production company Carolco Pictures went on to file for Chapter 11 bankruptcy a month before its release and went on to become one of the most notorious box office bombs in cinema history. Cutthroat Island 's failure caused pirate-themed films to lose their bankability until the success of 2003's Pirates of the Caribbean: The Curse of the Black Pearl.

6 Mortal Engines

$189 million.

Based on the Philip Reeve novel of the same name, the 2018 steampunk film Mortal Engines takes place a thousand years in the future, where cities have become motorized on wheels, and centers on a brave young woman who must fight to stop London from destroying everything in its path. The adaptation was unsuccessful in connecting with audiences and critics, with many finding it a soulless and uninspired venture that lacked an effective screenplay and direction.

The movie was released during a crowded holiday season and was lost in the crowd of films that included Aquaman , Bumblebee , Mary Poppins Returns , and Spider-Man: Into the Spider-Verse . Mortal Engines was a massive bust at the box office, despite author Reeve himself being satisfied with the picture; he praised the film and said, "Christian Rivers has done a fantastic job - a huge, visually awesome action movie with perfect pace and a genuine emotional core ... there are many changes to the characters, world, and story, but it's still fundamentally the same thing."

5 Strange World

$197 million.

The strangest thing about 2022's Strange World isn't anything in the movie and is more so how Disney mishandled it. As their only original animated movie of the year, it would rely a lot on the marketing to sell the audience why they should see it. In the case of Strange World , it seemed as if Disney forgot the film existed. The marketing campaign was poor, to say the least, with the majority of people not even knowing the film existed or what it was upon release. The lack of marketing effectively buried the film and never gave it a fair chance in the box office.

Inspired by pulp action films of the 20th century, Strange World follows the Clades, a family full of legendary explorers. Searcher Clade's father, Jaeger, went missing 25 years ago on an expedition into uncharted territories. In the years since, Searcher pursued his true passion, farming, and left the explorer lifestyle behind him. When Searcher is forced to enter uncharted territories and finds his long-lost father, a generational dispute between Jaeger, Searcher, and his son Ethan could cost the family if they aren't able to work things out. While the film bombed at the box office, it found a second life upon its Disney+ release when it became the #1 most-watched movie on the service.

Related: Have Audiences Stopped Caring About Original Movies: An Analysis of Box Office Fatigue

4 The 13th Warrior

$112-210 million.

The charismatic Antonio Banderas portrays famous court poet and traveler Ahmad ibn Fadlan in the 1999 action historical fiction drama The 13th Warrior , loosely based on the Michael Crichton novel Eaters of the Dead . The film chronicles his relationship with a group of Vikings whom he joins forces with to fight a frightening foe.

The initial budget of the picture started at $85 million but soared to a reported $160 million, causing it to face a large uphill battle to recoup its finances at the box office. The lackluster performance of The 13th Warrior caused fellow co-star Omar Sharif to temporarily retire from acting, with the lauded Egyptian movie star not taking on a new role until 2003's Monsieur Ibrahim.

3 The Flash

$200 million.

The Flash is the latest movie to be added to this list, and while the final box office is not written, it is clear the movie is a box office bomb. The question isn't if it will be a loss but exactly how much it will lose. The movie's budget was reportedly between $200 to $220 million before marketing costs. As of this writing, the film has grossed $102 million domestically and $248 million worldwide in three weeks of release. It could wind up being the biggest box office bomb in Warner Bros. history.

The film has not even been out for a full month, and it is already one of the biggest box office bombs of all time. The movie is estimated to lose Warner Bros. Discovery $200 million dollars. This is made all the more disappointing as Warner Bros. shelved Batgirl as a tax write-off but kept The Flash as they thought it would be a big box office earner. Now everyone will wonder if they would have lost less money by releasing Batgirl (which had an estimated $90 million budget) and wrote The Flash off.

2 The Lone Ranger

$186-221 million.

Troubled with budget issues and production woes from the get-go, 2013's western action flick The Lone Ranger faced its fair share of hurdles and headaches that all contributed to it notoriously becoming one of the biggest box-office duds in cinema history. All the turmoil and disputes regarding finances almost led to the adaptation being outright canceled, and the production setbacks led to an inflated budget of an estimated $225-250 million.

After severely under-performing during its opening weekend, the film's leading stars, director Gore Verbinski and producer Jerry Bruckheimer accused critics of ignoring the film's qualities and focusing on the bloated budget instead of the flick itself and was a colossal fail for Walt Disney Pictures.

1 John Carter

$133-236 million.

With an estimated budget of nearly $350 million, Disney's 2012 sci-fi action flick John Carter had to seriously deliver at the box office to make up for the fact it was one of the most expensive films ever made. Sadly, the thrilling intergalactic adventures of the titular army captain just couldn't fill the seats needed to recoup its astronomical total costs; its profound failure is widely considered to be the result of the terrible promotion, having been declared "one of the worst marketing campaigns in movie history."

The fallout of the big-screen extravaganza's massive failure led to Walt Disney Studios head Rich Ross resigning and the outright cancelation of two future installments. Despite a seemingly tarnished legacy, John Carter has been retrospectively assessed and deemed far better than its reputation reflects.

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Jungle Cruise Budget, Screens And Day Wise Box Office Collection India, Overseas, WorldWide

Jungle cruise (movie, 2021) budget, screens, hit or flop, records and box office collection india, overseas and worldwide:, jungle cruise day wise box office collection india nett: .

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Jungle Cruise (English)

Release date: 24 september, 2021, jungle cruise (english) box office.

All amounts in their respective local currencies

INDIA BOX OFFICE COLLECTION

Day wise box office collection, week wise box office collection, weekend box office collection, territory wise box office collection, no data to display., worldwide gross, box office update & special features.

Box Office: Good Monday for theatres as Crew and Godzilla x Kong: The New Empire bring in over Rs. 10 crores

Shaitaan Box Office: Ajay Devgn starrer becomes 2nd film of 2024 to gross over Rs. 200 crores worldwide

Crew Box Office Estimate Day 4: Shows solid Monday collections at Rs. 4.65 crores; bolsters box office journey to hit status

Crew Box Office: Kareena Kapoor, Tabu, Kriti Sanon starrer has a fantastic 1st weekend, needs to keep the momentum alive

Crew Box Office Estimate Day 3: Has a Rs. 32.50 crore splash in its debut weekend; aims for the box office century

Crew Box Office: Film stays quite good on Saturday too, maintains its momentum

Frequently asked questions.

Q: Is Jungle Cruise (English) Flop or Hit? A: No Data Found..

Q: What is the Day 1 Box Office Collection of Jungle Cruise (English)? A: Jungle Cruise (English) collected ₹0.66 cr. on Day 1 at the India box office.

Q: What were the opening weekend collections of Jungle Cruise (English)? A: Jungle Cruise (English) collected ₹2.81 cr. in its opening weekend at the India box office.

Q: What were the opening week collections of Jungle Cruise (English)? A: Jungle Cruise (English) collected ₹4.21 cr. in its opening weekend at the India box office.

Q: What is the overseas box office collection of Jungle Cruise (English)? A: No Data Found..

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Danube river cruise ship crashed after it was 'suddenly no longer able to maneuver,' 17 passengers injured

• A cruise ship crashed into a concrete wall along the Danube river in Austria on Friday.
• A police statement said the ship "was suddenly no longer able to maneuver."
• Eleven people were treated at the hospital and another six suffered less serious injuries.

A Bulgarian cruise ship carrying over 140 passengers crashed into a concrete wall along the Danube river in Austria.

The incident occurred late on Friday in the northern Austrian town of Aschach an der Donau, local police said Saturday.

Eleven people were injured and taken to hospital as a result of the crash. Six others suffered less serious injuries that did not require hospital treatment.

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The ship had set off from Passau, a German city on the Austrian border. A police statement said that as the ship was leaving a lock chamber further down the river, "the ship was suddenly no longer able to maneuver," and its right bow and left aft crashed into the lock walls.

The second-in-command of the ship, who had been at the helm during the crash, "pressed the emergency switch, whereupon the electronics started up again." He was then able to steer the ship out of the lock.

The ship was later docked at the quay wall and emergency services were notified. The ship was able to continue its journey toward Linz, Austria.

Earlier this week, a container ship crashed into the Francis Scott Key Bridge in Baltimore, collapsing a section of the 1.6-mile-long structure. The bodies of two construction workers were found after the collision, and four more workers are missing and presumed dead.

Citing the container ship's recovered data recorder, officials said the power went out on the Dali for just one minute and three seconds as it approached the bridge, Sky News reported, but that was enough for the collision to become unavoidable.

In 2019, a cruise boat hit and sank a smaller boat near Budapest, Hungary, killing 25 South Korean tourists and two crew members. The captain was sentenced to five years in prison for his role in the accident.

The Danube is the second-largest river in Europe, flowing from the Black Forest in Germany south into the Black Sea near Romania and Ukraine.

Correction: April 1, 2024 — An earlier version of this story misstated the year of the Danube ship crash in Hungary. It was in 2019, not 2023.

Watch: One of Europe's deadliest shipwrecks leaves hundreds missing

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