“Solo” came in with a Millennium Falcon’s worth of baggage following the mid-production firing of directors Phil Lord and Christopher Miller, who were replaced by Ron Howard. With the rejiggered production, the budget soared well past $250 million.
But the cause of the spinoff’s disappointing performance may have had as much to do with “Star Wars” fatigue (“The Last Jedi” exited theaters just last month) and the stiffer competition of a summer holiday weekend. While no major releases dared to open against “Solo,” Fox’s “Deadpool 2” moved its release date up a week ahead of “Solo.”
The gambit may have hurt both releases. After debuting with $125 million last weekend, the R-rated “Deadpool 2” dropped by 66 percent to second place, with $42.7 million and an estimated $53.5 million four-day haul.
“Solo” notched the biggest Memorial Day weekend opening in several years, but it also came on the heels of a pair of a summer-size blockbusters — “Deadpool 2” and Disney’s own “Avengers Infinity War” — making for an unusually crowded May. “Infinity War” added $16.5 million in its fifth weekend to bring its domestic total to $621.7 million and its global sales to $1.9 billion — both among the highest of all time.
“It is a business that is built on momentum but also one where people probably are only able to get to theaters a certain number of weeks in a row,” Hollis said.
But there were also questions beyond the effect the calendar had on “Solo.” While reviews were generally positive (71 percent “fresh” on Rotten Tomatoes), there was little about “Solo” that made the movie a must-see event.
Fans were skeptical of Ehrenreich and uncertain about the dismissal of Lord and Miller (the popular filmmaking duo behind “21 Jump Street” and “The Lego Movie“). Unlike any “Star Wars” release before, “Solo” was deemed — gasp — skippable.
While the original “Star Wars” films helped define the summer moviegoing experience, Disney released its previous three “Star Wars” films in December. What most hurt “Solo” was the “fatigue factor” of a May “Star Wars” film following a December one, said Paul Dergarabedian, a senior media analyst for comScore.
“It’s the compressed time frame between the two ‘Star Wars’ films and the highly competitive nature of this marketplace. It is summer, after all,” Dergarabedian said. “The good news is that the next film isn’t until December 2019. That’s plenty of breathing space. I think part of the allure of the ‘Star Wars’ brand in the past has been the long wait.”
That time might also be valuable for Lucasfilm and Disney to find a way to counter the diminishing returns of its multibillion-dollar franchise. To help propel “Solo” internationally, Disney took the film to Cannes, flooding the French film festival’s red carpet with storm troopers.
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to comScore. As available, the latest international numbers for Friday through Sunday are also included (final domestic figures will be released Tuesday):
- “Solo: A Star Wars Story,” $83.3 million ($65 million international)
- “Deadpool 2,” $42.7 million ($57 million international)
- “Avengers: Infinity War,” $16.5 million ($32.5 million international)
- “Book Club,” $9.5 million
- “Life of the Party,” $5.1 million
- “Breaking In,” $4.1 million
- “Show Dogs,” $3.1 million
- “Overboard,” $3 million ($2.3 million international)
- “A Quiet Place,” $2.2 million ($4.7 million international)
- “RBG,” $1.2 million