“Nobody 2” picked up $1.3 million in preview screenings on Thursday as the action sequel heads into an opening weekend that will see it face off against “Weapons.”
The film, which brings back Bob Odenkirk as a typical suburbanite who racks up a serious body count when not driving a minivan, is projected to earn between $10 million to $12 million from 3,200 North American theaters. That would best the $6.8 million opening of the first “Nobody,” but it’s worth remembering that the 2021 original opened when cinemas were just coming back after being shut down during COVID. “Nobody” went on to earn $27 million domestically and $57 million worldwide while becoming a popular title on premium video-on-demand platforms.
The follow-up finds Odenkirk’s character, Hutch Mansell, and his wife and kids on vacation at a tacky resort town, hoping to spend some quality time together. His side hustle as a mercenary has put a strain on his marriage and left him missing family events. Sharon Stone co-stars as a mob boss with a few screws loose — her gang of bootleggers toggles with Hutch, threatening to ruin everyone’s R&R. “Nobody 2” was modestly budgeted at $25 million. The first film carried a $16 million price tag. Universal produced and distributed the sequel, which will expand to 3,200 North American theaters over the weekend.
“Nobody 2” will likely be no match for “Weapons,” a twisty horror film from Warner Bros. and New Line that opened to a smashing $43.5 million last weekend. It’s continued to be a box office winner throughout the week and should top charts with $20 million to $22 million in its sophomore outing.
This weekend’s other new release, Spike Lee’s crime thriller “Highest 2 Lowest,” will debut in roughly 300 screens. It’s a remake of Akira Kurosawa’s 1963 classic “High and Low.” Denzel Washington stars as a music mogul who gets tangled up in a ransom plot. Apple backed the film which A24 is releasing in theaters before it debuts on Apple TV+ on Sept. 5. Critics have largely embraced the picture, with Variety’s Peter Debruge writing that the film’s “sensational third act more than justifies what might have seemed an unnecessary update.”
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