It seems like each blockbuster after Wonder Woman at the start of June 2017 just kept on underperforming, Spider-Man: Homecoming proved to be the one that reversed such a trend, grossing a massive $117 million this weekend. That’s the third biggest opening weekend of 2017 (two of the three biggest opening weekends of 2017 now belong to Marvel Cinematic Universe movies), the second biggest opening weekend ever for a Sony/Columbia movie and the second biggest opening weekend ever for a Spider-Man movie without adjusting for inflation. It’s also already the fifth biggest movie Maria Tomei has ever appeared in.

Why did Homecoming soar where fellow summer 2017 follow-ups Alien: Covenant, The Mummy and Transformers: The Last Knight stumbled? Simple; it offered plenty of new and different elements to differentiate it from past Spidey movies. The presence of an explicitly younger Spider-Man, the inclusion of Marvel Cinematic Universe elements and Michael Keaton as The Vulture all helped to make sure Homecoming stood out from past Spider-Man films. All of those new details made sure Spidey’s new movie was a big o’l hit that both the summer 2017 box office and Sony/Columbia as a company desperately needed. From here on out, Spider-Man: Homecoming should at least gross $310 million and will likely make a run at outgrossing Spider-Man 3’s $336 million domestic cume if it holds decently in the weeks ahead.

In the face of Spider-Man, Despicable Me 3 tumbled from the top spot at the box office, though it actually held better than Minions in its second weekend which was facing another MCU title that wasn’t as big as Spidey, Ant-Man. It’s 53% drop was also better than the 55% second-weekend drop of Cars 3 from last month. Grossing another $33.9 million, the newest Gru movie has grossed $149.1 million in ten days, putting it on track for a final domestic cume in the neighborhood of $235-245 million. Holding nicely in its second frame was Baby Driver, which went down 38% to gross another $12.7 million, giving it a 12-day cume of $56.8 million, putting on track for a domestic cume of at least $85 million.

Well, it’s official, nothing can stop Wonder Woman, which, despite the presence of a brand new superhero movie in the marketplace, went down a tiny 35% to gross another $10.1 million. After over a month of release, this one’s grossed $368.7 million and should gross at least $410 million domestically, a higher domestic cume than all but two of the Marvel Cinematic Universe movies.
For the second weekend in a row, Transformers: The Last Knight plummeted another 60% from weekend-to-weekend. This time around, the newest Michael Bay movie went down 63% to gross $6.3 million for a current domestic cume of $118 million. Through 17 days, The Last Knight is $2 million behind what the last Transformers movie (Age of Extinction) did in just five days. Combined this with it performing under expectations in China and the news just ain’t all that good for The Last Knight. Meanwhile, Cars 3 took in another $5.6 million, a 42% drop that brings its domestic gross to an underwhelming $133.7 million.

The House failed to reverse its downward financial trajectory this weekend, going down 45% to gross another $4.8 million, bringing its domestic haul to a measly $18.6 million. Meanwhile, expanding into 326 theaters proved to be a financially fortuitous event for The Big Sick as it grossed another $3.6 million for an excellent $11,196 per-theater average this weekend. This indie sensation has now grossed $6.9 million after 17 days of limited release play and it looks like Amazon/Lionsgate are looking to give this one a massive push when it goes into wide release this weekend as they’re gonna expand this one into 2,500 theaters. Continuing to hold exceptionally well this weekend was 47 Meters Down, which went down another 38% to gross a further $2.7 million for a current domestic total of $38.4 million. Finally, rounding out the top ten was The Beguiled, which grossed $2 million, a 34% decrease from last weekend, bringing its domestic total to $7.4 million.

In the limited release sector, The Little Hours grossed $193,750 at 37 locations for a per-theater average of $5,236 for a 10-day cume of $282,023 while Maudie added $190,462 at 67 locations for a per-theater average of $2,843 and a domestic haul of $3.2 million. In the limited release segment, A Ghost Story debuted to 4 theaters and made $108,067 for a per-theater average of $27,017. which is good enough to crack the top ten per-theater averages of limited release opening weekends of 2017. That per-theater average is bigger than the entire opening weekend of the last David Lowrey indie movie, Ain’t Them Bodies Saints. I’d imagine A Ghost Story will either match or come close to the $4.2 million domestic cume of A24’s other Sundance high-concept dramedy released in the summertime, Swiss Army Man. Finally, documentary City Of Ghosts grossed $16,240 at 2 locations for a per-theater average of $8,120.

The top 12 movies at the domestic box office this weekend grossed $201.5 million, the third biggest 3-day weekend in this timeframe of the year ever.