Ben Rothstein

Two films debuting over the Martin Luther King Jr. weekend featured two of the world’s biggest movie stars: Will Smith and Robert Downey Jr.

While one Hollywood reboot successfully restarted a film franchise at the weekend box office, moviegoers banished the other to pasture.

Will Smith and Martin Lawrence’ Bad Boys for Life — opening 17 years after the last installment in their franchise hit the big screen — zoomed to an estimated $68.1 million over the four-day Martin Luther King Jr. weekend, including $59.2 million for the three days. The film’s release marks the second-best showing ever for the holiday, and Sony’s biggest R-rated opening.

The action comedy also wowed overseas, where it laughed to $37.3 million from 39 markets for a global debut of $107.3 million.

Bad Boys 3 continues the studio’s winning streak following Jumanji: The Next Level and Oscar best-picture contenders Once Upon a Time in Hollywood and Little Women. And there’s already movement on Bad Boys 4.

The movie’s audience was led by African-Americans (42 percent) and males (56 percent). Impressively, 58 percent of ticket buyers were 35 and younger, according to PostTrak. Bad Boys 3 cost $90 million to produce before marketing. Years in the making because of budget concerns, the R-rated pic was directed by Adil El Arbi and Bilall Fallah. It scored solid reviews and an A CinemaScore.

Bad Boys 3 — which has a shot at grossing well north of $160 million domestically by the end of its run — is a needed win for Smith, who is among the movie’s producers, following big-budget miss Gemini Man.

One of the world’s other major movie stars, Robert Downey Jr., didn’t have such a good weekend as Universal’s Dolittle wasn’t so fortunate at the box office.

The big-budget pic, starring Downey in his first post-Iron Man role, is bombing in its U.S. debut with an estimated four-day debut of $30 million, including $22.5 million for the three days.

At this rate, the family movie could lose tens of millions for Universal unless it performs well internationally. So far overseas, Dolittle has earned $30.3 million from its first raft of territories for a projected global total of $57 million through Sunday, but it has yet to open in most major markets (the only two so far are South Korea and Australia).

Dolittle — hoping to create a new chapter in the film franchise about a man who can converse with animals — was ravaged by critics, while audiences gave it a so-so B CinemaScore. While it did come in slightly ahead of expectations in North America, it wasn’t enough. The pic skewed female (61 percent) and Caucasian (60 percent). Ticket buyers gave the film a so-so B CinemaScore.

Produced by Team Downey and Joe Roth, Dolittle was supposed to open last May, but its release was delayed twice after Universal rushed to rework parts of the story and complete reshoots. Director Stephen Gaghan (Syriana, Traffic) had never before helmed a movie laden with special effects.

The last Dr. Dolittle movie, starring Eddie Murphy, hit the big screen 19 years ago and was set in contemporary times. This time, the story is set in the Victorian era, akin to Hugh Lofting’s childrens’ books.

The timing isn’t ideal for Universal following office bomb Cats (both films rely heavily on VFX effects, not to mention animals).

Universal can, however, revel in the success of Sam Mendes and Amblin Entertainment’s awards frontrunner 1917, which scored 10 Oscar nominations Jan. 13, including for best picture. The film also won top honors from the Producers Guild of America on Saturday night.

The World War I epic grossed an estimated $27 million over the MLK weekend, including $22.1 million for the three days, the same as Dolittle. 1917 is also winning battles overseas, where it grossed another $27 million for an early worldwide total of $139 million.

Jumanji 2, placing No. 4 with a projected $12.6 million for the four days, beat Star Wars: The Rise of Skywalker ($10.6 million) for the first time. Globally, Jumanji‘ jumped the $700 million mark; Star Wars’ rests at $1.03 billion.

Little Women followed in sixth place domestically with an estimated $7.4 million for a total of $85.9 million through Monday. And overseas it earned another $6.2 million from only 13 markets for a pleasing foreign tally of $44.3 million and $130.2 million globally.

Greta Gerwig’s Little Women and 1917 wasn’t the only best-picture contender enjoying a bump post-Oscar nominations.

Bong Joon Ho’s and Neon Parasite, adding 496 theaters for a total location count of 843 — its widest footprint to date in the U.S. — posted an estimated four-day gross of $2.2 million for a domestic total of $28.2 million through Monday.

Parasite placed No. 14, followed by Fox Searchlight and Taika Waititi’s Jojo Rabbit, upped its theater count by 985 locations to 1,005 following Oscar nominations. Jojo earned an estimated $1.7 million for the four days for a domestic total of $23.8 million through Monday.

Best picture contender Ford v Ferrari likewise increased its screen count from 513 to 1,080 locations to gross an estimated $1.3 million for the four days for a domestic tally of $113 million.

Once Upon a Time in Hollywood and Joker also tried to capitalize on their nominations by going back into cinemas, but since both movies are available on home entertainment, their weekend box office results were nominal, or an estimated $365,000 and $430,000, respectively.

Outside the top ten, GKIDS debuted director Makoto Shinkai‘s animated feature Weathering With You this past Wednesday where it brought in over $3 million in its first two days in release, which made it the studio’s highest grossing film ever in just two days. This weekend it played in 486 locations where it brought in an additional $2 million, pushing its domestic cume over $5 million more than double the studio’s 2018 release Mary and the Witch’s Flower, which was GKIDS’s largest grossing film ever until now. The film has now grossed over $182 million globally since debuting in Japan last July.

Next weekend sees a pair of new wide releases in Guy Ritchie‘s The Gentlemen (which has already brought in $18.4 million from three markets) and the Universal horror The Turning.