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It was a busy week, with 3 films earning at least $10 million this weekend.

The clear winner was Chainsaw Man – The Movie: Reze Arc, which had a very great debut for an anime title. The other newcomers were a mixed bag; Regretting You had an okay start, but it was nowhere close to what It Ends with Us made last year, while Springsteen: Deliver Me from Nowhere flopped. In not-so-wide releases, Chris Stuckmann's directorial debut Shelby Oaks had an okay start given its low budget. And in some great news, Yorgos Lanthimos' Bugonia got off to a very strong debut in limited release.

The Top 10 earned a combined $67.8 million this weekend. That was down a rough 23.9% from last year, when Venom: The Last Dance topped the box office.

Debuting at #1, Chainsaw Man – The Movie: Reze Arc debuted with a pretty great $18 million in 3,003 theaters. That's not close to Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle ($70 million), but it was foolish to expect it to come close to that. At the end of the day, Chainsaw Man just lacks the massive popularity of Demon Slayer.

Just to show how difficult it is for an anime film, this is just the ninth anime title to open with at least $10 million. It's a niche market, but this is indicating that audiences are opening up to animes. Obviously, it depends on the IP: Chainsaw Man has that advantage over other original films. Considering how Sony has had a very mixed year at the box office with its live-action titles, it's good to see that anime is saving them.

Audiences gave Chainsaw Man – The Movie: Reze Arc a great "A" on CinemaScore. And don't expect it to hold well; anime titles (especially IP-driven) fall quickly, so it would be a surprise if it got to $40 million domestically. But it's still a great performance regardless.

In second place, Paramount's Regretting You debuted with $13.6 million in 3,393 theaters. That's nowhere close to the debut of It Ends with Us ($50 million), but it was never expected to reach that high. The book is not as popular, and the film also didn't have an aggressive marketing like Sony did for that film.

Not a bad debut, but it's not particularly impressive either. And that's because the premise just lacked any hook; it didn't have much intrigue nor brought anything new to the table. What was important is that it could bring women and couples to the theaters, and it succeeded. And while It Ends with Us wasn't a critical darling, it certainly felt like a masterpiece compared to this film; it's sitting at a poor 30% on RT. Basically it could only attract Colleen Hoover's fans.

According to Paramount, a colossal 84% of the audience was female, but that's not really a surprise. They gave it a middling "B" on CinemaScore, which is below It Ends with Us and doesn't indicate good word of mouth. It's likely that it can drop off quickly, but the lack of titles for women could help it for the next few weeks. At the very least, it should end with around $35 million domestically.

Black Phone 2 added $12.9 million this weekend. That's a 53% drop, which is slightly above average for a horror title. But it's a bigger drop than the original (48.2%). Through 10 days, the film has earned $48.9 million. While it opened $4 million above the original, it's now just $1.5 million ahead of it and it will lose that lead over the next few days. The Halloween weekend could help it with a great drop, but it doesn't look like it will reach $80 million.

Debuting in fourth place, 20th Century Studios' Springsteen: Deliver Me from Nowhere flopped with just $8.8 million in 3,460 theaters. That's below A Complete Unknown ($11 million), and that film already burned off some demand after debuting on Wednesday.

Music biopics are more common now, so it felt inevitable that Bruce Springsteen would get a biopic. But Springsteen had a few challenges to overcome. For starters, having the film focus on the making of his album Nebraska offered an interesting deviation to the generic biopic trope, but it also meant that it would exclude a lot of his journey. Second, Jeremy Allen White has been on a critically acclaimed run thanks to The Bear, but he's still not very popular to handle a production like this. It doesn't help that ever since his casting and first-look photos, a lot complained that he didn't look like the Boss. And finally, it's the film itself. It was positioned as an awards contender, but reviews have been mediocre (58% on RT), indicating that it would struggle to attract non-fans and would not become the contender it could've been.

According to 20th Century Studios, 52% of the audience was female. Unsurprisingly, it skewed old; 40% was 55 and over, and 59% was 45 and over. Only 12% of the audience was 25 and under. They gave it a so-so "B+" on CinemaScore, which is not a glowing grade; usually music biopics easily hit the A range. What does this suggest? That even Springsteen's fans are not fully in love with the film. With little-to-no awards buzz on the horizon, it's unlikely Springsteen can last long in theaters. Right now, it should finish with around $25 million domestically.

Tron: Ares continues its freefall at the box office. It had another steep 56% drop, earning just $5.9 million this weekend. The film has earned a poor $63.3 million, and it will probably cap off with just $75 million domestically.

Lionsgate's Good Fortune dropped 50% this weekend, earning $3.1 million this weekend. Through 10 days, the film has earned $11.8 million, and it will struggle to get to $20 million domestically.

In seventh place, Neon's release of Chris Stuckmann's Shelby Oaks debuted with $2.3 million in 1,823 theaters. That's not a bad debut, considering its low budget and the lack of big names in the cast.

Even though Stuckmann has garnered a following thanks to his YouTube channel (with over 2 million subscribers), it's still too much to ask for higher numbers. Independent horror needs to stand out in order to break out, and none of Shelby Oaks' trailer seemed to offer anything new in the horror genre. And while it had a solid debut in festivals, reception has dwindled as the release got closer; it's currently sitting at a 58% on RT. So basically the only selling point was Stuckmann's involvement.

According to Neon, 53% of the audience was male, and 74% was in the 18-34 demographic. They gave it a weak "C+" on CinemaScore, which is quite common for horror titles. It's very likely that it burns off demand and falls off quickly, but its very low budget and foreign sales will help it turn a profit. But Stuckmann will really need to step up his game if he can get another film off the ground.

WB's One Battle After Another earned $2.2 million, which was down 41% from last week. The film's domestic total stands at $65.7 million, and it should hit the $70 million by early November.

Paramount's Roofman grossed $2 million, which represented a 45% drop. The film has amassed $19.4 million, and it will finish with around $25 million.

Rounding out the Top 10 was Fathom Events' re-release of ParaNorman in 1,359 theaters. It made $1 million this weekend, taking its lifetime gross to $57.1 million.

Focus Features released Yorgos Lanthimos' Bugonia in 17 theaters, where it earned $706,649. That's a strong $41,568 per-theater average, which ranks as the seventh best PTA of the year. But the real test starts next week, when it hits wide release.

Sony Pictures Classics expanded Richard Linklater's Blue Moon to 689 theaters, but the film could only muster a weak $554,321. That's a poor $805 per-theater average.

OVERSEAS

Chainsaw Man – The Movie: Reze Arc debuted in some new markets and added $14.7 million this weekend, taking its worldwide total to $108 million. Its biggest market is, obviously, Japan with $48 million.

Black Phone 2 added $10.5 million, for a $80.7 million worldwide total. The best markets are Mexico ($7.8M), the UK ($3.1M), Brazil ($2.2M), Australia ($1.8M) and France ($1.3M). It still has South Korea and Japan left, and it should crack the $100 million milestone next week.

Regretting You debuted with $9.9 million overseas, for a $23.6 million worldwide debut. The best debuts were in the UK ($1.75M), Germany ($1.65M), Australia ($1.4M), Mexico ($1.3M) and Brazil ($745K). While it has some markets left, it doesn't look like it will break out anywhere.

With $8 million overseas, One Battle After Another has crossed $180 million worldwide. In the next few weeks, it should finally cross $200 million.

Springsteen: Deliver Me from Nowhere opened with a very soft $6.9 million overseas, for a weak $15.8 million worldwide debut. The only notable markets were the UK ($1.6M) and Germany ($1M), while it performed mediocre in the rest. Like Bob Dylan, Bruce Springsteen has not been massively popular overseas like he is in America. While it still has some markets left, the $55 million budget will really be a challenge to recoup.

Tron: Ares keeps dropping overseas. It added just $6.5 million, for a pathetic $123 million worldwide total. With heavy drops not showing signs of stopping, it really looks like the film will miss $150 million. That's gonna make it one of the year's biggest flops.

FILMS THAT ENDED THEIR RUN THIS WEEK

• The Fantastic Four: First Steps has ended its run with $274 million domestically and $520 million. Easily the biggest Fantastic Four film, though that's not expected. It was the first well received film of the characters, and while it had a big debut, the film's legs proved to be quite shorter than expected (a 2.33x multiplier is very rough, even for a superhero film). And the film also had a soft performance outside America, which should be a concern for Marvel; with each passing year, the overseas share continues dropping. The budget has never been disclosed, only reported to be at more than $200 million. For now, it's a solid, not spectacular performance. Now let's see what the future holds for these characters.

• Freakier Friday has closed with $94 million domestically and $153 million worldwide. Even though these are all below the original, it's still a good performance for a comedy in this environment. After all, it's complicated to get them to at least $100 million. Should also perform well in Disney+.

• Downton Abbey: The Grand Finale has closed with $44 million domestically and $100 million worldwide. Only a little above A New Era, but it's not like the future of the franchise depended on it. It's the end after all.

• Universal's Him has closed with just $27 million worldwide, failing to recoup its budget. Talk about wasted potential, man. Universal really sold the film as a "Whiplash meets NFL" horror film and aggressively pushed producer Jordan Peele's name in the marketing. But it turned out to be a fumble, for the film earned terrible reviews and word of mouth. Yeah, this kid ain't making it to next season, coach.

THIS WEEKEND

As mentioned, Bugonia will expand into wide release, heading into around 1,800 theaters. And Netflix is bringing back KPop Demon Hunters into 300 locations, far below its previous theatrical weekend back in August. And… that's actually it. Studios often avoid the Halloween weekend, especially when Halloween falls on a Friday. It'd be a surprise if anything got to $10 million this weekend.

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