With Halloween arriving in just two weeks, the box office is jamming up with genre content that hopes to act as counter-programming to different age groups. While last week saw the release of the PG-rated The Addams Family, this weekend celebrated the R-rated Zombieland: Double Tap, the latter of which couldn’t top Disney’s PG horror-adjacent Maleficent: Mistress of Evil.

The Maleficent sequel (review) that also starred Angelina Jolie in the title role opened to an estimated $36M, which is almost half of its predecessor.  Carrying a shocking reported budget of $185M (wiki), it has a long way to go to break even, although I’m sure Disney could care less given that this will be solid content for their soon-to-launch Disney+ app. The first film managed over $750M globally, but the sequel really “only” has to make $500M+ to break even. International numbers were impressive, giving the sequel a $117M lift.

On the other side of the spectrum, Columbia Pictures’ Zombieland: Double Tap (review) opened to an estimated $26.72M domestically. This is on par with the 2009 Zombieland that opened to $24.7M. The difference here is double the budget with a reported $40M spent. In a similar comp to the first, Double Tap could hit $100M worldwide, which would be enough for the sequel to break even. International numbers will play a huge role.

Emma Stone, Woody Harrelson, Jesse Eisenberg, and Abigail Breslin return in Ruben Fleischer‘s sequel that also introduces Zoey Deutch, Avan Jogia, Luke Wilson, Thomas Middleditch and Rosario Dawson.

In this next installment, through comic mayhem that stretches from the White House and through the heartland, the zombie slayers must face off against many new kinds of zombies that have evolved since the first movie, as well as some new human survivors. But most of all, they have to face the growing pains of their own snarky, makeshift family.

Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Little Rock (Abigail Breslin) and Wichita (Emma Stone) in Columbia Pictures’ Zombieland: Double Tap.

Also opening this weekend was Robert Eggers‘ The Lighthouse (review), which set sail to $419,000 in only 8 theaters. A24 (The Witch, Hereditary, Midsommar) is looking to guide audiences to theaters next weekend as it expands against STX’s Countdown (more counter-programming).

The film stars Willem Dafoe and Robert Pattinson, pictured below, as two lighthouse keepers losing their grip on reality. A24 describes it as “a hypnotic and hallucinatory tale of two lighthouse keepers on a remote and mysterious New England island in the 1890s.”

The Addams Family (read our review), a prequel of sorts that tell the origins of the family moving into their spooky mansion, had another impressive showing. The animated retelling added another $16M for a domestic take of $56.81M. International numbers haven’t even been reported yet and the film’s $25M budget is all but recouped. This is a massive hit and, as I reported last weekend, a sequel is on the horizon (dated for 2021).

In the film, Charlize Theron voices Morticia Addams and Oscar Isaac is voicing Gomez Addams, with Chloe Grace Moretz as Wednesday Addams. The cast also includes Finn Wolfhard as Pugsley Addams, Nick Kroll as Uncle Fester, Bette Midler as Grandmama, Allison Janney as Margaux Needler, and Elsie Fisher as Parker Needler, the daughter of Margaux.

Warner Bros. gutsy new take on Joker (read our review), the Todd Phillips-directed spinoff that stars Joaquin Phoenix as the title character, continues to be a smash, adding $29.2M domestically and $77M overseas while it sits just shy of the targeted $750M worldwide. There is no world in which we don’t get some sort of “sequel” out of Phillips and Warner Bros.

ALSO READ: The Horrors of Joker: How the Controversial Comic Book Film Earns a Place in the Genre

As I previously wrote several times, the success of Joker has kicked opens doors all across Hollywood as it signals to all of the studio heads that different is good. No, we don’t need to see constant retellings of the same stories. No, they don’t need to have an “anchor” hero inserted as a cameo to sell tickets. Much like Sam Raimi’s Spider-Man signaled to other studios that they can make a quality superhero movie, and just like The Dark Knight showed execs that children aren’t the only fans, Joker is historic in that it will kickstart a new subgenre of comic adaptations in which the studios aren’t universe building. Just focusing on telling a good story and people will show up.