Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr Face it, Spidey fans: emo Peter Parker and dumpster fire Venom will never be scrubbed from our collective memories. Spider-Man: Homecoming opened with $117 million at the U.S. box office, based on Sunday estimates. That’s a great start for Sony’s second reboot, but it’s still not enough to unseat the wall-crawler’s top opener to date: Spider-Man 3 (2007), with $151.1 million. As painful as it is to accept this reality, don’t let it get you down. For one, Homecoming firmly establishes Spidey’s place in the Marvel Cinematic Universe, in which Disney has invested heavily. There’s plenty more to come from Tom Holland’s wall-crawler. More than that, this reboot opened bigger than either of the previous two franchise launches: Sam Raimi’s Spider-Man (2002) earned $114.8 million in its first weekend and Marc Webb’s The Amazing Spider-Man (2012) opened a decade later with $62 million. If you’re looking to read between the lines here, don’t put undue weight on Spider-Man 3. The Raimi-led series was sailing high when that third movie opened in 2007 — hence the big start — but it still went on to log the weakest domestic finish of the three. Really, the message of Homecoming‘s first weekend box office is: Spidey is back. Thank heavens, and the MCU. Without the newly forged ties to Marvel’s multi-year juggernaut, it’s hard to say what the reception would look like for the latest fresh take on Spider-Man. Coming in at a distant second is Despicable Me 3, which ruled the Independence Day weekend at #1, with $72.4 million from Friday to Sunday and just north of $25 million more during the Monday/Tuesday holiday. Despicable Me‘s second weekend domestic finish is an estimated $34 million. That’s not bad, given Spidey’s PG-13 rating. Despicable Me is effective counter-programming against any number of summer blockbusters, but the inherent family-friendliness of Spider-Man left the two movies at odds this weekend. Coming in at #3 is director Edgar Wright’s Baby Driver, with an estimated $12.8 million from U.S. audiences. This is another case in which numbers can be deceiving. That $12.8 million is a miniscule second weekend if you’re a multi-million dollar summer blockbuster, but it’s gravy at this point for Baby Driver, which has by now almost doubled its reported $34 million budget at the box office. It’s also playing on 1,000-plus fewer screens than either Homecoming or Despicable Me. Wright has had box office troubles in the past — let us never forget the criminally underappreciated Scott Pilgrim vs. The World — but Baby Driver‘s top-notch ensemble cast, stellar reviews, and good release timing overall have helped establish the quirky British director’s latest as a winner.