Warner Bros. and New Line do not worry my love (Review) It opened to the top of the domestic box office this weekend with $19.2 million. That’s a decent number for a $35 million R, which is adult leaning, star-driven. It’s right between simple known ($16 million in 2018) and The girl on the train ($24 million in 2016). However, it also had a poor multiplier of 2.04 times over the weekend. Combined with Cinemascore’s mixed negative and B-reviews, this doesn’t paint the most rosy pictures of post-premiere legs. However, right now, the sci-fi thriller directed by Olivia Wilde and starring Florence Pugh has opened for over/under $20 million with or without the most famous tabloid gossip. Opening weekend is all about marketing and pre-release interest, and everything that happens after that revolves around whether the audience liked the movie.
I’m old enough to remember when women who light up jazz thrillers were like the big studios flight plan And the the forgotten 20-25 million USD as a matter of course. The opening is decent, but not super. It’s also further evidence that the debate around the Internet has little or no effect on behavior in the real world. The real world laughed and ignored the allegations that Pugh and Wilde headed for verbal attacks on the set, laughed at the misconception that Harry Styles spit on Chris Pine at the film’s premiere in Venice and recalled the notion that Wilde claimed to have shot Shia LaBeouf in order to “protect Her female lead is a troubled famous actor only to have the actor respond with a video of her begging him to stay. But the movie opened as ever.
Pugh gives an excellent performance and Wilde does a look at What I Can Do. Styles is a better choice than LeBeouf for spoiler reasons. The sideshow did not affect the film, and the audience was not interested in anything beyond diabolical curiosity. In the end, do not worry my love It opened decently because it had four of the five main elements of a viable studio programmer. It had poor reviews but really delivered an all-star cast, marquee cast, and an easy-to-play high concept (‘Stepford wives Meets Truman Show Meets Get out‘) and the promise of a cinematic escape. Its trailers played before demographically friendly hits like Elvis, where crawdads sings And the no. Even critical pans assured audiences that they were full of glossy production value and hot movie stars hot. Gossip didn’t help, but it certainly didn’t hurt.
It’s another example that Warner Bros. Very good at selling less-than-traditional plays to big hits or bigger than expected. think offhand, magic mike, graffiti, lego movie, american sniper, The Sorcery franchise business, He’s, Crazy Rich Asians, Star Boy, Joker, Dion And the Elvis. We’ll see if the Cinemascore’s B-score is skewed by genre (horror films tend to be polluted weirdly because crowds that are too scary and not scary enough lead to low scores) or honest evaluation of word of mouth. We’ll see if the opening is in part about Harry Styles being a movie star with seat butts (along with Lady Gaga, natch) and whether the general public is still interested in a very rare major stage for/of/about women. It’s still $35 million (including additional costs related to Covid) that has brought in $30 million worldwide so far. But so far, this is a good start.
‘symbol picture’
Fox and Disney
The only other apprentice was James Cameron symbol picturewhich returned to theaters in 4K (and partly at 48 fps) and once again disproved the notion that no one cares about it symbol picture. The reissue earned $10 million domestically, bringing its domestic consumption to $770 million. This is the most successful reissue since opening $18 million 3-D Jurassic Park In early 2013, it is doing its job in terms of promotion Avatar: Water Road. I caught a show with my two young children (both fans) at Universal CityWalk IMAX. Here’s my hot view: while it’s better at 3D on a giant IMAX screen, the movie is so good and so well designed that there was little to no value increase in terms of seeing it again in the best possible conditions.
As noted yesterday, whatever thoughts I had in December 2014 about symbol picture Not having so much of a traditional pop culture footprint, a) that’s no longer true and b) the same things it didn’t have (episodic multimedia, merchandise, fan-obsessed online, etc.) now make the film’s initial success all the more ambitious. It was one of the latest original blockbusters before IP and nostalgia became the driving force of theatrical tent poles, so it now inspires nostalgia for a less nostalgic time. It helps that the movie still rocks, and the sensitivity of “filmmaking brilliance > quotable dialogue” now makes it even more valuable when it looks like so many great movies are written and made for meme or gif. With $30.5 million worldwide, including $6 million in IMAX, this was the largest global total this weekend, reaching $2.877 billion.
