Weekend Box Office: ‘Lyle, Lyle’ Stumbles, ‘Amsterdam’ Flops and ‘Terrifier 2’ Top Million Dollars

Weekend Box Office: ‘Lyle, Lyle’ Stumbles, ‘Amsterdam’ Flops and ‘Terrifier 2’ Top Million Dollars

In a new version of the news in the domestic box office, Columbia and Sony Lyle, Lyle Crocodile It opened with a disappointing $11.5 million frame from Fri-Sun. To be fair, Sony is expecting a $13.4 million weekend from Friday through Monday (tomorrow is Columbus Day or Indigenous Peoples Day), but honestly, that would still be a bit disappointing if it was just a Fri-Sun frame. Sure, we all celebrated in February of 2021 when Tom & Jerry Opened 14 million dollars. This was the first sign of theatrical life in the age of Covid, and it was the definition of ‘successful disappointment’, i.e. a film set in the time of Covid as it would have disappointed itself under conventional circumstances. We’re close enough to conventional circumstances not to classify Javier Bardem/Constance Wu (who was on her way to becoming a star with seat butts before Covid) family-friendly comedy on such a curve.

This is on par with Sony Peter Rabbit: The Fugitive, which opened with $10.1 million in June of 2021 under various Covid-specific circumstances. Unfortunately, this seems to be a scenario just because the fans wanted to see it Peter Rabbit ($25 million first in early 2018) doesn’t mean they were excited about ‘another’ animatronic animal that interacts with humans’ living imaginations. Based on Bernard Weber’s 1965 picture book of the same name, Lyle, Lyle Crocodile He has no brand awareness/interest for something like Clifford the Big Red Dog or Paddington. While the reviews were generally good (68% new but 5.6/10 on Rotten Tomatoes, showing that the Tomatometer only tells half the story), it doesn’t draw anyone outside of the demographics of kids and their parents. Get songs from the guys who did it greatest showman This movie didn’t help more than it did last year Dear Evan Hanson.

I wish this person would have been “excessive”, in part because they are both Peter Rabbit The movies were so good and because there hasn’t been a big kids flick since then DC League of Super Pets in late July ($91 million from $23 million for the first time). It’s the only kids’ movie in theaters from now until Walt Disney
strange worldso the legs are on par with the first Peter Rabbit ($110 million / $25 million) or so Peter Rabbit 2 ($40M / $10M) It wouldn’t shock me. I have no idea how this person would perform on the outside. She does not have Paddington or Peter Rabbit British popular. It’s probably just a leg like Clifford the Big Red Dog ($49 million from $16.6 million from Fri-Sun and $22 million from Wed-Sun debut) and it ends up being over/under $35 million domestic. At worst, it’s a minor loss that will play well on Netflix
In seven months.

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20th Century Studios $80 Million Amsterdam (review), earning just $6.5 million in his inaugural domestic weekend. I thoroughly enjoyed this 1930s comedy full of stars (Christian Bale, Margot Robbie, John David Washington, Taylor Swift, Robert De Niro, among others). I’d argue it’s Russell’s best movie since Three kings. However, I’m in a critical minority (33%, 5.1/10 on Rotten Tomatoes). Moreover, it’s not late 2013. Audiences no longer appear in shadowy crime dramas that misrepresent adults like American blackmail ($250 million worldwide) Just because he looks stylish and has a lot of movie stars (Bill, Amy Adams, Jeremy Renner, Jennifer Lawrence, etc.). to be fair, American blackmail Selling sex, while Amsterdam farce sale. Marketing was somewhat vague about the actual plot, in part because explaining what the movie is ultimately about in terms of real-world history would be tantamount to giving up on the underlying mystery.

Moreover, the audience no longer goes to the cinema to go to the cinema. Unless you’re Leonardo DiCaprio or Sandra Bullock, you’re at best a value-added item and/or playing a somewhat related on-screen marquee character (Tom Holland in Unknown) or off screen (Lady Gaga in A star is born) Personalities. This is a little different from late 2021’s theatrical failures (improvised) The last duel, last night in Soho And the King Richard. It’s still a tragedy, no matter what you think of David O. Russell’s (allegedly very volatile) behavior or whether you liked the movie. Disney spent the money and got the work done, and both the public and critics dismissed the old-school studio programmer. Its (inevitable) failure will only solidify the idea of โ€‹โ€‹officially turning Fox into anything more than a content mill for Hulu (with the exception of a few franchises like Planet of the Apes, Avatar And the dead list).

Todd Field’s Focus Features Released tar In only four theaters. Cate Blanchett, starring the popular and racy melodrama about a world-class leader, earned $160,000 for an average of $40,000 per theater. I’m hesitant to assume it’ll play outside the nerd/arthouse crowd, but it will expand to 30 more houses on Friday and expand on the 28th. It’s on my list but sorted. I thought I could either race to Century City on Friday and feel bad about not being able to pick up my kids from school or just wait and enjoy myself. In other Oscars news, Bloody Disgusting released Damien Lyon’s 138-minute song with no rating terrifying 2 (reconsidering) In 850 theaters for Thursday-Monday engagement play. The (relatively superior) part of the cult killer clown movie grossed $480,000 on Thursday and $1 million over the weekend. This, despite generally running one or two evening shows per theater. That’ll do the trick, clown art. I will do it.

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