Disney’s sci-fi sequel “Tron: Ares” failed to connect in its box office debut, collecting a disappointing $33.5 million from 4,000 North American theaters over the weekend.
It’s a weak start, even for a five-decade-old franchise that’s never been a commercial juggernaut. The trouble is that “Tron: Are” carries a massive $180 million price tag, not including the many millions the studio spent on marketing. Overseas, “Tron: Ares” didn’t make up much ground, adding another $27 million and putting the final global number at $60 million through Sunday.
Heading into the weekend, “Tron: Ares” was targeting a decent domestic debut of $45 million to $50 million. A visual spectacle with neon-hued action, the PG-13 film was popular on premium large formats, with Imax, Dolby and 3D screens accounting for 67% of ticket sales.
Despite a “B+” grade on CinemaScore exit polls, suggesting audiences mostly liked the film, the futuristic adventure couldn’t expand its audience beyond its target demographic of boys and men. (Nearly 70% of opening weekend crowds were male.) As a result, the final weekend tally didn’t come close to matching the prior installment, 2010’s “Tron: Legacy,” which opened to $44 million, not adjusted for inflation. Ticket sales were, at least, way above the original 1982 “Tron,” which launched with $4.7 million on its way to cult status. Jared Leto, Greta Lee and Evan Peters star in the newest installment, which was directed by “Pirates of the Caribbean” alum Joachim Rønning and topically follows humanity’s first contact with artificial intelligence as an advanced program enters the physical world.
“The movie was tracking well, but interest stalled during the last 10 days and the opening dropped,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. However, he adds, “the science fiction genre has always done well overseas. This is effects-driven, good-guys-versus-bad-guys storytelling that’s understood and well-liked across all cultures.”
It was a dispiriting weekend at the box office as two fellow newcomers — Channing Tatum’s dramedy “Roofman” and Jennifer Lopez’s musical “Kiss of the Spider Woman” — also struggled to pack in crowds. Without a major blockbuster in October to boost grosses, overall domestic ticket sales are just 4% ahead of 2024, according to Comscore.
In second place, “Roofman” arrived on the lower end of expectations with $8 million from 3,340 locations in its opening weekend. “Kiss of the Spider Woman” bowed far below projections at No. 13 with a paltry $840,000 from 1,300 screens. “Roofman” was aiming for $8 million to $12 million, while “Kiss of the Spider Woman” was targeting $1.5 million to $3 million.
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In the case of “Roofman,” a start below $8 million is hardly electrifying for something starring Tatum. However the film cost just $19 million to produce, so not much of a financial risk. Paramount distributed “Roofman,” which was developed, financed and produced by Miramax. Derek Cianfrance directed the true story of a former soldier and professional thief who escapes from prison and finds a hideout in a Toys “R” Us. Reviews and word-of-mouth (the film earned a “B+” grade on CinemaScore exit polls and holds an 85% on Rotten Tomatoes) could help “Roofman” stick around beyond its opening weekend.
“Kiss of the Spider Woman” was independently financed for $34 million before it was acquired by Roadside Attractions and Lionsgate for an unspecified sum after its Sundance debut, making it unclear who will shoulder the theatrical losses. Bill Condon directed the remake, which takes place mostly in an Argentinian prison and follows a queer window dresser who dreams up vivid stories of his favorite screen diva (portrayed by Lopez) to escape the horrors of his imprisonment. This is the second film version of “Kiss of the Spider Woman,” following the acclaimed 1985 feature from director Héctor Babenco, which grossed $17 million globally. Even without adjusting for inflation over the past 40 years, the new take on “Spider Woman” might struggle to match those sales.
At No. 6, Sony’s faith-based “Soul on Fire” debuted to $3 million from 1,720 theaters. The inspirational story, about a man who survived fire burns that covered his body, has resonated with moviegoers, evidenced by the “A” grade on CinemaScore.
Holdover titles otherwise rounded out the top of the box office charts. Third place went to Leonardo DiCaprio’s comedic action epic “One Battle After Another” with $6.7 million from 3,127 theaters, declining 38% from the prior weekend. So far, the film has earned $54.5 million in North America and $138 million globally. Since “One Battle” cost above $130 million to produce, the film needs substantial staying power to justify its outsized budget. Ticket sales are typically split 50-50 between studios and theater operators, so “One Battle After Another” requires roughly $300 million to break even theatrically.
In eighth place, Dwayne Johnson’s R-rated sports drama “The Smashing Machine” cratered by 70% in its second weekend with $1.7 million from 3,321 venues. The film, which cost $50 million, has grossed $10.1 million to date and is shaping up to be a major money loser for A24.
In limited release, director Luca Guadagnino’s #MeToo thriller “After the Hunt” earned $154,467 from six screens, translating to $25,745 per location. Julia Roberts, Ayo Edebiri and Andrew Garfield star in the film about a college professor (Roberts) who finds herself at a personal and professional crossroads when her mentee (Edebiri) accuses a friend and colleague (Garfield) of crossing a line. The true test of the film’s commercial viability will come when Amazon MGM expands “After the Hunt” nationwide next weekend.
Another specialty title, A24’s psychological drama “If I Had Legs I’d Kick You,” earned $89,164 on four locations in New York and Los Angeles over the weekend, averaging $22,291 per screen. Rose Byrne stars in the well-reviewed film as a new mother whose life starts to fall apart.
“After a good September, the last few weeks have under-performed,” Gross says. “Momentum changes quickly at the box office, and it has.”
From Variety US