![]() The proof is in the pudding: the movie is doing terrible numbers in Canada after its first week, with many theatres having reduced its showtimes to make room for Barbenheimer. Audience members are selling out cinemas while scanning their QR code during the end-credits scene and buying a ticket for someone else, but no one is showing up. However, an addendum needs to be stated: the film’s success is based on its astroturfing campaign. Mission: Impossible also did less this week than Sound of Freedom, which is still legging out and crossed the $100 million mark this weekend. Movie became the highest-grossing movie of the year so far. Paramount also made the same mistake with releasing Dungeons & Dragons: Honor Among Thieves a week before The Super Mario Bros. ![]() It’s entirely of Paramount’s own doing, releasing it at a time when they couldn’t get any IMAX/PLF screens beyond a week, as Barbenheimer took cinemas by storm like a rock concert. Was it his fault that Mission: Impossible Dead Reckoning – Part One didn’t leg out? Of course not. Speaking of Top Gun: Maverick, it looks like Tom Cruise won’t be saving Hollywood’s a– this year. It also grossed over $300 million internationally, making the cumulative Barbenheimer earnings the fourth-biggest box office weekend of all time and the biggest post-COVID box office weekend, obliterating Top Gun: Maverick‘s and Spider-Man: No Way Home! However, Barbie and Oppenheimer immediately became a box office hit as their first trailers were released, and the Barbenheimer movement grew naturally.Īnd now we’ve got the biggest opening of the year so far with Greta Gerwig‘s Barbie: an incredible $155 million domestically, the biggest-ever opening for a female director, for a movie based on a toy, for Margot Robbie and Ryan Gosling‘s career (imagine that!) and for a film that isn’t a superhero film, sequel or remake. Some will debate that press tours are also important to guarantee a movie’s commercial success, and that can be true for certain titles, which will be part of the reason why some movies are poised to underperform under the strike. It’s only because of that grassroots support that Barbenheimer became such a global sensation and that people actually saw both movies on the same day (which is the wildest thing imaginable, now having seen both films, but you do you). When the studios started to get involved, the movement quickly died. It was exactly the case with the Gentleminions movement regarding Minions: The Rise of Gru last year - TikTok users started showing up in suits to see the film. Studios are now immediately trying to replicate the Barbenhimer success with Saw Patrol (if you weren’t aware, Saw X and PAW Patrol: The Mighty Movie are now coming out on the same day), but they fail to realize that Barbenheimer started out naturally through a grassroots campaign on social media. Were it not for the labor of the writers and actors currently on strike, the Barbenheimer cultural movement wouldn’t exist because those movies wouldn’t have gotten made. However, Barbenheimer could prove to be a case for wanting to end the strike as soon as possible because not only are there auteur-driven films that only their respective filmmakers could’ve crafted, but they have exceeded all commercial expectations and broken several domestic and international records. ![]() It would be a shame to relive constant film & TV delays in a post-COVID world, but this is entirely of the studios’ own doing in not wanting to pay and treat their writers and actors fairly. With the SAG-AFTRA strike already causing several movies to be delayed (as of this writing, only Challengers, White Bird, and Problemista have been confirmed to be pushed back, while other tentpoles like Dune: Part 2 and Aquaman and the Lost Kingdom are considering moving to 2024), the fall movie season could dry up very quickly. Barbenheimer is finally upon us, and we’ve potentially got the biggest box office numbers of the year.
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