The year’s second-biggest hit, “Spider-Man: Across the Spider-Verse” ($375.2 million domestically) is yet one more “Spider-Man” movie. Movie” ($1.3 billion worldwide) isn’t anyone’s idea of cutting-edge cinema but it reflects Hollywood’s new embrace of the giant gaming industry. In last year’s top 10 films at the box office, one movie was a reboot (“The Batman”) and the rest were sequels.īut such overdependence on more-of-the-same was sure to run out of steam one day - and this year’s best performers are coming from some new places. The nostalgia business isn’t going anywhere, nor is Hollywood’s dependence on remakes and sequels. 3,” with $843 million worldwide, has been a big seller but movies like “Ant-Man and the Wasp: Quantumania" and “The Flash” have fallen well shy of expectations. Meanwhile, recent Marvel films and DC movies haven’t approached the kinds of grosses once assured of comic-book adaptations. The seventh “Mission: Impossible” film, “Dead Reckoning Part One,” fell shy of expectations before getting blown away by “Barbenheimer.” It declined 64% in its second weekend. In three days, “Barbie” already surpassed its total North American haul of $145.9 million. The 10th “Fast and the Furious” movie, “Fast X,” was a dud domestically, though international sales have been robust. It’s made $335 million worldwide with a budget more than double that of “Barbie,” which cost $145 million. “Indiana Jones and the Dial of Destiny,” coming 42 years after “Raiders of the Lost Ark,” has failed to ignite in theaters. Lately, some of the movies’ biggest franchises have shown signs of wear and tear. Reboots, superheroes and films with bloated budgets that often cover a lack of ideas - time to take stock. “Everyone came out this weekend for two ORIGINAL, smart, quality movies,” wrote Clare Binns, managing director of indie distributor Picturehouse, on Twitter. In the wake of “Barbenheimer,” many are hoping Hollywood will draw a lesson other than greenlighting more toy adaptations and the inevitable “Barbie” sequel. Those results, riding critical acclaim and months of a viral double-feature drum beat, nearly doubled expectations and astonished Hollywood. Universal’s “Oppenheimer” took in $82.4 million. Warner Bros.’ “Barbie” grossed $162 million domestically, the best opening of the year. and Canadian theaters on the weekend was more than $300 million, the fourth highest ever. “I’m hopeful that these movies were original by noted filmmakers will convince studios to lean into that direction rather than doing what’s safe.Īnd the numbers are eyepopping. There’s an internal prejudice to doing what works,” says Richard Gelfond, IMAX chief executive. “I’ve always joked that if there’s a tornado movie that works that the next year there will be three tornado movies. “Barbenheimer” could, just maybe, be a turning point. Audiences are showing a renewed taste for something fresh. At the same time, some of the most dependable franchises in movies, from Marvel to “Fast and the Furious,” are no longer leading the pack. Nolan is himself a brand, too.īut Hollywood’s biggest zeitgeist in years was propelled by a pair of movies without a roman numeral, a Jedi or a superhero in sight. Robert Oppenheimer and the atomic bomb comes from no small moment in history. “Barbie,” based on the Mattel doll, had some extremely well-known intellectual property going for it. “Barbie” and “Oppenheimer” became a meme because of their worlds-apart differences but they're each indelibly the work of those filmmakers. Here are two movies that are neither sequels nor reboots pushing the box office to highs not seen in years. Matchbox Twenty.īut one of the most important triumphs in the moviegoing monsoon of “Barbenheimer” was originality. Movie theaters, more crowded than anytime post-pandemic. Christopher Nolan, who set a non-Batman career high. Greta Gerwig, who made history for female directors. NEW YORK (AP) - In the massive movie weekend of “Barbie” and “Oppenheimer,” there were many winners.
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