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Furiosa faced fierce enemies, as well as sadistic warlords, and survived an apocalyptic wasteland with her sense of justice intact. He didn’t expect to find himself in a war with a big cat who loves lasagna and doesn’t like Mondays.
The sequel to Mad Max: Fury Road, directed by George Miller, has proven to be a point of knowledge in the argument that the film industry is in real trouble after its disappointing opening weekend.
Furiosa, which opened internationally after a rousing opening at the Cannes Film Festival, missed screenings by a wide margin when it grossed around $31 million during a four-day long weekend at the North American box office. It was expected to raise more than $40 million. .
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In Australia, the weekend’s total grossed $3. 3 million, a low-key result for a mammoth cinematic blockbuster that is part of a franchise already known to audiences. Globally, the film grossed $58. 9 million and U. S. analysts attribute its poor performance to the composition. of a predominantly male audience.
It’s a disappointing result for the opening weekend of a film that had a production budget of $168 million, and comes ahead of the charge of an expensive promotional and exposure crusade that began with Miller and stars Anya Taylor-Joy and Chris Hemsworth in the Australian film. red carpet. first in early May.
Mad Max: Fury Road, which won six Academy Awards, debuted with $45 million in North America, for a total of $380 million worldwide.
Furiosa was destined to dominate the box office in its first week, but instead risks completing the moment in the latest film adaptation of Garfield in the United States. Furiosa earned a good rating with a score of 90 percent on Rotten Tomatoes, while Garfield was flayed by critics and lately has a score of 37. Score % on the review aggregator site.
The CGI children’s film costs $60 million and features Chris Pratt as the voice of the gluttonous cat. Garfield opened in foreign markets last week and has so far grossed about $100 million worldwide. It will premiere in Australia on Thursday.
Furiosa’s disappointing box office has reignited the ongoing verbal exchange about whether the film industry can turn its fortunes around after covid lockdowns that shut down cinemas around the world for months. The public, especially the elderly, were reluctant to return to indoor public spaces, which were crowded.
Furiosa follows the disappointing box office of Ryan Reynolds and Emily Blunt’s action-comedy The Fall Guy, which has so far grossed $130 million worldwide against a production budget of $140 million. The Fall Guy, which was also filmed in Australia, got the most here at $12. 4. million at the box office and ranks fifth overall for 2024.
The Fall Guy’s failure to fire also raised questions about whether “movie stars” were still enough to release wonderful films. Gosling and Blunt are two of the most famous actors, and Gosling in particular just came off a year of goodwill from Barbie.
On the other hand, the fourth Planet of the Apes film, with the strange name Kingdom of the Planet of the Apes, also shot in Australia, is the fourth highest-grossing film globally in 2024 with a global gross of $298 million. There are no iconic stars.
Covid lockdowns have accelerated the evolution of the trend towards streaming and the hope that new film releases can soon be available to watch at home. There’s also the effect of delayed releases due to movements of actors and writers that lasted for months last year.
Despite calls from many filmmakers and stars, including Christopher Nolan, Tom Cruise and this year’s Palme d’Or winner Sean Baker, that their films are made to stand out on the big screen, box office figures recommend that audiences engage less in visual and audio delight than before.
Netflix co-CEO Ted Sarandos said this weekend in an interview with The New York Times that last year’s box phenomenon — Barbie and Oppenheimer — may have worked just as well on the streaming platform.
“I don’t think there’s any explanation as to why certain types of movies work or don’t work [on Netflix],” Sarandos said. “There’s no explanation as to why the movie itself is better, no matter the length of the screen, for everybody.
“My son is an editor. He’s 28 years old and has been watching Lawrence of Arabia on his phone.
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