Bob Marley: One Love Dominates the Box Office Despite Competition
In a relatively quiet weekend at the box office, Paramount’s musical biopic “Bob Marley: One Love” continued to capture audience attention, securing the top spot for a second consecutive week. The film brought in an additional $13.5 million from 3,925 theaters across North America during its second weekend of release. This figure represents a 53% drop in ticket sales compared to its opening weekend. Despite this decline, “One Love” has proven to be a surprising success, accumulating a total of $71.1 million domestically and reaching $120 million globally. With a production budget of $70 million, it’s essential for the film to maintain strong performance in theaters to justify its costs, especially considering that the studio retains only about half of the ticket sales.
New Releases Struggle Against Established Hit
Even with three new films entering the market, “Bob Marley: One Love” managed to fend off the competition. Among the newcomers, Sony and Crunchyroll’s anime sequel, “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training,” performed the best, earning $11.5 million from 1,949 theaters, which placed it in second position at the box office. This initial performance slightly outpaced that of its predecessor, “Demon Slayer: Kimetsu no Yaiba — To the Swordsmith Village,” which had garnered $10.1 million during its first weekend in 2023. However, it fell short of the impressive $21 million debut of the 2021 film “Demon Slayer: Mugen Train,” which was released amid pandemic-related theater closures.
It’s worth noting that while “Mugen Train” was a traditional feature film, “To the Hashira Training” serves as both a season three finale and a precursor to season four of the popular anime series. Historically, anime films often exhibit a pattern of strong initial ticket sales followed by significant drops in subsequent weekends. Additionally, the majority of their box office revenue tends to come from international markets rather than domestic.
Ordinary Angels: A Modest Debut
The faith-based film “Ordinary Angels” opened in third place, though it did so with a rather underwhelming $6.2 million from 3,020 theaters. Despite its lackluster debut, the Lionsgate and Kingdom Story Company production reportedly had a modest budget in the low double digits, which may help cushion its financial impact. The film resonated with audiences, particularly women (60% of ticket buyers), and older viewers, with 91% of attendees aged 25 and older responding positively to its uplifting themes. It received an “A+” CinemaScore, a common occurrence for faith-based films. Directed by Jon Gunn, “Ordinary Angels” is based on the true story of a small-town hairdresser who discovers a renewed sense of purpose when she meets a widower struggling to support his young daughters.
Industry experts like David A. Gross from Franchise Entertainment Research speculate that if “Ordinary Angels” manages to connect with audiences, it could enjoy a prolonged run in theaters. However, he cautions that faith-based dramas typically perform best in the domestic market, limiting their potential for international success.
Drive-Away Dolls: A Disappointing Reception
“Drive-Away Dolls,” a comedic thriller directed by Ethan Coen, fared poorly at the box office, finishing in eighth place with a mere $2.5 million from 2,280 theaters. The film received a lukewarm “C” CinemaScore and holds a score of 66% on Rotten Tomatoes. Starring Margaret Qualley, Geraldine Viswanathan, and Beanie Feldstein, “Drive-Away Dolls” follows two friends on an unplanned road trip to Florida, where they encounter a series of comedic mishaps involving incompetent criminals.
Acquired for $20 million, “Drive-Away Dolls” was given a broader release than most indie films, which typically start in limited theaters to build word-of-mouth before expanding. The studios opted for a larger rollout due to the lack of competition in the market, but some critics argue that the film’s negative reviews may have hindered its chances for success.
Madame Web and Migration Struggle
The poorly received “Madame Web” dropped to fourth place, generating $6 million from 4,103 theaters—marking a steep 61% decline from its initial release. Sony’s spin-off featuring Dakota Johnson, who plays a paramedic with psychic abilities, had a production budget of $80 million and has only accumulated $35 million domestically, along with $42 million internationally. This film is shaping up to be one of the year’s significant box office disappointments, following another underperformer, Matthew Vaughn’s spy comedy “Argylle,” which cost $200 million and has only grossed $86 million worldwide.
Finishing in fifth place, Universal and Illumination’s animated feature “Migration” brought in $3 million from 2,434 theaters during its tenth weekend of release. The family-friendly film has performed decently, with a total of $120 million at the domestic box office and $268 million globally.
A Challenging Weekend for Movie Theaters
Overall, the weekend presented a sluggish atmosphere at the box office, with revenues down approximately 18% compared to the same period in 2023. This has left theater owners eagerly anticipating the debut of Denis Villeneuve’s high-budget sequel “Dune: Part Two,” set to premiere on March 1. Industry analysts are optimistic that this film could provide the much-needed boost to box office performance.
Senior Comscore analyst Paul Dergarabedian remarked that the film industry has been waiting patiently for the first significant blockbuster release of 2024, which is just around the corner. With so much riding on upcoming releases, both studios and theater owners are hopeful for a turnaround in box office fortunes as audiences return to theaters in search of compelling cinematic experiences.
