{"id":584006,"date":"2023-07-23T17:40:58","date_gmt":"2023-07-23T14:40:58","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/barbie-oppenheimer-shatter-box-office-opening-weekend-projections\/"},"modified":"2023-07-23T17:40:58","modified_gmt":"2023-07-23T14:40:58","slug":"barbie-oppenheimer-shatter-box-office-opening-weekend-projections","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/barbie-oppenheimer-shatter-box-office-opening-weekend-projections\/","title":{"rendered":"#’Barbie,’ ‘Oppenheimer’ Shatter Box Office Opening Weekend Projections"},"content":{"rendered":"
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\n \u201cBarbenheimer\u201d is more than just a meme. It\u2019s a full-fledged box office phenomenon. <\/p>\n

\n Over the weekend, moviegoers turned out in force for Greta Gerwig\u2019s neon-coated fantasy comedy \u201cBarbie,\u201d which smashed expectations with $155 million to land the biggest debut of the year. But they also showed up to see Christopher Nolan\u2019s R-rated historical drama \u201cOppenheimer,\u201d which collected a remarkable $80.5 million in its opening weekend. <\/p>\n

\n Hundreds of thousands of ticket buyers refused to choose just one movie between the seemingly different blockbusters with twin release dates. So they opted to attend same-day viewings of \u201cBarbie\u201d and \u201cOppenheimer,\u201d turning the box office battle into a double feature for the ages. <\/p>\n

\n \u201cThis is an unequivocally great weekend for moviegoing,\u201d says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. \u201c\u2018Barbie\u2019\u00a0and\u00a0\u2018Oppenheimer\u2019\u00a0are complementing each other at the box office, not taking audience from each other.\u201d<\/p>\n

\n The cultural craze known as \u201cBarbenheimer\u201d worked to fuel the biggest collective box office weekend of the pandemic era, as well as the fourth-biggest overall weekend in history. It\u2019s worth noting the top three weekends were led by the debuts of sequels in massive franchises (\u201cAvengers: Endgame<\/a>,\u201d \u201cAvengers: Infinity War\u201d and \u201cStar Wars: The Force Awakens\u201d).<\/p>\n

\n \u00a0\u201cStudios gave audiences two uniquely different, smart and original stories that were meant for the big screen,\u00a0says Michael O\u2019Leary, president and CEO of the National Association of Theatre Owners, the industry\u2019s trade organization. \u201cPeople recognized that something special was happ<\/a>ening and they wanted to be a part of it.\u201d<\/p>\n

\n In the end, though, it wasn\u2019t a competition as \u201cBarbie\u201d loomed large over box office charts, thanks to an inescapable marketing campaign, as well as quality to match the stratospheric hype. At the international box office, the film added $182 million for a stunning global tally of $337 million.<\/p>\n

\n The $145 million-budgeted movie, backed by Warner Bros. and Mattel, dominated the zeitgeist in the weeks leading up to its debut (even reportedly causing a shortage<\/a> of the color pink) to a degree that\u2019s rare for original fare. (Yes, Barbie is perhaps the world\u2019s most famous doll, but the movie isn\u2019t a sequel or part of a pre-existing film franchise.)<\/p>\n

\n \u201cWe have a pink unicorn here,\u201d says Jeff Goldstein, the president of domestic distribution at Warner Bros. \u201cWe thought it would be $75 million for the opening weekend. Nobody saw $155 million coming. This doll has long legs.\u201d<\/p>\n

\n Audiences and critics dug the film, which landed an \u201cA\u201d CinemaScore and 90% on Rotten Tomatoes. Initial crowds were 65% female (which, duh\u2026), but that\u2019s notable because it\u2019s almost a similar majority of men <\/em>composing the audience for a movie that generates over $100 million in its debut.<\/p>\n

\n Among its many records, \u201cBarbie\u201d also scored the biggest opening weekend ever for a film directed by a woman. \u201cCaptain Marvel,\u201d which was co-directed by Anna Boden and Ryan Fleck, previously held the title with $153 million in 2019. \u201cWonder Woman,\u201d from filmmaker Patty Jenkins, stood as the record-holder for a movie solely directed by a woman with $103 million in 2017.<\/p>\n

\n Gerwig, who previously directed \u201cLady Bird\u201d and \u201cLittle Women,\u201d co-wrote the screenplay with her partner Noah Baumbach. Margot Robbie and Ryan Gosling star as the stereotypical versions of Barbie and Ken, who leave behind the Dreamhouse on a quest for self-discovery in the real world. The cast also includes Issa Rae, Dua Lipa, Simu Liu, Michael Cera, Helen Mirren, John Cena and Will Ferrell.<\/p>\n

\n \u201cOppenheimer\u201d may be settling for second place \u2014 not that Universal or Nolan is complaining. Buoyed by stellar reviews and premium large formats, the biopic about the so-called \u201cfather of the atomic bomb\u201d is wildly outperforming expectations for a three-hour-long period piece with little action and lots of talking.<\/p>\n

\n Heading into the weekend, analysts were anticipating a $50 million start, which already would have been notable given the film\u2019s grim subject matter and severe style. With the bigger-than-projected debut, Nolan has only solidified his status as a box office draw, no matter the genre. And his appeal as a filmmaker spans continents. At the international box office, \u201cOppenheimer\u201d added $93.7 million for a global tally of $174 million.<\/p>\n

\n \u201cThis is a 1940s period piece,\u201d says Universal\u2019s president of domestic distribution Jim Orr. \u201cThat speaks volumes to the appeal of Nolan and his prowess as a filmmaker. He has an amazing reputation for storytelling in the biggest format possible.\u201d<\/p>\n

\n Nolan, the blockbuster director of \u201cThe Dark Knight\u201d and \u201cInception,\u201d is known to evangelize about Imax \u2014 and moviegoers have taken note. Premium large formats (PLFs, as they are known in the industry) contributed a massive 47% of the film\u2019s domestic tally. Imax contributed $35 million in global ticket sales.<\/p>\n

\n \u201cAround the world, we\u2019ve seen sellouts at 4 a.m. shows and people travel<\/a>ing hours across borders to see \u2018Oppenheimer\u2019 in Imax 70mm,\u201d says Imax CEO Rich Gelfond. \u201cThis is a phenomenon beyond compare in Imax and we\u2019re just getting started.\u201d<\/p>\n

\n \u201cOppenheimer,\u201d which cost $100 million, marks the first time in more than two decades that Nolan isn\u2019t working with Warner Bros. (Yes, the backers of \u201cBarbie.\u201d) He parted ways with the studio over its ill-fated decision to put its entire 2021 movie slate simultaneously on HBO Max.<\/p>\n

\n Adapted from the Pulitzer Prize-winning book \u201cAmerican Prometheus,\u201d \u201cOppenheimer\u201d is a star-studded character study about theoretical physicist J. Robert Oppenheimer. Cillian Murphy plays the man who led the action at Los Alamos, alongside an ensemble of Robert Downey Jr., Matt Damon, Emily Blunt, Florence Pugh and Alden Ehrenreich.<\/p>\n

\n With \u201cBarbenheimer\u201d taking up most of the oxygen at multiplexes, the other movies<\/a> that were playing in theaters had to fight for scraps. <\/p>\n

\n Tom Cruise\u2019s big-budget sequel \u201cMission: Impossible \u2013 Dead Reckoning Part One\u201d took third place, tumbling by 64% with $19.5 million in its second weekend of release. It didn\u2019t help that \u201cOppenheimer\u201d is all but monopolizing the country\u2019s PLF footprint, where tickets are pricier than standard screens. <\/p>\n

\n The seventh installment in Paramount and Skydance\u2019s globe-trotting action franchise has generated $118.7 million in North America and $370 million globally to date. However, it cost a mammoth $291 million before marketing, so it\u2019ll need to hold its own against \u201cBarbie\u201d and \u201cOppenheimer\u201d to justify that price tag.<\/p>\n

\n In fourth place, the independent juggernaut \u201cSound of Freedom\u201d added $18.8 million from 3,285 theaters in its fourth weekend of release. The thriller about child sex trafficking\u00a0has generated $124 million to date, making it the 14th-highest grossing domestic release of the year.<\/p>\n

\n Disney\u2019s \u201cIndiana Jones and the Dial of Destiny\u201d rounded out the top five, bringing in $6.7 million from 2,885 venues. After four weeks on the big screen, Harrison Ford\u2019s action-adventure movie has grossed $159 million domestically and $335 million worldwide. The only trouble? It cost $300 million (and remember, theater owners get a share of ticket sales), meaning Indiana Jones is still deep in the red.<\/p>\n

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