In a movie match-up almost as unlikely as “Barbie” and “Oppenheimer,” Martin Scorsese took on Taylor Swift in cinemas over the weekend. And while the box office belonged for a second time to “Taylor Swift: The Eras Tour,” Scorsese's “Killers of the Flower Moon” got off to a strong start in Apple Studios' first major theatrical gambit.
After a record-breaking opening weekend of USD 92.8 million, “Taylor Swift: The Eras Tour” took in an estimated USD 31 million over the weekend from 3,855 locations, according to AMC Theaters. In an unconventional deal, the theatre chain is distributing Swift's concert film, and playing it only Thursdays through Sundays.
Most Swifties rushed to see the film on opening weekend, when a large per cent of sales were driven by advance ticketing. Sales dropped a steep 67 USD in its second weekend, potentially signifying that “The Eras Tour” was predominantly an opening-weekend phenomenon.
But “The Eras Tour” has still proved to be a movie event unlike any other. Within days, it became the highest grossing concert film ever in North America, not accounting for inflation. It's quickly accumulated USD 129.8 million domestically.
More was riding on “Killers of the Flower Moon,” a historical crime drama about a string of murders against the Osage nation in the early 1920s. The film, which cost at least USD 200 million to make, is the largest production yet from Apple Studios.
The streamer partnered with Paramount Pictures to release Scorsese's adaptation of David Grann's bestseller in 3,628 theatres, with plans to later stream it on a not-yet-announced date on Apple TV+.
“Killers of the Flower Moon” debuted with USD 23 million, marking the third best opening for the 80-year-old Scorsese, following “Shutter Island” (USD 41 million in 2010) and “The Departed” (USD 26.9 million in 2006).
Though Scorsese's latest opus, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, will have a hard road to reaching profitability, it's a successful launch for a 206-minute-long adult-skewing drama – a type of movie that, outside “Oppenheimer,” has struggled mightily at the box office in recent years.
And “Killers of the Flower Moon,” with rave reviews, an “A-” CinemaScore from audiences and the backing of a robust Oscar campaign, should continue to play well over the long haul. It added USD 21 million overseas.
“Killer of the Flower Moon” also marks the best wide-release debut for a film from a streaming company. While Netflix (which backed Scorsese's last narrative feature, “The Irishman,” in 2019) has charted a mostly limited approach to theatrical release, Apple and Amazon, which last year closed its purchase of MGM, have pursued more expansive theatrical strategies.
Earlier this year, Apple said it plans to spend USD 1 billion a year making movies that will have theatrical releases before reaching its streaming service. Apple is also behind Ridley Scott's upcoming “Napoleon,” with Joaquin Phoenix, which Sony Pictures will distribute November 22; and has partnered with Universal for Matthew Vaughn's “Argylle,” due out February 2.
Paramount had initially signed on to produce and distribute “Killers of the Flower Moon,” but transitioned into the deal with Apple when costs of project — shot during the pandemic — rose.
“If flexibility' is the new mantra of the theatrical movie business, then this is a significant success — it establishes a viable option for the companies,” David A. Gross, who runs the movie consulting firm Franchise Entertainment Research, said of the “Killers of the Flower Moon” launch.
As dissimilar as “Taylor Swift: The Eras Tour” and “Killers of the Flower Moon” are, they're alike in their extended run times. A double feature of the weekend's top two movies would have taken six hours and 14 minutes, not counting ads and trailers.
“Killers of the Flower Moon" also reeled in more young moviegoers than one might have expected. Paramount said 44 per cent of ticket buyers were under the age of 30.
“Exorcist: The Believer,” the horror sequel directed by David Gordon Green, came in a distant third with USD 5.6 million in its third weekend of release. The Universal, Blumhouse film has grossed USD 54.2 million domestically.
“PAW Patrol: The Mighty Movie” came in at No. 4 with USD 4.5 million in its fourth weekend. The fifth spot went to the rerelease of Tim Burton's “The Nightmare Before Christmas,” which collected USD 4.1 million 30 years after it first landed in theatres.
Estimated ticket sales for Friday through Sunday are for U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.
1. “Taylor Swift: The Eras Tour,” USD 31 million.
2. “Killers of the Flower Moon,” USD 23 million.
3. “The Exorcist: Believer,” USD 5.6 million.
4. “Paw Patrol: The Mighty Movie,” USD 4.5 million.
5. “The Nightmare Before Christmas,” USD 4.1 million.
6. “Saw X,” USD 3.6 million.
7. “The Creator,” USD 2.6 million.
8. “Leo: Bloody Sweet,” USD 2.1 million.
9. “A Haunting in Venice,” USD 1.1 million.
10. “The Blind,” USD 1 million.
