Staff Writer
The long-awaited superhero film “The Flash” from DC and Warner Bros. debuted to $55 million in North American theaters in its first three days, according to studio estimates on Sunday.
Despite being a respectable sum by regular standards, a significant increase from DC’s most recent movie, the “Shazam!” sequel, and enough for a top-of-the-chart opening, it’s also modest by superhero standards, where $100 million premiere weekends are practically routine.
Generally speaking, the multiplex was packed throughout the weekend. The Blackening and the brand-new Pixar family movie “Elemental” were also released alongside “The Flash.” With $720,000 from just six theaters and the distinction of having the highest per-theater average ($132,211) since the beginning, Wes Anderson’s star-studded “Asteroid City” was the lone huge success.
The challenges that “The Flash” faced were greater than those of the economy. Not because of the movie itself, but rather because of its star Ezra Miller’s off-screen issues, which include arrests, unpredictable behavior, and allegations of misbehavior, it has been in the news frequently over the past year. Miller has expressed regret and stated that they are getting mental health care. With the exception of the premiere, they also decided not to participate in the usual press tour.
However, the studio’s management remained bullish on the $200 million film’s release, certain of its caliber and significance to upcoming DC Studios plotlines. Because of the multiverse’s introduction in the film, Michael Keaton’s Batman was able to make a cameo appearance alongside Ben Affleck’s Batman.
Analysts projected that “The Flash” will play in 4,234 domestic venues and make at least $70 million in its first three days. Now, taking into account Monday’s Juneteenth holiday, it is anticipated to earn $64 million in its first four days.
While reviews were divided, they were mostly favorable, scoring a 67% on Rotten Tomatoes. Despite some “breezily clever and entertaining” moments, according to AP’s Jocelyn Noveck, “the final act bogs down in what feels like an endless, generic CGI battle and a kitchen-sink resolution.”
The movie received only a B from audiences surveyed for CinemaScore, which traditionally hasn’t been good for word-of-mouth potential or longevity. However, there is a small break in the timetable before the release of “Indiana Jones and the Dial of Destiny,” the following big box office success, on June 30. The biggest releases coming up are the R-rated Jennifer Lawrence comedy “No Hard Feelings” and the countrywide release of “Asteroid City.”
With an estimated $29.5 million from 4,035 theaters in North America, “Elemental” came in second, setting a new low for Pixar’s three-day openers. Previously, “The Good Dinosaur” and “Onward,” both of which had $39 million debuts, held that title.
With a 76% rating on Rotten Tomatoes, “Elemental” received favorable reviews from both audiences and critics (A CinemaScore). Although it is “probably in the lower half” of the Pixar canon, Jake Coyle of the AP commented that it is “sincere and clever, with a splash of dazzle,” and that it “comes closer to rekindling some of the old Pixar magic than some recent entries.” “Elemental” debuted to $44.5 million internationally, including $15 million from 17 foreign markets.
In its third weekend, “Spider-Man: Across the Spider-Verse” came in a very close third with $27.8 million. Through Monday, Sony anticipates that its domestic total will have grown to $285 million.
In its second weekend, “Transformers: Rise of the Beasts” experienced a sharp 67% decline and added $20 million to finish fourth. With $11.6 million over its fourth weekend, “The Little Mermaid” remained in fifth position.
The second major release this weekend was “The Blackening,” a unique horror-comedy about a bunch of Black friends who get together for a weekend away and find themselves on the run from a killer as a sort of counterprogramming to the bigger branded films.
After receiving favorable reviews at its world premiere at the Toronto International Film Festival, Lionsgate and MRC bought the $5 million film from director Tim Story. “The Blackening” generated an estimated $6 million after being shown in 1,775 theaters.
