How the whole “31 days exclusive if it opens above $50 million” deal work if it’s already on Peacock? Speaking of, I’m entirely willing to admit that some of this year’s biggies, like Jungle Cruise (which to be fair earned domestic figures on par with non- Fast Saga Dwayne Johnson starring vehicles like Rampage and Central Intelligence) and Candyman (which I had pegged as a breakout biggie way back in early 2020) did earn less than they otherwise would have due to pandemic-specific circumstances. It adds an interesting wrinkle for Halloween Kills which ended up with a theaters/Peacock day-and-date release after (I’d argue) The Forever Purge, Old and Candyman all ended up below $60 million domestic. This is obviously very good news for next week’s domestic debut of No Time to Die. Twain: The death of movies has been greatly exaggerated.”
“We are also pleased that patience and theatrical exclusivity have been rewarded with record results. “We are so grateful to Tom, Andy, Kelly and all of the many gifted contributors who made such a unique and fun film” stated Tom Rothman, chairman and CEO of Sony Pictures’ Motion Picture Group. Its inevitable failure in China would otherwise have been merely comic irony of little consequence. Remember that Mulan was tracking for an over/under $75 million domestic debut before its March 2020 release was canceled. We’ll see if the sequel even plays in China this time out, but a $110 million budget and a sky-high domestic debut (plus a fourth-biggest-ever $13.8 million launch in Russia) means that China can just be a bonus rather than a do-or-die territory. That’s a huge accomplishment, and maybe Sony should just let producer Matt Tolmach handle all of its IP revivals. Like Jumanji, Sony revived a franchise by crafting something with value even for those who initially didn’t care. That specificity is far more valuable than merely the abstract notion of Spider-Man meeting Venom.Īfter this blow-out debut, Sony’s incarnation is popular and distinct enough that a cross-over is a bonus rather than a necessity. Moreover, the specific camp comic sensibilities of the first film and especially this sequel, powered by Hardy’s gung-ho star turn, have created a franchise where even folks who don’t care about Venom in the abstract have at least some interest due to this specific franchise’s incarnation of the “lethal protector.” If Venom and Spider-Man ever meet up and beat each other up (either in this December’s multi-verse hopping Spider-Man: No Way Home or a future Venom flick), the value will be because Tom Holland’s MCU Peter Parker will be rubbing shoulders with Tom Hardy’s offbeat Eddie Brock. There was obviously demand for a solo Venom movie. Offering up a hammy Woody Harrelson as Carnage is obviously an added-value element. With Hardy co-writing the film with Kelly Marcel, Let There Be Carnage has been (correctly) sold as 95 minutes of “just what you liked about the last movie.” This was a case of a studio learning the right lessons from a blow-out success. But even those of us who didn’t entirely endorse the film tipped our hat to Hardy’s bonkers performance and the film’s flirtations with outright camp and metaphorical queer romance amid an otherwise conventional superhero origin story plot. As noted yesterday, audiences liked Venom more than critics, pushing the Tom Hardy/Michelle Williams origin story to $213.5 million domestic and (thanks to a bonkers-huge $269 million in China) $854 million worldwide on a $90 million budget. The surefire blockbusters, think A Quiet Place part II, F9, Shang-Chi and now Venom 2 grossed in North America what they would have (or pretty close to it) pre-Covid.Ĭredit where credit is due, Sony was right to bet on a solo Venom movie. This “bigger than the first Venom” debut shows what I’ve frankly been saying since May. Second, the relative theatrical failures of Space Jam: A New Legacy, Snake Eyes, The Suicide Squad and (arguably/possibly) Jungle Cruise are about variables associated with those would-be franchise flicks. First, despite a resurgence of the “superhero fatigue” narrative in the aftermath of Black Widow’s “mere” $80 million domestic debut and The Suicide Squad’s catastrophic $26.5 million launch this past summer, audiences will still flock to the Marvel/DC flicks they actually want to see. This opening, which Cinemark is reporting as their biggest Covid-era debut and their biggest-ever October opening, “proves” a few things.
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