By Lindsey Bahr
Alex Garland's provocative " Civil War " didn't only ignite the discourse. The film also inspired audiences to go to the cinemas this weekend where it surpassed expectations and earned $25.7 million in ticket sales in North America, according to studio estimates Sunday.
It's the biggest R-rated opening of the year to date and a record for A24, the studio behind films like "Everything Everywhere All At Once" and "The Iron Claw." "Civil War" also unseated "Godzilla x Kong " from its perch atop the box office. The titan movie from Warner Bros. had held the No. 1 spot for the past two weekends.
"Civil War," starring Kirsten Dunst, Wagner Moura and Cailee Spaeny as front-line journalists in the near future covering a devastating conflict in the U.S. and trying to make their way to Washington, D.C. The story, written by Garland, who is also the mind behind "Ex Machina" and "Annihilation," imagines a U.S. in which California and Texas have united against a president who has disbanded the FBI and given himself a third term.
Though entirely fictional, "Civil War" has been inspiring debates since the first trailer that have extended beyond the musings of film critics and traditional reviews. This weekend, The New York Times ran two opinion pieces related to the movie, one by Stephen Marche and another by Michelle Goldberg. There were also pieces on CNN and Politico.
Going into the weekend, projections pegged the film to debut in the $15 to $24 million range. The studio said "Civil War" overperformed in markets "from LA to El Paso." The data analytics company EntTelligence reported that the film has attracted over 1.7 million patrons this weekend and that the top three markets were Los Angeles, New York and Dallas.
"The title alone is enough to spark a conversation in a year where the political discourse is top of mind," said Paul Dergarabedian, the senior media analyst for Comscore. "And they couldn't have picked a better date. This movie is perfectly timed in a month that is very quiet."
The film opened on 3,838 screens in the U.S. and Canada, including IMAX. It's the most expensive movie that the studio has ever made, with a production budget of $50 million, which does not account for millions spent on marketing and promotion.
IMAX showings of "Civil War," which was playing on 400 of the large format screens, accounted for $4.2 million, or 16.5% of the domestic total.
Reviews have been largely positive. It's currently at 83% on Rotten Tomatoes, with a 77% audience score. Its CinemaScore was a B-, which has sometimes indicated that word of mouth might not be strong going forward. But that might not be the case with "Civil War," which doesn't have a tremendous amount of competition over the next few weeks until "The Fall Guy" opens on May 3.
"You have to take all the metrics together, including the competitive landscape," Dergarabedian said.
But it is a notable win for the studio, which doesn't always open films nationwide out of the gates. Before "Civil War," A24's biggest debut was the Ari Aster horror "Hereditary," which opened to $13.6 million in 2018.
"This isn't destined to be a $200 million global blockbuster. But it's a very high-profile win for A24," Dergarabedian said. "They're a studio that pushes the envelope. They're a brand associated with a certain level of quality and filmmaking expertise, pushing boundaries and taking risks. It's well-earned over the years."
Second place went to "Godzilla x Kong: The New Empire," which earned $15.5 million in its third weekend to bring its running domestic total to nearly $158 million. Another "Empire" movie, Sony's "Ghostbusters: Frozen Empire," took third place in its fourth weekend with $5.8 million. It's now at $160 million worldwide.
Rounding out the top five was Universal and DreamWorks' "Kung Fu Panda 4," in fourth with $5.5 million in weekend six, and "Dune: Part Two" with $4.3 million in its seventh weekend. "Dune 2" has now earned $272 million domestically.
This weekend also saw the box office year-to-date comparisons take a big hit. Last year, "The Super Mario Bros. Movie" brought in over $92 million in its second weekend in theaters. On the same weekend in 2023, the top 10 accounted for over $142 million, compared to this year's $68.4 million. The year to date is back down to 16% after seeing some recovery with the success of "Dune: Part Two."
"The box office has been a seesaw," Dergarabedian said. "But we all knew this was going to be a rough month for comps because of 'Mario.'"
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.
1. "Civil War," $25.7 million.
2. "Godzilla x Kong: The New Empire," $15.5 million.
3. "Ghostbusters: Frozen Empire," $5.8 million.
4. "Kung Fu Panda 4," $5.5 million.
5. "Dune: Part Two," $4.3 million.
6. "Monkey Man," $4.1 million.
7. "The First Omen," $3.8 million.
8. "The Long Game," $1.4 million.
9. "Shrek 2," $1.4 million.
10. "SUGA – Agust D Tour 'D-DAY' The Movie," $990,881.
Lindsey Bahr is an AP film writer
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More