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    Home » “Sonic 3” and “Mufasa” Battle Atop Weekend Box Office

    “Sonic 3” and “Mufasa” Battle Atop Weekend Box Office

    By SHOOTSunday, December 29, 2024No Comments353 Views
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      This image released by Paramount Pictures and Sega of America shows Jim Carrey, as Ivo Robotnik, in a scene from "Sonic the Hedgehog 3." (Paramount Pictures and Sega of America, Inc. via AP)

    This image released by Disney shows a young Mufasa, voiced by Braelyn Rankins, in a scene from "Mufasa: The Lion King." (Disney via AP)

    By Lindsey Bahr, Film Writer

    LOS ANGELES (AP) --

    Two family films dominated the holiday box office this week, with “Sonic the Hedgehog 3” winning the three-day weekend over “Mufasa” by a blue hair.

    Paramount’s Sonic movie earned $38 million, while “Mufasa” brought in $37.1 million from theaters in the U.S. and Canada, according to studio estimates Sunday. On a normal weekend counting Friday, Saturday and Sunday ticket purchases, the winner would be somewhat clear. But when the Christmas holiday falls on a Wednesday as it did this year, the studios look at two sets of numbers: The five-day earnings and the three-day weekend earnings. With the five-day tally, The Walt Disney Co.’s “Mufasa” had the edge, bringing in $63.8 million.

    It all adds up to a rather robust theatrical landscape, helped by the continued success of “Wicked” and “Moana 2,” which are on their sixth and fifth weekends, respectively.

    The vampire horror “Nosferatu” also debuted fairly triumphantly. Robert Eggers’ modern reimagining of a 1922 silent film starring Nicholas Hoult and Lily-Rose Depp rose to the top of a starry batch of Christmas Day newcomers, which included the Bob Dylan biopic “A Complete Unknown,” with Timothée Chalamet; the erotic drama “Babygirl” with Nicole Kidman; and “The Fire Inside,” about boxer Claressa Shields.

    “Nosferatu” landed in third place with $21.2 million from the weekend and $40.3 million from its first five days. Not accounting for inflation, it had the best Christmas Day opening ever for a genre film, with $11.6 million (besting “The Faculty’s” $4.4 million in 1998). Focus Features released the R-rated film in 2,992 theaters.

    It was a gamble to open “Nosferatu” on Christmas, when family films or all-ages blockbusters tend to be prioritized. But it paid off, attracting the coveted 18 to 34-year-old demographic to theaters.

    “It was a risky move, but we knew that we had such a great film,” said Lisa Bunnell, who leads distribution for Focus Features. “A lot of people thought we were insane. But I think the more that people thought we were crazy, the more we all felt like it was the right thing to do.”

    The response to the unconventional counter-programming was gratifying. The sarcophagus-inspired popcorn buckets are even reselling for over $100.

    “People keep talking about ‘how do we get people back into the movies?’ I think the only way you can get people to go back is to shake it up,” Bunnell said. “You don’t just spoon feed them the same things over and over again.”

    The Bob Dylan movie, directed by James Mangold, also got off to a bright start with $11.6 million over the weekend and $23.2 million since Christmas. The 5-day total is a record for Searchlight Pictures since Disney acquired the company in early 2019. It’s been well received by both critics (96% on Rotten Tomatoes) and audiences (A on CinemaScore) and will likely get more of a boost from the awards race.

    “Babygirl,” an A24 release from filmmaker Halina Reijn, played on 2115 screens, earning $4.4 million over the weekend and $7.2 million since Christmas. The film stars Kidman as a married, buttoned-up CEO who begins an affair with a young intern at the company, played by Harris Dickinson. Kidman won the best acting prize for her performance at the Venice Film Festival.

    “The Fire Inside,” from Amazon MGM Studios, meanwhile got a bit lost in the mix despite strong reviews. It has earned a total of $4.3 million, with $2 million coming from weekend showings where it played in 2006 theaters.

    Thanksgiving releases continued to perform well through the Christmas timeframe. Fourth place went to “Wicked,” which earned another $19.5 million, bringing its domestic total to $424.2 million. On Tuesday, the lavish movie musical will also be available to rent or purchase at home. It’s a move that has drawn some critics who believe making it available at home after only 40 days in theaters will cannibalize profits.

    “Moana 2” rounded out the top five films this weekend with $18.2 million. The Disney movie has made $882.5 million globally and is closing in on $400 million domestically.

    Christmas Day itself was massive for the industry, with $61 million in ticket sales. Thursday was nearly as big, with $50 million.

    “Every day was like Saturday at the box office because of the way the holidays lined up,” said Paul Dergarabedian, Comscore’s senior media analyst.

    Comscore is projecting that the year will net out with about $8.75 billion in domestic box office receipts. That’s down about 3.3% from last year, which cracked $9 billion, and the pre-pandemic normal of $11 billion.

    Final domestic figures will be released Monday. Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore, are:

    1. “Sonic the Hedgehog 3,” $38 million.
    2. “Mufasa: The Lion King,” $37.1 million.
    3. “Nosferatu,” $21.2 million.
    4. “Wicked,” $19.5 million.
    5. “Moana 2,” $18.2 million.
    6. “A Complete Unknown,” $11.6 million.
    7. “Babygirl,” $4.4 million.
    8. “Gladiator II,” $4.2 million.
    9. “Homestead,” $3.2 million.
    10. “The Fire Inside,” $2 million.

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    Category:News
    Tags:box officeMufasa: The Lion KingSonic the Hedgehog 3



    Review: Writer-Director Ian Tuason Makes Feature Debut With “Undertone”

    Friday, March 13, 2026
    This image released by A24 shows Nina Kiri in a scene from "Undertone." (Dustin Rabin/A24 via AP)

    Writer-director Ian Tuason's feature debut, the sonic-driven horror "Undertone," has, at least at the outset, an appealingly stripped-down quality. The 30-something Evy Babic (Nina Kiri) lives with her dying, comatose mother (Michèle Duquet). The movie never leaves their small, two-story home. Upstairs, Evy's mother lies wordlessly in a bed. Downstairs, Evy, at 3 a.m. puts on headphones, sits in front of a microphone and calls up her paranormal podcast co-host Justin (Adam DiMarco's voice) to talk "all things creepy." It's a testament to Tuason's evident filmmaking talent that, with these bare bones, "Undertone" swells into a gripping and unsettling experience. This is a movie that summons many of its scares with a sudden boost in audio levels, the thunderous tick of a clock or the scream of … a tea kettle. It's even rated "R" not for bloodcurdling violence or satanic ghouls but, simply, "language." It's these subtle qualities that make "Undertone" a spare but deftly dense film and Tuason a filmmaker to watch. It's the movie's disappointing second half, though, that breaks its quiet spell. After conjuring a tapestry of tension through narrative drips, as well as literal ones, Tuason throws in the whole kitchen sink, drowning out "Undertone" with a cacophony of genre cliches. Ancient Christian lore is invoked, as are children's lullabies, and the riveting nuance of "Undertone" slips away in all the feedback. "I want it to be over," Evy tells Justin. "Is that a bad thing to say?" Evy's mother hasn't eaten in two days, and her emotional exhaustion is clear when she first connects with her London-based co-host. You might here be wondering if the movie digs into this guilt, but "Undertone" is better at leaving carefully placed clues than following... Read More

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