Lisa Frankenstein Fails to Spark Box Office Excitement on Quiet Super Bowl Weekend

Lisa Frankenstein Fails to Spark Box Office Excitement on Quiet Super Bowl Weekend: “Lisa Frankenstein” failed to gain traction at the North American box office during its inaugural weekend in theaters. The horror comedy, penned by Diablo Cody and featuring Kathryn Newton and Cole Sprouse, garnered $3.8 million, as per studio estimates reported on Sunday. Despite its star-studded cast and creative team, the film debuted in second place during a notably sluggish Super Bowl weekend, trailing behind the spy thriller “Argylle.”

Lisa Frankenstein Fails to Spark Box Office Excitement on Quiet Super Bowl Weekend

“Argylle,” directed by Matthew Vaughn, secured the top spot at the box office with a modest $6.5 million, bringing its total domestic earnings to $28.8 million over two weekends. Notably, this $200 million production marks Apple’s first major theatrical disappointment. Despite its global earnings reaching $60.1 million, the film fell short of expectations. In contrast, “Lisa Frankenstein,” a 1980s-themed teenage spin on Mary Shelley’s classic story, marked the directorial debut of Zelda Williams, the daughter of Robin Williams. Reviews for the film were mixed to negative, with a 49% freshness rating on Rotten Tomatoes. However, praise for its “lively characters and clever, sardonic dialogue” provided a redeeming quality when faced with narrative challenges.

Exit data reveals that the audience for “Lisa Frankenstein” was predominantly female (61%) and mostly under the age of 35 (71%). Despite a low opening weekend at the box office, the film’s production budget was reportedly modest at $13 million. Set in the same universe as “Jennifer’s Body,” a film written by Diablo Cody and directed by Karyn Kusama in 2009, “Lisa Frankenstein” follows a similar trajectory. Although the earlier film received a lukewarm reception from both critics and audiences upon its initial release, it has since garnered appreciation and achieved a cult status over the past 15 years.

“The Beekeeper” secured the third position at the box office during its fifth weekend, adding another $3.5 million to its earnings. The faith-based series “The Chosen,” featuring the first three episodes of its fourth season, claimed the fourth spot with $3.2 million. Closing out the top five, “Wonka” accumulated $3.1 million in its box office performance. These rankings provide a snapshot of the competitive landscape in the film and series market during this particular weekend.

In retrospect, the weekend appears to be the slowest of the year so far, collectively accumulating around $40 million, marking a nearly 25% decline from the previous year. Interestingly, the subdued performance is not solely attributable to the big football game’s influence. In pre-pandemic years, this particular weekend managed to generate over $75 million in revenue. Examples from the past, such as the 2009 release of Liam Neeson’s “Taken” and the 2015 success of “American Sniper,” demonstrate that successful film releases can coexist with the Super Bowl, with box office figures reaching $24.7 million and $30.7 million, respectively.

This year presents a distinct scenario, with Paul Dergarabedian, senior media analyst for Comscore, citing several factors contributing to the unusual circumstances. Notably, the heightened focus on this year’s Super Bowl has turned it into a central point of interest for the entertainment world. The lack of momentum in the movie marketplace, coupled with only one new release, has further compounded the situation. Dergarabedian emphasizes that, given these conditions, it should not be surprising that, at least in the modern era, this weekend stands out as the lowest-grossing Super Bowl weekend on record.

Dergarabedian emphasizes, “I don’t think anyone wanted to take a chance releasing a big wide release this weekend.” Looking ahead, the upcoming week features the release of two more substantial films, namely “Bob Marley: One Love” and “Madame Web.” However, a notable surge in box office activity is not anticipated until the arrival of “Dune: Part Two” on March 1. Dergarabedian acknowledges that this pattern represents the natural ebb and flow for theaters, expressing confidence that the box office will rebound in due course.

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