Springsteen: Deliver Me From Nowhere<\/a>\u201c), an adaptation of Colleen Hoover\u2019s best-selling novel (Paramount\u2019s romantic drama \u201cRegretting You\u201d), as well as last weekend\u2019s champion (Universal and Blumhouse\u2019s \u201cBlack Phone 2\u201d). <\/p>\n\n\t\u201cRegretting You\u201d opened in third place with a better-than-expected $12.8 million from 3,393 venues. Meanwhile, \u201cDeliver Me From Nowhere,\u201d starring \u201cThe Bear\u201d actor Jeremy Allen White as the Boss, underwhelmed at No. 4 with $9.1 million from 3,460 locations. And \u201cBlack Phone 2\u201d slid to second with $13 million from 3,460 theaters, declining 52% from its domestic debut. So far, the horror sequel has earned $48 million in North America and $80.4 million globally, marking a needed win for Blumhouse in what\u2019s otherwise been a rough theatrical year for the low-budget horror empire.<\/p>\n
\n\t\u201cChainsaw Man,\u201d which serves as a sequel to the popular manga TV series, is playing in subtitled and dubbed versions. It\u2019s also showing on premium large formats such as Imax, which carry higher ticket prices. Nearly 75% of opening weekend crowds were males, while 50% were under the age of 25 years old. Those audience members bestowed the film an \u201cA\u201d on CinemaScore exit polls, the highest grade in the top five on box office charts. Anime features tend to be front-loaded with big debuts followed by substantial drops in subsequent weekends. Even if that happens, \u201cChainsaw Man\u201d has already grossed $108 million worldwide, thanks to a robust international run.<\/p>\n
\n\t\u201cThis opening follows a big success in Asia. But it\u2019s not just Asia. Anime is doing well\u00a0everywhere\u00a0now,\u201d David A. Gross, who runs the movie consulting firm Franchise Entertainment Research, says of \u201cChainsaw Man.\u201d \u201cThis is a worldwide phenomenon.\u201d<\/p>\n
\n\t\u201cSpringsteen\u201d launched below projections at the international box office with $7 million, bringing its global tally to a soft $16.1 million. The biopic cost $55 million, and since theater owners keep roughly half of the ticket sales, the film needs to keep rocking at the box office to justify its price tag. Luckily, moviegoers appeared to like the film more than critics; \u201cDeliver Me From Nowhere\u201d landed a \u201cB+\u201d grade on CinemaScore and holds a 61% Rotten Tomatoes average.<\/p>\n
\n\t\u201cDeliver Me From Nowhere\u201d takes a less conventional approach compared to other recent musical biopics about artists like Bob Dylan (\u201cA Complete Unknown\u201d) or Bob Marley (\u201cOne Love\u201d). Instead of focusing on his mainstream rise or the making of his biggest hits like \u201cBorn in the U.S.A.\u201d or \u201cBorn to Run,\u201d director Scott Cooper\u2019s film chronicles the writing of Springsteen\u2019s 1982 critically adored (but less commercial) acoustic album \u201cNebraska.\u201d Ticket sales were initially tracking a similar start to last year\u2019s \u201cA Complete Unknown,\u201d featuring Timoth\u00e9e Chalamet as the \u201cLike a Rolling Stone\u201d composer in his earlier years. But that film, from Disney\u2019s Searchlight banner, ended up faring better with $11.6 million to start. \u201cA Complete Unknown,\u201d which had the benefit of playing over the holiday season, eventually powered to $75 million domestically and $140 million globally. <\/p>\n
\n\t\u201cAs a genre, these pictures have the natural advantage of great music,\u201d Gross says. However, he caveats that \u201cBruce Springsteen was not a controversial figure; his music was not part of a social movement; and he did not hurt himself with self-destructive behavior.\u201d Unlike commercial hits in the vein of Queen\u2019s \u201cBohemian Rhapsody\u201d or Elton John\u2019s \u201cRocketman,\u201d this film is a \u201csmaller story [\u2026] about the artist\u2019s struggle for his unique voice.\u201d<\/p>\n
\n\t\u201cRegretting You,\u201d produced by Constantin Films, earned another $10 million overseas for a worldwide start of $22.85 million. Audiences were mixed on the movie, which earned a \u201cB\u201d grade on CinemaScore and stars Allison Williams and Mckenna Grace as a mother and daughter who grapple with the aftermath of a devastating accident. \u201cRegretting You\u201d cost a modest $30 million and marks Hoover\u2019s second novel to get the big screen treatment following \u201cIt Ends With Us,\u201d which became a breakout hit with $344 million worldwide. If \u201cRegretting You\u201d sticks around on the big screen, it\u2019ll cement Hoover as a major cinematic force. Her books \u201cVerity\u201d and \u201cReminders of Him\u201d are currently being adapted by other studios for release in 2026.<\/p>\n
\n\tDisney\u2019s sci-fi tentpole \u201cTron: Ares\u201d rounded out the top five with $4.7 million from 2,940 venues in its third outing. The film, which carries a massive $180 million price tag, has grossed just $63 million domestically and $123 million worldwide to date.<\/p>\n
\n\tAlso new to theaters was Neon\u2019s supernatural thriller \u201cShelby Oaks,\u201d which bowed at No. 7 with $2.3 million from 1,823 locations. The film follows the fictional disappearance of a YouTube star and amateur ghost hunter in the abandoned town of Shelby Oaks. The movie was saddled with a \u201cC+\u201d grade on CinemaScore, which is typical for the horror genre but doesn\u2019t necessarily bode well for word-of-mouth.<\/p>\n
\n\tIn limited release, director Yorgos Lanthimos and star Emma Stone\u2019s latest collaboration, \u201cBugonia,\u201d kicked off with $690,000 from 17 locations \u2014 averaging a strong $40,588 per location. Stone plays a high-powered CEO who is kidnapped by two conspiracy theorists who\u00a0believe she is an extraterrestrial being sent to destroy Earth. The film\u2019s commercial viability will be tested when Focus Features expands \u201cBugonia\u201d nationwide next weekend.<\/p>\n
\n\tOverall, this weekend is down 22% from the same frame in 2024 when Sony\u2019s comic book threequel \u201cVenom: The Last Dance\u201d opened to $51 million. And while domestic year-to-date revenues are hovering 4% above last year, the box office is pacing around 20% below pre-pandemic times, according to Comscore. Attendance is expected to remain on the lighter side until Universal\u2019s musical adaptation \u201cWicked: For Good\u201d (Nov. 21), Disney\u2019s animated sequel \u201cZootopia 2\u201d (Nov. 26) and James Cameron\u2019s \u201cAvatar: Fire and Ash\u201d (Dec. 19) land on the big screen.<\/p>\n
\n\t\u201cOctober has fallen short of last year\u2019s comparable timeframe,\u201d says Comscore\u2019s head of marketplace trends Paul Dergarabedian. \u201cTherefore, patience will be a virtue as the industry awaits the holiday season. Thanksgiving should power solid box office\u00a0momentum heading into December.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"Another win for anime. \u201cChainsaw Man The Movie: Reze Arc,\u201d the latest offering from Sony\u2019s Crunchyroll, was No.…\n","protected":false},"author":3,"featured_media":334336,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[163973,171,82351,67,132,68],"class_list":{"0":"post-334335","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-chainsaw-man","9":"tag-entertainment","10":"tag-springsteen-deliver-me-from-nowhere","11":"tag-united-states","12":"tag-unitedstates","13":"tag-us"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@us\/115441761415050920","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/334335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/comments?post=334335"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/posts\/334335\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media\/334336"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/media?parent=334335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/categories?post=334335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/us\/wp-json\/wp\/v2\/tags?post=334335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}