Oh boy, folks, buckle up because the weekend box office just delivered a jaw-dropping reality check that might leave you questioning the magic of Hollywood blockbusters! Dreams of digital worlds and epic comebacks crumbled under the weight of disappointing ticket sales, and we're diving deep into the numbers to uncover why. But here's where it gets controversial—could this signal the end of sci-fi franchises as we know them, or is it just a temporary glitch in an ever-evolving industry? Stick around, because this is the part most people miss: the hidden stories behind the flops that reveal bigger trends in filmmaking and audience tastes.
Disney's latest sci-fi adventure, "Tron: Ares," stumbled out of the gate in its first weekend, raking in a mere $33.5 million from approximately 4,000 theaters across North America. For a franchise that's been around for nearly five decades but never really dominated the charts, this lukewarm response feels like a letdown. The real kicker? The film carries a hefty production budget of $180 million, plus untold millions pumped into marketing, making every dollar earned feel like a drop in the ocean. Internationally, it didn't fare much better, adding just $27 million to the pot and leaving the global total at $60 million by Sunday's end.
Going into the weekend, industry insiders had hoped for a solid domestic launch in the $45 million to $50 million range for "Tron: Ares." Despite earning a respectable "B+" rating in CinemaScore exit polls—which, for beginners, is a quick audience feedback system where moviegoers grade films on a scale from A to F— the action-packed tale failed to broaden its appeal beyond its core fanbase of young men and boys. As a result, it fell short of matching the opening weekend of its 2010 predecessor, "Tron: Legacy," which debuted at $44 million (before adjusting for inflation). At least it outperformed the original 1982 "Tron," which started with a modest $4.7 million on its path to becoming a cult classic. Starring Jared Leto, Greta Lee, and Evan Peters, and helmed by Joachim Rønning (fresh from directing "Pirates of the Caribbean" films), the story explores humanity's initial encounter with artificial intelligence when a virtual program makes the leap into our physical reality—a concept that sounds thrilling on paper but apparently didn't light up the screens for many viewers.
"The film looked promising in tracking, but enthusiasm fizzled out in the final 10 days, dragging down the opening," explained David A. Gross, head of the movie consulting firm Franchise Entertainment Research. He went on to note that science fiction often thrives abroad, thanks to its universal appeal: stunning visual effects, good-versus-evil narratives, and stories that transcend cultural barriers. It's a reminder that what flops in one market might soar in another, highlighting how global audiences sometimes crave escapism through familiar tropes.
But the weekend's disappointments didn't stop with "Tron: Ares." Two other fresh releases—Channing Tatum's dramatic comedy "Roofman" and Jennifer Lopez's musical "Kiss of the Spider Woman"—also faced tough crowds, underscoring a broader box office slump for newcomers. "Roofman" landed in second place with $8 million from 3,340 locations, hitting the lower end of expectations. The film, starring Tatum as a real-life ex-soldier and thief who breaks out of prison and hides in a Toys "R" Us store, cost just $19 million to make, so it's not a huge gamble for Paramount (which distributed it after Miramax developed and produced it). Directed by Derek Cianfrance, it earned a "B+" on CinemaScore and an impressive 85% on Rotten Tomatoes, suggesting positive reviews and buzz could help it linger in theaters longer than its opening weekend.
Meanwhile, "Kiss of the Spider Woman" debuted at No. 13 with a disappointing $840,000 from 1,300 screens, well below its projected $1.5 million to $3 million. This independently financed remake of the 1985 classic (directed by Héctor Babenco, which made $17 million worldwide), was bankrolled for $34 million before Roadside Attractions and Lionsgate picked it up post-Sundance, leaving the financial losses up in the air. Under Bill Condon's direction, the story unfolds in an Argentinian prison, following a gay window dresser who spins elaborate fantasies about his idolized screen star to cope with incarceration's horrors. Even without inflation adjustments over four decades, this version might struggle to rival its predecessor's success, raising questions about why remakes sometimes fail to capture lightning in a bottle twice.
As for the rest of the top 10, holdover films filled in the gaps, proving that established hits often outlast the rookies. Sony's inspirational drama "Soul on Fire," a faith-based tale of a man who overcomes severe burn injuries, claimed sixth spot with $2.8 million from 1,720 theaters. Its "A" CinemaScore grade shows it struck a chord with audiences, a heartwarming contrast to the weekend's bigger disappointments.
Leonardo DiCaprio's action-comedy "One Battle After Another" held steady in third place, pulling in $6.8 million from 3,127 venues—a 38% drop from the previous week. With $56.3 million domestically and $125 million worldwide so far, the film, which reportedly cost over $130 million, needs to keep drawing crowds to recoup its massive investment. For context, ticket revenue is usually split evenly between studios and cinemas, so it might require around $300 million globally just to break even—an enormous hurdle for any movie.
Dwayne Johnson's R-rated sports drama "The Smashing Machine" plummeted 70% in its second weekend, earning $1.7 million from 3,321 theaters. Produced for $50 million by A24, it has only amassed $10.1 million total, positioning it as a potential major loss for the studio.
In more limited settings, Luca Guadagnino's #MeToo drama "After the Hunt" grossed $154,467 from just six screens, averaging a strong $25,745 per location. Featuring Julia Roberts as a college professor navigating accusations against a colleague (played by Andrew Garfield) brought by her mentee (Ayo Edebiri), the film explores personal and professional turmoil. Its true market test arrives next weekend when Amazon MGM rolls it out wider.
More updates are on the way, but for now, let's unpack this: In a world where franchises like Tron were once cutting-edge, is the genre losing its sparkle, or are modern audiences prioritizing different stories? And this is the part most people miss—the role of marketing in building hype versus actual word-of-mouth. What do you think sparked these underwhelming debuts? Was it poor timing, outdated concepts, or something else entirely? Do you believe remakes like "Kiss of the Spider Woman" deserve a second chance, or should studios focus on fresh ideas? Share your opinions in the comments—we'd love to hear your take and debate the future of blockbuster cinema!
