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‘M3gan’ Beats Box Office Predictions, Sailing Into Second Place


Hollywood has a recent scream queen.

“M3gan,” a campy PG-13 horror movie starring a mean-girl robot (insert snotty hair flip here), sold an estimated $30.2 million in tickets in the US and Canada over the weekend, or about 30 percent greater than box office analysts had predicted. Universal Pictures, which released the $12 million horror comedy, has already fast-tracked a sequel.

Reviews were 94 percent positive, in line with Rotten Tomatoes. That level of critical response alone made “M3gan” something of a triumph: In the case of well-worn movie concepts, the killer doll is true up there with “mediocre guy attracts supermodel.” Coming up with a fresh take is sort of unimaginable. (Chucky is 35 years old and has been the main focus of eight movies and a TV series. The demonic Annabelle has headlined three movies since 2014.)

Horror movies proceed to do well in theaters — in contrast to stylish dramas, which have struggled — because they’re fun to experience at midnight with strangers. “Young moviegoers need to see them with their friends, on the massive screen, for the utmost thrill,” said David A. Gross, a movie consultant who publishes a newsletter on box office numbers. About 44 percent of the audience for “M3gan” was under 24, in line with Universal.

“M3gan” can be notable since it reflects the way by which comedy has evolved as a theatrical offering. Traditional comedies have struggled to sell tickets. But comedy has develop into a much bigger a part of other kinds of movies, with Marvel superhero spectacles as the plain example. In some ways, “M3gan” is a comedy disguised as a horror film; the four-foot robot doll humorously breaks into song, exhibits weird dance moves and wryly throws shade — when she’s not murdering.

The director-writer-producer James Wan, known for “The Conjuring,” “Aquaman” and “Saw” franchises, got here up with the thought for “M3gan,” which stands for Model 3 Generative Android. (It’s pronounced Megan.) Warner Bros. passed, partly since it already has Annabelle, prompting Wan to take the thought to the megaproducer Jason Blum, whose Blumhouse Productions is affiliated with Universal. Gerard Johnstone, a relative newcomer, directed “M3gan” from a screenplay by Akela Cooper (known for “Luke Cage” and “Malignant”).

The director James Cameron takes us back to the world of Pandora for the sequel “Avatar: The Way of Water.”

Universal backed “M3gan” with an inventive marketing campaign. TikTok figured prominently into the studio’s efforts, as did Twitter, where an account ostensibly controlled by M3gan began sparring with one run by Chucky.

Hollywood is hoping that 2023 will mark a return to box office form after three pandemic-battered years. Cinemas in North America sold roughly $7.5 billion in tickets last yr, a 34 percent decrease from 2019, in line with EntTelligence, a research firm. That total equated to about 626 million tickets. Before the coronavirus pandemic, Hollywood was selling about 1.2 billion tickets annually in the US and Canada.

Worldwide ticket sales for 2022 totaled roughly $26 billion, in line with Gower Street Analytics, down about 35 percent from 2019.

Boding well for a box office recovery, “Avatar: The Way of Water” (Disney), directed by James Cameron, has overcome a slower-than-expected start and a series of severe winter storms in the US and Canada to gather an estimated $1.7 billion worldwide. The ultraexpensive “Way of Water” should cross the $2 billion mark, analysts say, making it one in every of the five best-selling movies of all time and justifying Disney’s plans for 3 more “Avatar” installments.

Over the weekend, “The Way of Water” took in about $45 million at domestic theaters, easily enough for first place. “M3gan” was second, followed by the animated “Puss in Boots: The Last Wish” (Universal), which had $13.1 million in ticket sales, for a three-week domestic total of $88 million ($130.8 million worldwide).

Dramas proceed to struggle, nonetheless.

Damien Chazelle’s star-studded “Babylon” (Paramount), an extreme tackle the hedonism of early Hollywood, failed to realize traction in its third weekend in theaters, selling just $1.5 million in tickets, for a recent total of $13.5 million. It cost nearly $80 million to make, not including marketing.

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