‘Terrifier 3’ slashes ‘Joker’ to take No. 1 at the box office

NEW YORK (AP):

The choices on the movie marquee this weekend included Joaquin Phoenix as the Joker, a film about Donald Trump, a Saturday Night Live origin story and even Pharrell Williams as a Lego. In the end, all were trounced by an ax-wielding clown.

Terrifier 3, a gory, low-budget slasher from the small distributor Cineverse, topped the weekend box office with US$18.3 million, according to estimates Sunday. The film, a sequel to 2022’s Terrifier 2 (US$15 million worldwide in ticket sales), brings back the murderous Art the Clown (David Howard Thornton) and lets him loose, under the guise of Santa, at a Christmas party.

That Terrifier 3 could notably over-perform expectations and leapfrog both major studios and awards hopefuls was only possible due to the disaster of Joker: Folie à Deux. After Todd Phillips’ Joker sequel, starring Phoenix and Lady Gaga, got off to a much-diminished start last weekend (and a ‘D’ CinemaScore from audiences), the Warner Bros release fell a staggering 81 per cent in its second weekend, bringing in just US$7.1 million.

For a superhero film, such a drop has little precedent. Disappointments like The Marvels, The Flash and Shazam Fury of the Gods all managed better second weekends. Such a mass rejection by audiences and critics is particularly unusually for a follow-up to a massive hit like 2019’s Joker. That film, also from Phillips and Phoenix, grossed more than US$1 billion worldwide against a US$60 million budget.

The sequel was pricier, costing about US$200 million to make. That means Joker: Folie à Deux is headed for certain box-office disaster. Globally, it’s collected US$165.3 million in ticket sales.

“This is an outlier of a weekend if ever there was one,” said Paul Dergarabedian, senior media analyst for Comscore. “If you had asked anyone a month ago or even a week ago, Would Terrifier 3 be the number-one movie amongst all these major-studio films and awards contenders? To have a movie like this come along just shows you that the audience is the ultimate arbiter of what wins at the box office.”

The Joker slide allowed The Wild Robot, the acclaimed Universal Pictures and DreamWorks animated movie, to take second place in its third weekend with US$13.4 million. Strong reviews for Chris Sanders’ adaptation of Peter Brown’s book have led the movie, with Lupita Nyong’o voicing the robot protagonist, to US$83.7 million domestically and US$148 million worldwide.

The young Donald Trump film The Apprentice, distributed by Briarcliff Entertainment in 1,740 theatres, opened in a distant 10th place, managing a paltry US$1.6 million in ticket sales. While expectations weren’t much higher, audiences still showed little enthusiasm for an election-year origin story of the Republican nominee.

‘ELECTION INTERFERENCE’

If headlines translated to ticket sales, Ali Abbasi’s film might have done better. The Apprentice, starring Sebastian Stan as Trump under the mentorship of Roy Cohn (Jeremy Strong), has been making news since its debut at the Cannes Film Festival, up to its last-minute release just weeks before the election. The Trump campaign has called the movie “election interference by Hollywood elites.”

Abbasi’s film, set in the 1970s and 1980s, tested moviegoer’s appetite for a political film in an election year. Major studios and specialty labels passed on acquiring it in part because of the question of whether a movie about Trump would turn off both liberal and conservative moviegoers, alike. The Apprentice will depend on continued awards conversation for Strong and Stan to make a significant mark in theatres before voters turn out at the polls.

Jason Reitman’s Saturday Night failed to ignite its nationwide expansion. The film, with an ensemble cast led by Gabriel LaBelle’s Lorne Michaels, collected US$3.4 million from 2,288 locations. The Sony Pictures release, about the backstage drama as the NBC sketch comedy show is about to air for the first time in 1975, will likely need to make more of an impact with audiences to carry it through awards season.

Piece by Piece, a Pharrell Williams documentary-biopic hybrid animated in Lego form, had also been hoping to click better with moviegoers. The acclaimed Focus Features release, directed by veteran documentarian Morgan Neville ( 20 Feet From Stardom, Won’t You Be My Neighbor?), opened with US$3.8 million from 1,865 theatres.

But the debut for Piece By Piece, while low for a Lego animated movie, was very high for a documentary. Piece By Piece, which had the weekend’s best CinemaScore, an “A” from audiences, could play well for weeks to come. The film, which was modestly budgeted at $16 million, is also likely to end up the year’s highest grossing doc – if Piece by Piece can be called that.

We Live in Time, the weepy drama starring Florence Pugh and Andrew Garfield, had one of the year’s best per-theatre averages in its five-screen opening. The A24 release, which will expand nationwide next weekend, debuted with US$255,911 and a US$51,000 per-screen average.

Outside of the success of Warner Bros.’ Beetlejuice Beetlejuice (which pulled in US$7.1 million in its six weekends of release despite recently launching on video-on-demand), Hollywood’s fall has struggled to get going. Low-budget horror, like Terrifier 3, continues to be one good bet in theatres, but this autumn has been mostly characterised by bombs like Joker: Folie à Deux and Megalopolis.

This time last year, Taylor Swift was giving the box office a massive lift with The Eras Tour. This weekend compared with the same time last year was down 45 per cent according to Comscore.

Estimated ticket sales for Friday through Sunday at US and Canadian theatres, according to Comscore. Final domestic figures will be released Monday.