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The debut of “Lisa Frankenstein” failed to spark significant interest at the North American box office, earning a modest $3.8 million in its opening weekend. The horror comedy, penned by Diablo Cody and featuring actors Kathryn Newton and Cole Sprouse, landed in second place on what was a notably tepid Super Bowl weekend, trailing behind the number one film, the espionage movie “Argylle.”
Directed by Matthew Vaughn, “Argylle” took the top spot but with a low haul of $6.5 million, increasing its domestic cumulative to $28.8 million over two weekends. Unfortunately, the film, which was a pricey $200 million investment for Apple, is considered Apple’s inaugural major box office failure. It was distributed in North American cinemas by Universal Pictures, playing across 3,605 locations, and has globally amassed $60.1 million so far.
The launch of “Lisa Frankenstein” took place in 3,144 cinemas. The movie, a 1980s teenage twist on Mary Shelley’s iconic story, is Zelda Williams’s first undertaking as a director. She is the daughter of renowned actor Robin Williams. Critical reception has been mixed to negative, holding a 49% approval rating on Rotten Tomatoes. AP’s Mark Kennedy described the film in his review as an inelegantly cobbled-together creation reminiscent of prior films, one that is muddled and resoundingly insipid.
Drawing in a predominantly female audience (61%) and viewers generally under 35 years old (71%), according to exit polls, “Lisa Frankenstein” debuted with low ticket sales. However, the film was produced on a comparably modest budget of around $13 million. The storyline is based in the same realm as “Jennifer’s Body,” another creation of Cody, directed by Karyn Kusama, which initially had a disappointing release in 2009 but has since cultivated a following and cult status over the past decade and a half.
In its fifth weekend, “The Beekeeper” managed to secure the third spot, grossing an additional $3.4 million. The faith-based program “The Chosen,” with its fourth season’s initial three episodes, ranked fourth with $3.2 million, and “Wonka” completed the top five with earnings of $3.1 million.
This weekend is projected to be the lowest-grossing weekend of the year thus far, with industry-wide earnings hovering at about $40 million—almost 25% lower than the previous year. The Super Bowl is not the sole factor to blame; comparable weekends before the pandemic were able to yield more than $75 million in earnings. It may not be until the premiere of “Dune: Part Two” on March 1 that the box office sees a substantial uptick.
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FAQs about ‘Lisa Frankenstein’ and the Super Bowl Weekend Box Office Slump
- How much did ‘Lisa Frankenstein’ make in its opening weekend?
- Which movie topped the North American box office on the Super Bowl weekend?
- What is the current global earning of ‘Argylle’?
- What was the budget for ‘Lisa Frankenstein’?
- How do critics rate ‘Lisa Frankenstein’?
- How did this year’s Super Bowl weekend box office compare to previous years?
“Lisa Frankenstein” grossed $3.8 million in its first weekend at the box office.
“Argylle” was the highest-grossing film on Super Bowl weekend, earning $6.5 million.
Globally, “Argylle” has earned $60.1 million to date.
The production budget for “Lisa Frankenstein” was reported to be $13 million.
“Lisa Frankenstein” received mixed to negative reviews, with a 49% score on Rotten Tomatoes.
This year’s Super Bowl weekend box office was significantly lower, with an overall industry earning of about $40 million, nearly 25% down from last year, and substantially lower than the +$75 million generated in pre-pandemic years.
Conclusion
The release of “Lisa Frankenstein” did not meet expectations at the box office, reflecting a broader trend of low attendance and revenue on Super Bowl weekend. While “Argylle” was the weekend’s top earner, it too fell short of making a significant impact. Both films’ performances indicate a tepid market that may not see improvement until highly anticipated releases such as “Dune: Part Two” arrive in cinemas. The box office slumps, like the one experienced during this Super Bowl weekend, show an industry grappling with variable audience attendance and the enduring effects of streaming services on theater revenue.
