Avatar: The Way of Water has proved the bumper summer hit exhibitors hoped it would be.
Some four weekends in, the James Cameron sequel – with a cume of $66.7 million – is already the the sixth highest grossing film to ever be released in Australia. Over the weekend, its $8.3 million result saw it surpass 2019’s The Lion King, which ended at $64.1 million. The 2009 original Avatar made $115.8 million in Australia.
Globally, the New Zealand-shot Disney project is now the seventh highest grossing film of all time, at $US1.7 billion, overtaking Jurassic World. There is much musing now as to where the film will finish, and whether it will cross the $US2 billion mark.
Arguably part of that speculation has been encouraged by Cameron himself, who told GQ prior to its release that to break even, the film would “have to be the third or fourth highest-grossing film in history”. The highest grossing film of all time, worldwide, is of course the original, which made $US2.9 billion.
Among those pleased with the performance of Avatar 2 is IMAX Melbourne acting manager Jeremy Fee, who tells IF it has beaten expectations.
“We’ve over-indexed significantly on the sequel with 80 back-to-back, sold-out sessions and the movie now holds our second biggest opening fortnight of all time,” he says.
“It’s showing no signs of slowing down and we expect the stunning 3D and immersive impact of the film will continue to drive audiences into IMAX through January and February.”
Village Cinemas national programming manager Geoff Chard notes Avatar: The Way of Water is currently tracking $3.5 million ahead of the 2009 original, and shows no sign of slowing down.
“Last weekend’s drop of only 22 per cent is not too far from the original Avatar’s 15 per cent drop on the same weekend, so all signs are very encouraging for this film to at least crack the #2 spot on the Australian all-time box office list,” he says.
“On the Village circuit the Gold Class business has been incredible, with sessions selling out across the board. Over the Christmas/New Year period it was nearly impossible to buy a ticket. And it is already our highest-grossing title in 4DX, smashing the previous record set by Jurassic World: Fallen Kingdom, with weeks more business left to run.”
Hayden Orpheum Picture Palace GM Alex Temesvari tells IF that while the sequel had a smaller opening weekend than expected, it has held “incredibly well” week after week.
“If it stays the course will become one of our best earners since the pandemic. The holiday release period appears to be the perfect fit for this franchise,” he says.
While only half of his sites have 3D capabilities, Majestic Cinemas CEO Kieren Dell reflects the film is still playing well.
“Even at those sites with 3D, 3D is around he 35-45 per cent range, which is strong for us and encouraging us to keep running 3D through January,” he says.
“It would appear to have good legs as people are hearing about it and finding time in their diaries for a long movie. The downside of the long run time has been less session choices, but you can’t argue with its numbers and has been a success.”
Overall, the box office is up compared to this weekend last year. However, some exhibitors have hoped for more given the titles in the market, with Wallis Cinemas programming manager David Simpson reflecting it has been a “hot and cold holiday period”.
Temesvari agrees there was a soft start, but notes things have picked up since New Years Day.
“I imagine the amazing weather and being the first year that people were able to travel without restrictions or fear of isolation has worked against us,” he says.
According to Numero data, last weekend saw cinemas generate $16.5 million, with roughly some 50 per cent of that made via Avatar: The Way of Water. The result is down just 8 per cent on the previous weekend, thanks to strong holds on many titles.
Besides the adventures in Pandora, family fare has proved the next most popular with audiences over the break.
In at no.2 last weekend was Universal’s Puss in Boots: The Last Wish, which made $2.3 million, advancing to $9.2 million, while Sony’s Lyle, Lyle, Crocodile came in at third with $1.4 million, pushing its gross to $6.4 million.
Both films premiered Boxing Day but are considered by Numero as in their second weekends; Puss in Boots up 5 per cent on its opening, and Lyle, Lyle Crocodile down only 8 per cent.
“Puss in Boots had a slowish start but is gathering steam (especially on rainy days) and being well received, and Lyle Lyle Crocodile is outperforming other markets and not too far behind,” Dell says.
Chard argues that family titles, including Blueback, have been impacted somewhat by Avatar: TWOW, noting that even last weekend Avatar: TWOW took roughly the same box office as every other film in the market combined.
New Years Day release, Sony’s Tom Hanks-starrer A Man Called Otto, has worked with adult audiences. It jumped a whopping 178 per cent in its second frame to $1.3 million, taking it to $2.9 million overall.
Whitney Houston: I Wanna Dance With Somebody, starring Naomi Ackie as the late singer, delivered $786,049 in its second outing, moving to $3.8 million.
While the numbers are decent, Temesvari regards the Sony biopic as “the biggest disappointment of the season”, noting it is “by all accounts a real crowd pleaser” but seems to have not turned up on many people’s radars.
“Perhaps during a different time of year and with a different marketing strategy that film would have been a smash,” he says.
Awards favourite The Banshees of Inisherin is performing well on some circuits, such as at Sydney’s Orpheum, with the Disney title gathering $452,194 in its sophomore weekend to move $2.5 million.
Steven Spielberg’s The Fabelmans was among last weekend’s newcomers, though has disappointed some exhibitors. Wallis Cinemas David Simpson regards the semi-autobiographical film’s performance as “disheartening given how wonderful the film looks on screen.”
Distributed by Studiocanal, the Michelle Williams and Paul Dano starrer opened to $419,760 from 193 screens, and with previews, stands at $530,778.
Temesvari adds: “The Fabelmans hasn’t fired for us as yet which is a shame given the excellent reviews and WOM.”
Australian title Blueback, directed by Rob Connolly, had a significant boost in its second weekend, up 113 per cent to $365,269, moving to $984,935 for Roadshow.
However, many exhibitors have expected the film, released on New Year’s Day, to have performed better. Simpson has found the WA-shot title, starring Mia Wasikowska, Radha Mitchell and Eric Bana, “the most frustrating” of the holiday period.
“It didn’t connect and would have profited from a release in the academic year.”
Dell echoes that the film may have benefitted from a different corridor. “Blueback, as the third major family movie, has struggled initially – I think we have probably done proportionally well with it, but the inability to market it to schools over holidays and some confusion re: Tim Winton being an adult author generally have not helped. We are certainly hoping that it can find an audience over January and also with schools when they go back.”
Chard concurs the film has performed under expectations, but counters: “The film is fantastic though we we’re hopeful that the good WOM will continue to build momentum for this film.”
Warner Bros.’ animation Mummies, directed by Juan Jesús García Galocha, opened in no. 9, gathering $332,792.
Rounding out the top 10 was Palme d’Or winner Triangle of Sadness, proving a strong performer for Sharmill Films in limited release. The film was up 24 per cent in its second, earning $250,986 from just 55 screens to move to $1.1 million.