“Barbenheimer” is more than just a meme. It’s a full-fledged box office phenomenon.
Over the weekend, moviegoers turned out in force for Greta Gerwig’s neon-coated fantasy comedy “Barbie,” which smashed expectations with $155 million to land the biggest debut of the year. But they also showed up to see Christopher Nolan’s R-rated historical drama “Oppenheimer,” which collected a remarkable $80.5 million in its opening weekend.
Hundreds of thousands of ticket buyers refused to choose between the two seemingly different auter-driven blockbusters with sprawling casts and twin release dates. So they opted to attend same-day viewings of “Barbie” and “Oppenheimer,” turning the box office battle into a double feature for the ages.
“This is an unequivocally great weekend for moviegoing,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. “‘Barbie’ and ‘Oppenheimer’ are complementing each other at the box office, not taking audience from each other.”
The cultural craze known as “Barbenheimer” worked to fuel the biggest collective box office weekend of the pandemic era, as well as the fourth-biggest overall weekend in history. It’s worth noting the top three weekends of all time were led by the debuts of sequels in massive franchises (“Avengers: Endgame,” “Avengers: Infinity War” and “Star Wars: The Force Awakens”).
“Studios gave audiences two uniquely different, smart and original stories that were meant for the big screen, says Michael O’Leary, president and CEO of the National Association of Theatre Owners, the industry’s trade organization. “People recognized that something special was happening, and they wanted to be a part of it.”
In the end, though, it wasn’t a competition as “Barbie” loomed large over box office charts, thanks to an inescapable marketing campaign, as well as quality to match the stratospheric hype. At the international box office, the film added $182 million for a stunning global tally of $337 million.
The $145 million-budgeted movie, backed by Warner Bros. and Mattel, dominated the zeitgeist in the weeks leading up to its debut (even reportedly causing a shortage of the color pink) to a degree that’s rare for original fare. (Yes, Barbie is perhaps the world’s most famous doll, but the movie isn’t a sequel or part of a pre-existing film franchise.)
“We have a pink unicorn here,” says Jeff Goldstein, the president of domestic distribution at Warner Bros. “We thought it would be $75 million for the opening weekend. Nobody saw $155 million coming. This doll has long legs.”
Audiences and critics dug the PG-13 film, which landed an “A” CinemaScore and 90% on Rotten Tomatoes. Initial crowds were 65% female (which, duh…), but that’s notable because it’s almost always the inverse for any movie that generates over $100 million in its debut.
Among its many records, “Barbie” also scored the biggest opening weekend ever for a film directed by a woman. “Captain Marvel,” which was co-directed by Anna Boden and Ryan Fleck, previously held the title with $153 million in 2019. “Wonder Woman,” from filmmaker Patty Jenkins, stood as the record-holder for a movie solely directed by a woman with $103 million in 2017.
Gerwig, the Oscar-nominated director of “Lady Bird” and “Little Women,” co-wrote the screenplay with her partner Noah Baumbach. Margot Robbie and Ryan Gosling star as the stereotypical versions of Barbie and Ken, who leave behind the Dreamhouse on a quest for self-discovery in the real world. The cast also includes Issa Rae, Dua Lipa, Simu Liu, Michael Cera, Helen Mirren, John Cena and Will Ferrell.
(Variety)
