{"id":1181035,"date":"2026-02-15T02:31:25","date_gmt":"2026-02-15T02:31:25","guid":{"rendered":"https:\/\/www.polygon.com\/?p=562254"},"modified":"2026-02-15T02:31:25","modified_gmt":"2026-02-15T02:31:25","slug":"sinners-is-a-good-reminder-that-were-talking-about-movies-box-office-all-wrong","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/sinners-is-a-good-reminder-that-were-talking-about-movies-box-office-all-wrong\/","title":{"rendered":"Sinners is a good reminder that we\u2019re talking about movies\u2019 box office all wrong"},"content":{"rendered":"
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Weekend box office reporting is a seminal part of entertainment media. In recent years alone, it has served as everything from a checkup on the general health of movie theaters to a litmus test for each new Marvel film. But recently, box office reporting has gotten a little weird: All the earnings are being reported in terms of budgets and profitability<\/a>. This used to be language reserved for obvious box office flops \u2014 movies that cost $100 million or more barely putting up $10 million in their opening weekend, for example. But this past weekend, specifically with respect to Ryan Coogler\u2019s fantastic new vampire horror film, Sinners<\/em><\/a>, it became clear that we don\u2019t really know how to talk about the box office anymore.\u00a0<\/p>\n

Let\u2019s get a few things out of the way first: The latest box office report was pretty great for movie lovers and movie studios \u2014 particularly Warner Bros., which had the weekend\u2019s top two movies. Sinners<\/em><\/a> <\/em>was an unambiguous hit, pulling in more than $48 million domestically to earn the top spot, with a worldwide total of $63.5 million. It\u2019s the biggest opening for an original movie so far this decade, and it\u2019s also among the biggest openings in recent memory for an R-rated horror film. Meanwhile, both A Minecraft Movie<\/em><\/a> and The King of Kings<\/em> proved they have genuine staying power, earning $41.3 million and $17.3 million, respectively. Even The Amateur<\/em>, <\/em>Warfare<\/em><\/a>, and Drop<\/em> performed pretty well in their second weeks.\u00a0<\/p>\n

\"\"<\/p>\n

At first glance, just looking at all those numbers, it\u2019s easy to see why entertainment reporters so often center their news reporting on movie budgets and box office weekend reports. They can take each movie\u2019s total gross so far and cross-check it against the film\u2019s budget, and it feels like they\u2019ve instantly proven whether a movie is successful. Except that there\u2019s a whole bunch of problems with that approach.\u00a0<\/p>\n

The biggest and most nebulous one is that it\u2019s not a particularly healthy way for film fans to engage with the medium they love. Movie fandom isn\u2019t numbers driven, and shouldn\u2019t ever be. A movie\u2019s quality is in no way dependent on how much money it makes; some of the best movies of all time were notorious flops upon release. It can still be exciting and newsworthy when a movie does well, or even when it does badly. It\u2019s just that its profitability isn\u2019t any kind of measure of quality.<\/p>\n

Speaking of which, profitability itself is a notoriously murky concept in Hollywood. Creative accounting by movie studios can keep a movie unprofitable on paper for years<\/a> if that means not having to divvy up the profits with anyone whose contracts entitle them to a percentage of a movie\u2019s proceeds. And while movies\u2019 production budgets are often well reported, their marketing budgets aren\u2019t \u2014 and those can often equal or even exceed a blockbuster\u2019s production costs. In other words, any reporting that\u2019s simply balancing a movie\u2019s gross against its budget should be taken with a grain of salt, let alone reporting that\u2019s talking only about a movie\u2019s opening-weekend haul.\u00a0<\/p>\n

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Since the early days of the superhero boom, opening weekends have come to be seen as a movie\u2019s make-or-break moment. If a movie opens well relative to its genre category and MPAA rating, it\u2019s treated like a massive success, regardless of how it performs for the rest of its time in theaters. If a movie opens poorly, it\u2019s treated as a surefire sign that it\u2019s going to flop.<\/p>\n

But the opening weekend isn\u2019t quite the bellwether it used to be. It\u2019s still important as a sign of how much cultural pop a movie has, or whether it\u2019s a surprise in one direction or another \u2014 particularly in an era when reporting on advance ticket sales leads to movies being characterized as hits or flops before they\u2019ve even opened. But as cinema owners fight to regain the exclusive theatrical window<\/a>, popular films will continue to make more and more of their money in the trailing weeks after their release. In fact, movies like Elemental<\/em><\/a> <\/em>and Wicked<\/a> <\/em>opened below expectations, but outperformed projections on every subsequent week, going on to become massive hits.\u00a0\u00a0<\/p>\n

Similarly, as The Ringer\u2019s Sean Fennessey pointed out on X<\/a> over the weekend, movies are also making more money on premium VOD platforms than ever before. While studios have largely been quiet on the subject of VOD profits, Universal Pictures did loudly proclaim a victory around Wicked<\/em><\/a>, announcing that the film made $26 million in its first day of PVOD release and $70 million in the first week. Most movies aren\u2019t going to do Wicked <\/em>numbers, but the film\u2019s impressive total gives us a clear picture that premium streaming rentals are much more than minimal dividends atop the theatrical total. And none of this includes potential studio profit drivers such as a movie\u2019s streaming release boosting subscriptions for a streaming service, or licensing deals to bring a film to cable TV or other streaming platforms.\u00a0<\/p>\n

\"\"<\/p>\n

Box office reporting is complicated business. If you say too little, you run the risk of leaving uninformed readers lost in a sea of meaningless numbers. But say too much, and you risk overwhelming the audience with details that don\u2019t matter. Still, there\u2019s a fine line between giving context and concern trolling. Reporting production budgets alongside opening-weekend grosses doesn\u2019t always cross that line, but speculating that one of the most impressive box office openings<\/a> since the start of the pandemic \u2014 for a movie with a modest budget by blockbuster standards, no less \u2014 is anything other than good news? That\u2019s certainly a step too far.\u00a0<\/p>\n

The truth is, very few people outside of film studios themselves will ever know for sure whether a movie can be considered objectively profitable, or by what margin. And the studios aren\u2019t making that information public. It\u2019s important to take weekend box office reports for exactly what they are: a measure of how many people went to the theater during a given weekend and which movies they saw. Box office reports might be a good sign for a movie or a bad one, but either way, they represent the beginning<\/em> of a movie\u2019s release story, not the end. That\u2019s how we should treat them. And right now, the signs say that people really like Sinners<\/em>, and that they\u2019re going to movie theaters to see it.\u00a0<\/p>\n

Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Weekend box office reporting is a seminal part of entertainment media. In recent years alone, it has served as everything from a checkup on the general health of movie theaters to a litmus test for each new Marvel film. But recently, box office reporting has gotten a little weird: All the earnings are being reported in terms of budgets and profitability. This used to be language reserved for obvious box office flops \u2014 movies that cost $100 million or more barely putting up $10 million in their opening weekend, for example. But this past weekend, specifically with respect to Ryan Coogler\u2019s fantastic new vampire horror film, Sinners, it became clear that we don\u2019t really know how to talk about the box office anymore.\u00a0 Let\u2019s get…<\/p>\n

Read More…<\/a><\/p>\n","protected":false},"author":1,"featured_media":1181036,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-1181035","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"\nSinners is a good reminder that we\u2019re talking about movies\u2019 box office all wrong | Arcader News<\/title>\n<meta name=\"description\" content=\"Weekend box office reporting is a seminal part of entertainment media. 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