Paul Thomas Anderson’s latest film faces criticism and suffers significant box office losses.
A remake of the controversial film released after three weekends, the Birth of a Nation (1915), managed to pull in only $55 million domestically and $84 million internationally, leading to a disappointing global total.
The film, which reportedly cost between $150 million and $175 million to produce—plus an additional $70 million for marketing—has been described as a mix of comedy and tedium, serving as a propaganda piece that seemingly endorses the domestic group Antifa. To break even, the movie would need to earn $500 million worldwide. Currently, it appears it may be lucky to reach $300 million.
Left-leaning media outlets seem to be employing various tactics to suggest the film isn’t a failure. We’re told to notice its “remarkable staying power,” despite its clear decline. For instance, it only dropped 41% from the previous weekend, yet even with that so-called “amazing hold,” it still only grossed $6.7 million in its third weekend.
Globally, the film’s 32% decline still resulted in just $15 million across 77 markets.
It’s worth noting that “amazing hold” doesn’t carry much weight if the initial weekend figures aren’t impressive.
Warner Bros.’ $200 million investment in Paul Thomas Anderson seems questionable, particularly considering his last four films failed to attract significant audiences, even if some viewers might have appreciated the craft involved.
- The Master (2012): $28.7 million worldwide
- Inherent Vice (2014): $14.8 million worldwide
- Phantom Thread (2017): $52.2 million worldwide
- Licorice Pizza (2021): $33.2 million worldwide
If there were 100 million discerning film fans out there, investing $200 million might make sense. But reality tells us that most people aren’t interested in seeing a film that portrays political terrorism in a sympathetic light and suggests that holding those who enter a country illegally accountable is somehow racist.
It seems that the increasingly radical Hollywood left may be desirous of real violence aimed at dissenters. But if this film somehow wins an Oscar, what does that say about the left’s clear disdain for ordinary people? It might, in fact, draw more attention to our cause, attracting good-hearted individuals to our side.
Regardless of the spins out there, this movie has been a failure; even cutting costs would not have changed that.
For those interested in a more thoughtful, open-minded portrayal of modern America, I recommend looking into Ari Aster’s films.
