“Halloween Kills” Slays the Box-Office Competition, Raking in $50.4M in Domestic Receipts

Movie theater cash registers happily gobbled up a jaw-dropping $50.4 million over the weekend for director David Gordon Green’s latest entry in the never-ending saga of Michael Myers, Halloween Kills, the 12th installment in the horror movie franchise. That sound you hear in the background is of some very happy Blumhouse/Universal/Miramax bean counters giggling wildly, anticipating the receipts now more than ever for next October’s Halloween Ends….

 The opening for Halloween Kills becomes even more impressive when you consider that the aforementioned weekend haul does not even take into account the revenue generated by streaming platform Peacock, which dropped the movie for subscribers on the same day as it saw theatrical release. With the global pandemic still toiling along, it was decided early on to do a simultaneous day-and-date release for audiences that may still be weary of traversing to their local multiplex.

 The masked killer from Haddonfield, IL cut into the competition at theaters across the U.S., knocking off the latest James Bond flick No Time to Die from its top perch and all but annihilating the latest offering from director Ridley Scott, The Last Duel, which opened at an anemic $4.8 million in domestic dollars. The latest Venom sequel also was cut down by Green and company, earning a third spot finish with $16.5 million for its third weekend.

 Universal Big Wheel Jim Orr enthused that they obviously had a “very enthusiastic audience that was extremely eager to get out to theaters. A film like Halloween Kills is going to be best experienced in theaters, where the person next to you is gasping, and another is screaming. It makes it just that much more of a true experience.”

Box-office pundits point to the high number of Halloween Kills ticket buyers being of a younger quota, the very audience demographic that have had a hand in helping the imperiled movie-going experience recover in double-quick time. According to our mathematically-inclined buddies over at The Hollywood Reporter, a whopping 73 percent of the film’s audience were 35 and under. Those are numbers that stand out and can’t be ignored.

 All of this bodes well not just for next October’s projected release for Green’s final entry in his Halloween trilogy – Halloween Ends – but also for the future of cinema. The irony of a long-in-the-tooth Boogeyman helping to save one of the world’s finest traditions is a thing of beauty. Happy Halloween, indeed!

About Ryan Vandergriff

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