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Indiana Jones 5’ Underwhelms With $70 Million at International Box Office, ‘Spider-Verse’ Hits $600 Million Globally​

By Rebecca Rubin
“Indiana Jones and the Dial of Destiny” is stumbling in its box office debut, generating $70 million internationally and $130 million globally to start.

Those ticket sales wouldn’t be bad for a film aimed at older audiences, except for the fact that Disney and Lucasfilm spent $295 million before marketing to bring the fifth and final action-adventure, starring Harrison Ford, to the big screen. “Dial of Destiny” is posting similar numbers to Warner Bros. and DC’s misfire “The Flash,” which opened to $75 million internationally and $139 million globally but cost $100 million less to make. Both tentpoles are expected to lose money in their theatrical runs.

Outside of its underwhelming $60 million debut in North America, “Indiana Jones 5” had the biggest turnout in the United Kingdom ($8.9 million), France ($5.9 million), Japan ($4.7 million), Korea ($4.1 million) and Germany ($4.1 million).

“Ruby Gillman, Teenage Kraken,” a $70 million-budgeted family film from DreamWorks and Universal, also underwhelmed with $7.6 million from 67 markets. Along with $5.2 million in North America, the movie has grossed a dreary $12.5 million to date. Top overseas markets were Mexico ($1.2 million), the U.K. and Ireland ($1.09 million) and Spain ($643,000).

“Ruby Gillman” has stacked competition from kid-friendly films like Pixar’s “Elemental,” Sony’s “Spider-Man: Across the Spider-Verse” and “The Little Mermaid.” This weekend, those films each earned more (or roughly the same) amount as “Teenage Kraken” despite being released in theaters weeks prior.

“Elemental” added $29.8 million from 40 markets, bringing its overseas tally to $98 million and its global total to $186.8 million. Like “Indy 5,” the movie’s massive $200 million price tag makes it difficult to achieve profitability in its theatrical run.

Ditto the studio’s $250 million-budgeted “The Little Mermaid,” which collected $7.2 million from 52 markets in its sixth weekend of release. So far, the Disney remake has amassed $242.8 million internationally and $523.8 million worldwide.

“Spider-Verse,” already a theatrical winner, made $13.8 million from 63 markets over the weekend, enough to take the animated adventure past the $600 million mark globally. The comic book sequel has grossed $267.4 million overseas and $607.3 million worldwide.

Miles Morales, as Spider-Man is known in the “Spider-Verse,” has had far better success in selling tickets compared to “The Flash,” which added $11.4 million from 78 markets in its third weekend in theaters. The Warner Bros. and DC comic book adventure has generated $146 million overseas and $245.3 million to date.



http://edition.pagesuite-profession...4-f8e6fb9ac52d&utm_source=vip-insertion-image

 

[Agamemnon Busmalis]

If it's making money (which is an IF) - it certainly isn't making anything that warranted the huge investment.

Especially with interest rates now at normal levels again. You'll earn $15 million by just parking the film's budget in a 1-year Treasury bill.

 

[George Floyd Sneed]

If it's making money (which is an IF) - it certainly isn't making anything that warranted the huge investment.

Yeah, they expected The Nigger Mermaid to be another billion dollar box office breakout hit like Aladdin and The Lion Kang and it won’t. The purpose of these major tentpole movies is to prop up the company. Along with everything sagging in the box office, it’s little wonder why the Disney CFO left: having to spin these dogs into super profitable blockbusters is something even Hollyjew accounting is going to really struggle with.

Not sure Disney has anything in the pipeline to really help them out. They could just jack up the costs of their theme parks even higher, I’m sure they’ll all pay it if they raise prices by 20%.

 

[polonium]

They could just jack up the costs of their theme parks even higher, I’m sure they’ll all pay it if they raise prices by 20%.

You know how much self control adult disney fans have. If disney announced a policy of harvesting their park visitors organs and selling them to China to be chopped up for dog food, the park visitor numbers wouldn't dip even a bit.

 

[moocow]

FWIW, I don't get this movie's status as a cult classic at all. Which I've been told it is. I think it is just flat out awful.

Lea Thompson showed most of her ass (when she was still young and attractive), and there was a naked duck centerfold (bleugh) in an issue of Playduck that Howard was reading before he got slurped into a wormhole and plopped on a recliner in an alleyway in Cleveland.

It's one of those "so bad it's good" movies, plus Tim Robbins hammed it up as hard as he could and his performance is gold. "I know my rights! Where's my BASEBALL CAP?!?!"

 

[Neighborhood Curmudgeon]

I wish these corporate pigs would finally accept that no one except activists wants all this wokeshit.

 

[AnOminous]

I wish these corporate pigs would finally accept that no one except activists wants all this wokeshit.

Even they don't want it. They just want to inflict it on everyone else so everyone can be as joyless as they are.

 

[Mr. Zed da Robot Poon Fed]

Well, shit, I didn't expect for The Nigger Mermaid to make money.

Did it make profit, though? Disney's budgets for production and marketing are bloated as hell.

But spider man was a black mulatto and had Indian Spiderman and Latin American super spiderman

Well there were a fuckton of Spider-people in this film. This is the new trend in movies now: multiverses.

Nevermind that Spider-Man: No Way Home made $2 billion and had nothing but white male Spider-Men.

 

[Otterly]

Just think how bad something has to be to make Indiana jones as a film unwatchable. You’ve really got to try. It’s such a simple and great concept for films. Harrison ford is likeable and attractive, still even though he’s an old codger. You’ve got a great swashbuckling set format to riff on, great music, and it’s about the easiest plot format since James Bond.
- Intro, flashback of daring escapade fades into…
- great music, intro sequence
-back to present day, or 1920s, set up the plot with some artifact (pick one from multiple places and times, you’ve had crusades, India, Petra, Nazis so perhaps Egypt, or Ancient Greece or orient or something. Multiple options, just pick one.
- someone else wants the artifact. Pick a photogenic but funny and scriptable baddie
- find artifact. You’ll need a sidekick and a love interest, a few set pieces on transport, a down in the third act, followed by triumph, some temple with booby traps, some snakes and a few references to hats.
- Artifact either in museum or lost mysteriously
- great music, end credits.
Not hard, guys. I think a titanic or airship themed one would have been good, or more 1920s Nile cruise.

 

[Product Placement]

Wonder if they did something lower budget with Indie but very different, more along the lines of a Poirot story with archaeology if it would have done better.
Really something where you don't need an 80-year-old man doing the action or to overload the action to the side character, which risks it being a passing-the-torch movie no one wants.

 

[Secret Asshole]

Just think how bad something has to be to make Indiana jones as a film unwatchable. You’ve really got to try. It’s such a simple and great concept for films. Harrison ford is likeable and attractive, still even though he’s an old codger. You’ve got a great swashbuckling set format to riff on, great music, and it’s about the easiest plot format since James Bond.
- Intro, flashback of daring escapade fades into…
- great music, intro sequence
-back to present day, or 1920s, set up the plot with some artifact (pick one from multiple places and times, you’ve had crusades, India, Petra, Nazis so perhaps Egypt, or Ancient Greece or orient or something. Multiple options, just pick one.
- someone else wants the artifact. Pick a photogenic but funny and scriptable baddie
- find artifact. You’ll need a sidekick and a love interest, a few set pieces on transport, a down in the third act, followed by triumph, some temple with booby traps, some snakes and a few references to hats.
- Artifact either in museum or lost mysteriously
- great music, end credits.
Not hard, guys. I think a titanic or airship themed one would have been good, or more 1920s Nile cruise.

There was a post in the thread in multi-media where it was explained that Lucas and Spielberg HATE Kathleen Kennedy and her ideas. So what is functionally happening is what Neil Druckmann did with TLOU. He hated the people that wrote Ellie and Joel, so he took a golf club to it because he was a TRUE GENIUS (and wrote a retarded story that just boils down to 'revenge bad'). A lot of bad writers who find themselves suddenly at the top do this. They basically destroy other writer's work because they view themselves as superior. When they're just mediocre garbage.

Its the same with Kennedy. Except she thinks she's brilliant, so she self-inserts as a British brunette who is the bestest at everything and outclasses the old male leads. The thing is she's riding off of her credits, nepotism and probably blackmail. She's also stacked Lucasfilm with her loyalists, so if they fire her, the studio goes with her. Which is why, she's burrowed in like a tick.

Honestly, I wouldn't be surprised if the REAL movies start now, because she's functionally eliminated all of the leads in Star Wars and Indiana Jones. She wants to destroy the legacy characters and build her own stupid bullshit off of it. Except she's the equivalent of a 12-year old child writing feminist fan-fiction.

It really doesn't matter how many billions you lose, its about who you know, and what you know. The problem is she's cratered these franchises for the foreseeable future, she's a fucking idiot because she still holds the belief that name recognition is everything and the product doesn't matter, even if its her fan-fiction, so damage with shitty movies doesn't really matter. She should really ask Bud Light how that worked out for them.

 

[Vyse Inglebard]

hot-take: I like Temple of Doom more than The Last Crusade

 

[AnOminous]

hot-take: I like Temple of Doom more than The Last Crusade

I do too but apparently it's not a popular opinion. I think Last Crusade would have bordered on sucking without Connery.

Picrel:

 

[St.Davis]

I heard that they killed off Shia LaBeouf's character in the new film by stating that he died (offscreen) in Vietnam before the film starts. Bizarre.

 

[ShitLurker]

This may not be the best "go woke go broke" thread seeing how spiderverse 2 was pozzed to high heaven with tranny propaganda and a fucking black pregnant spiderwoman doing incredibly retarded shit for somebody that is pregnant.

This is more reaping the whirlwind with too much constant shit from Disney that consumers are just tapping out.

 

[Oilspill Battery]

hot-take: I like Temple of Doom more than The Last Crusade

I also like it more, due to the dad the last crusade has a sense of serialized finality I don't really like whereas the temple of doom has the episodic adventure feel that indiana is built for.

You could slot in the temple of doom inbetween the infernal machine and the emperor's doom and none would be the wiser, but the last crusade stands out.

Hot take but indiana jones films should feel like live action videogames.

 

[AnOminous]

I also like it more, due to the dad the last crusade has a sense of serialized finality I don't really like whereas the temple of doom has the episodic adventure feel that indiana is built for.

Given what came afterwards, it should have ended with TLC.

 

[Pissmaster]

All I know about Spiderman's Spider Verse thing is that apparently it's in 12th place on IMDB's top 250: https://www.imdb.com/chart/top (archive)

It looks like an awful CGI children's movie starring a repulsive stereotype for a protagonist. Doesn't stop the top review from comparing it to The Empire Strikes Back, though:

Spoiler: review

Somewhere in China exists the jaw of this soyjak, poking out of the ground as the rest of him resides in America, furiously jerking off to capeshit over the planetary-sized hole he created.
Here's the rest of his reviews. About half of them are for films made for children. (archive)

 

[Corpun]

How badly did they cuck Indy? I don't think there is a single protagonist Harrison Ford has played in old boomer movies that hasn't been cucked now.

 

[Elwood P. Dowd]

​

This WaPo article gave me a chuckle.

A woman to reboot Indiana Jones? Yes, please.
​

Source : https://www.washingtonpost.com/opinions/2023/07/01/reboot-indiana-jones-woman/

https://archive.is/CwLug

Opinion​

Harrison Ford, with Phoebe Waller-Bridge behind him, in a scene from "Indiana Jones and the Dial of Destiny." (Lucasfilm Ltd.)

Spoiler: Article Text

Brenna R. Hassett, a founder of trowelblazers.com, is a bioarchaeologist at the University of Central Lancashire and author of “

Spoiler: Article Text

Built On Bones” and “Growing Up Human.”
At almost 81, Harrison Ford has been hitting the red carpet recently to promote “Indiana Jones and the Dial of Destiny.” In the four decades since Indy first brought archaeology to the big screen, the gruff, Nazi-punching hero has become the face of digging up the past. Behind the adventure, romance and scene-stealing monkeys is this message: The study of biblical ephemera and Egyptian urban planning is a man’s game.


This is what generations of girls — me included — saw when we saw archaeology. And that’s a problem. Because to be it you need to see it. So I’m rooting for a woman to take up the franchise; if it is to be Phoebe Waller-Bridge’s feisty new sidekick character, that’s a start. Better yet, let’s reboot Indy as a woman of color.


Girls are inspired to dream big when they recognize themselves on-screen as heroes, not helpmates. (Don’t start me on Lara Croft of “Tomb Raider”: She is a mercenary in shapewear.) And representation works. After 20-odd years of female scientists on “CSI,” “Bones” and the like, forensics, the branch of archaeological science that I teach, is dominated by female students.

That’s why, 10 years ago, I and three other women in the digging sciences — archaeology, geology, paleontology — launched the TrowelBlazers Project. In between fieldwork, teaching and kid care, we amass and share examples of people in our fields who are nothing like Indiana Jones. We’ve found hundreds: women, people of color, indigenous, rich, poor, you name it. They’ve inspired a doll with plenty of pockets and a touring photography exhibition.

Here’s one example: an actual saint. The Empress Helena of Constantinople was one of the first people known to have ordered the past dug up. Around the year 326, she embarked on a campaign to investigate what she reckoned were biblical sites to furnish her son’s new capital with religious relics.


A more recent standout is Jane Dieulafoy. She became renowned for plundering the archaeological site of Susa in modern-day Iran, sporting a severe haircut and men’s clothing. Dieulafoy followed her engineer husband to war and came out a sharpshooter, ready to repel bandits. Her adventures were so popular the French government gave her the Légion d’honneur and an official Permission de Travestissement, or permission to cross-dress.

Amelia Edwards offers more Indy inspiration. A popular writer of the 19th century, her first novel was researched in the brothels of Paris (also in men’s clothing). She fell for Egyptology while sailing the Nile with her female companion. Edwards’s best-selling books bankrolled the first professorship of Egyptology at University College London.

Or take Margaret Murray, a contemporary of Yale University’s Hiram Bingham, the self-promoting inspiration for Indiana Jones who made grandiose claims about discovering Machu Picchu. Murray worked on Egyptology and prehistoric religion at University College London and staged public mummy unwrappings. Her chum, archaeological illustrator Hilda Petrie, was so enamored of Egyptology that she skipped her wedding breakfast to jump ship for Egypt, and scaled the great pyramid of Khufu in her bloomers.


There are additional difficult-to-recover stories of women who weren’t rich and well-connected — such as Yusra, the illiterate Palestinian archaeological laborer who in the 1920s recognized a Neanderthal fossil from a baby tooth while on an all-female dig.
Imagine the power of a movie series inspired by women like these.

Diversity matters. Different people are curious about different things. Female archaeologists have been at the forefront of understanding the real lives and experiences of women in the past, from experiments proving that a broken pot was a 7th-century Athenian training potty, to using ancient DNA to prove that warrior graves belonged to women, too. Likewise, as more Black archaeologists take the lead in studying graves and wrecks, they are making new discoveries about slavery, convict leasing and the Middle Passage.


But people who have never seen others like them working in a profession are discouraged from entering as well as from staying. Decades of research show this “stereotype threat” leaves talented people much more likely to struggle with impostor syndrome, low confidence and worries about failure.

This has consequences. The growing numbers of women and people of color going into archaeology are not getting the opportunities to make it to Indiana Jones’s lofty level of professor. This affects the culture. Forget students swooning over swashbuckling; there is a real danger of harassment during fieldwork.

Nonetheless, contemporary female archaeologists are asking fresh, urgent questions. Haitian American archaeologist Peggy Brunache, for example, traces food through the experience of enslaved people. Ayana Omilade Flewellen, a co-founder of the Society of Black Archaeologists, helps lead the Estate Little Princess project to study a Danish plantation site on St. Croix in the U.S. Virgin Islands.

Beyond Waller-Bridge’s screwball antics, these are the sorts of heroes that today’s little girls and boys deserve to see at the movies. Put them on the screen, and whole new adventures in discovery could follow.

 

[WelperHelper99]

All I know about Spiderman's Spider Verse thing is that apparently it's in 12th place on IMDB's top 250: https://www.imdb.com/chart/top (archive)

It looks like an awful CGI children's movie starring a repulsive stereotype for a protagonist. Doesn't stop the top review from comparing it to The Empire Strikes Back, though:

Spoiler: review

View attachment 5192381

Somewhere in China exists the jaw of this soyjak, poking out of the ground as the rest of him resides in America, furiously jerking off to capeshit over the planetary-sized hole he created.
Here's the rest of his reviews. About half of them are for films made for children. (archive)

The review is very vague and gay. I've said what I've wanted to, that it's solid but inferior to the first. Part of that is due to all the build up for the 3rd.

As for the film itself, it's a animation treat. Trailers can't express how much effort went into it. You have multiple styles, a frame rate made specifically for the movie, action that hits, voice acting that feels like everyone brought their A game. Most of all, it isn't autistic in how it explains the multiverse shit. It simply is.

If you haven't watched it and you're shitting on it, stop that and check it out. It reminds you why spider man is one of the most loved super heroes of all time. And it doesn't shit on its past. Probably the most important thing about it.

EDIT: OK, why am I getting horrifying ratings?