https://www.nytimes.com/2025/06/22/business/elio-pixar-box-office.html
https://archive.is/b4xRs
The original space adventure sold about $21 million in tickets at domestic theaters from Thursday night through Sunday, putting new pressure on the once-unstoppable studio.
Pixar knew that “Elio,” an original space adventure, would most likely struggle in its first weekend at the box office.
Animated movies based on original stories have become harder sells in theaters, even for the once-unstoppable Pixar. At a time when streaming services have proliferated and the broader economy is unsettled, families want assurance that spending the money for tickets will be worth it.
But the turnout for “Elio” was worse — much worse — than even Pixar had expected. The film, which cost at least $250 million to make and market, collected an estimated $21 million from Thursday evening through Sunday at theaters in the United States and Canada, according to Comscore, which compiles box office data.
It was Pixar’s worst opening-weekend result ever. The previous bottom was “Elemental,” which arrived to $30 million in 2023.
A month ago, when the “Elio” marketing campaign began to hit high gear, Pixar and its corporate owner, Disney, had hoped that “Elio” would, in the worst-case scenario, match the “Elemental” number. Instead, it fell 30 percent short.
In wide release overseas, “Elio” collected an additional $14 million, on a par with the initial international results for “Elemental.”
Quality did not appear to be a factor: Reviews for “Elio” were mostly positive, and ticket buyers gave the movie an A grade in CinemaScore exit polls. The Rotten Tomatoes audience score stood at 91 percent positive on Sunday.
Pixar has also recovered from a period during the coronavirus pandemic when Disney weakened the animation studio’s brand by using its films to build the Disney+ streaming service, bypassing theaters altogether. Last year, Pixar’s “Inside Out 2” was the No. 1 movie at the global box office. It sold $1.7 billion in tickets.
But original animated ideas have fallen out of favor at the box office, analysts said. Pixar is not alone. DreamWorks Animation’s “Ruby Gillman: Teenage Kraken” flatlined in 2023 with $5.5 million in opening-weekend sales. Illumination Animation’s “Migration” arrived to $12 million that year.
The problem for Pixar is that its originals remain wildly expensive. “Ruby Gillman” and “Migration” each cost 50 percent less than “Elio” did. (Pixar movies are still produced entirely in the United States, increasing labor costs. Some other studios have started to rely on overseas production.)
On Sunday, Disney said it hoped a broader audience would find “Elio” over the coming weeks. The company pointed to “Elemental,” which overcame weak initial sales to ultimately collect nearly $500 million worldwide.
Families have had a lot of theatrical options of late. Universal’s live-action “How to Train Your Dragon” remake, for instance, repeated as the No. 1 movie in North America over the weekend, with $37 million in ticket sales.
Second place went to the auteur horror sequel “28 Years Later” (Sony Pictures), which debuted to about $30 million. David A. Gross, a film consultant who publishes a newsletter on box office numbers, called that total “excellent.” Directed by Danny Boyle, “28 Years Later” cost about $60 million, not including marketing.
“Elio” was third.
Brooks Barnes covers all things Hollywood. He joined The Times in 2007 and previously worked at The Wall Street Journal.
https://archive.is/b4xRs
The original space adventure sold about $21 million in tickets at domestic theaters from Thursday night through Sunday, putting new pressure on the once-unstoppable studio.
Pixar knew that “Elio,” an original space adventure, would most likely struggle in its first weekend at the box office.
Animated movies based on original stories have become harder sells in theaters, even for the once-unstoppable Pixar. At a time when streaming services have proliferated and the broader economy is unsettled, families want assurance that spending the money for tickets will be worth it.
But the turnout for “Elio” was worse — much worse — than even Pixar had expected. The film, which cost at least $250 million to make and market, collected an estimated $21 million from Thursday evening through Sunday at theaters in the United States and Canada, according to Comscore, which compiles box office data.
It was Pixar’s worst opening-weekend result ever. The previous bottom was “Elemental,” which arrived to $30 million in 2023.
A month ago, when the “Elio” marketing campaign began to hit high gear, Pixar and its corporate owner, Disney, had hoped that “Elio” would, in the worst-case scenario, match the “Elemental” number. Instead, it fell 30 percent short.
In wide release overseas, “Elio” collected an additional $14 million, on a par with the initial international results for “Elemental.”
Quality did not appear to be a factor: Reviews for “Elio” were mostly positive, and ticket buyers gave the movie an A grade in CinemaScore exit polls. The Rotten Tomatoes audience score stood at 91 percent positive on Sunday.
Pixar has also recovered from a period during the coronavirus pandemic when Disney weakened the animation studio’s brand by using its films to build the Disney+ streaming service, bypassing theaters altogether. Last year, Pixar’s “Inside Out 2” was the No. 1 movie at the global box office. It sold $1.7 billion in tickets.
But original animated ideas have fallen out of favor at the box office, analysts said. Pixar is not alone. DreamWorks Animation’s “Ruby Gillman: Teenage Kraken” flatlined in 2023 with $5.5 million in opening-weekend sales. Illumination Animation’s “Migration” arrived to $12 million that year.
The problem for Pixar is that its originals remain wildly expensive. “Ruby Gillman” and “Migration” each cost 50 percent less than “Elio” did. (Pixar movies are still produced entirely in the United States, increasing labor costs. Some other studios have started to rely on overseas production.)
On Sunday, Disney said it hoped a broader audience would find “Elio” over the coming weeks. The company pointed to “Elemental,” which overcame weak initial sales to ultimately collect nearly $500 million worldwide.
Families have had a lot of theatrical options of late. Universal’s live-action “How to Train Your Dragon” remake, for instance, repeated as the No. 1 movie in North America over the weekend, with $37 million in ticket sales.
Second place went to the auteur horror sequel “28 Years Later” (Sony Pictures), which debuted to about $30 million. David A. Gross, a film consultant who publishes a newsletter on box office numbers, called that total “excellent.” Directed by Danny Boyle, “28 Years Later” cost about $60 million, not including marketing.
“Elio” was third.
Brooks Barnes covers all things Hollywood. He joined The Times in 2007 and previously worked at The Wall Street Journal.
, you usually had distinct syles between animators. Don Bluth was different from Hanna-Barbera, who was different from Disney, etc. Even Disney, at least since the animation renaissance in the 80s, had a distinct theme between movies. Lion King had its African safari style, Aladdin was Arabian inspired, and Hercules had its ancient Greek theme. Pixar even had its own distinctive styles between franchises. But this whole beanmouth style just makes everything blend together. How many people have commented already about the confusion between movies since the past 5 or so Pixar movies are virtually indistinguishable from each other?