In this post you will read about the Halloween Ends review and other details: Right now, Halloween Ends isn’t looking as great as the predictions had indicated, which was around the $50M mark. Not bad for a $30 million movie, yet the opening weekend gross was just $43 million.
Bear in mind that this is the third installment. Since 2017’s Get Out, 2018’s Halloween, 2019’s Us, 2020’s Freaky, 2021’s Candyman and Halloween Kills, and this year’s Nope and Halloween Ends, Universal has been able to boast that it has had a No. 1 opening with a horror movie for the sixth year in a row (the eighth time overall).
With last night’s previews included in, today might bring in $20 million from 3,901 theatres, putting it just 12% below Halloween Kills’ opening day. As of right now, the figures look like this when compared to the historical performance of Halloween and Halloween Kills. On Friday and in previews, ticket sales for the latest Michael Myers film dropped by 24% compared to Saturday.
It was all sunshine and rainbows in the eyes of RelishMix on social media, which speculated that the title Halloween Ends hinted at future installments in the franchise on the grounds that “Michael Myers can never die due to his immortality.”
In addition, the brand’s trick-or-treating imagery has been successful since Halloween was released when Curtis was a teenager 44 years ago. Devoted viewers are also mentioning the film’s composer, John Carpenter.
The combined social media audience of 146.5 million is less than the nearly 193 million who saw the 2018 title and is on par with the 147 million who saw Halloween Kills. Curtis and Kyle Richards have the most followers on social media, with 7.8 million and 6.3 million respectively.
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Curtis Stated On Jimmy Kimmel Live that Halloween Ends is her Final Halloween Film
Perhaps the success of Smile, a film released by Paramount, is taking away part of their audience: The Parker Finn horror film has made $70.5M so far and is only anticipated to drop 37% in its third weekend, making $11.75M. On Friday, ticket sales were $3.6M, down 32% from Thursday’s totals to play in 3,612.
Sony’s Lyle, Lyle, Crocodile dropped 48% in its second weekend, earning $1.9 million on Friday, $7 million over the course of the three days at 4,350 locations, and $22.4 million over the course of ten days.
In fourth place is TriStar’s The Woman King, which is playing in 2,565 theatres and has grossed $933K on its fifth Friday, down 29%; the film is projected to earn $3.5M during the weekend, down 32%; and has a grand total of $56.6M.
With 3,005 admissions on Friday (a drop of 66%) and $900,000 during the weekend (a drop of 55%), New Regency/20th Century Studios/Amsterdam Disney’s landed in fifth place with a total of $11.9 million after 10 days.
UPDATE, EARLY ON A FRIDAY: On its opening night, Universal’s Halloween Ends, co-produced by Blumhouse, Miramax, and Trancas, earned $5.4 million from 3,200 theatres. Showings began at 5 p.m. This is an increase of 11 percent compared to the $4.85M that Halloween Kills made in previews last year.
Around $55 million is expected to be made this weekend at 3,901 locations for David Gordon Green’s third Halloween film, which concludes a mini trilogy within the franchise. Including P&A, the budget for “Halloween Ends” was $30 million. Deadline has learned that the film was made available on the paid subscriber tier of the streaming site Peacock at 8 p.m. ET, meaning it was not limited to theatres for a single night.
It’s not that Universal doesn’t believe in the power of live theatre; Peacock already has 15 million paying customers and is looking to expand. The studio has bought out the creative players’ backends as if the movie were a tentpole blockbuster given the pivot to Peacock, just like they did with Halloween Kills, another film that Uni released on the same day and year.
The first Halloween film directed by David Gordon Green in 2018 was the most successful of the three, bringing back an older and wiser Laurie Strode played by Jamie Lee Curtis. It made $7.7 million in Thursday night previews, $33 million on opening Friday, and $76.2 million over the course of its first weekend in theatres. And remarkably, it managed to energize what is usually a dead zone for films in the latter half of October, making it the fourth greatest opening for the month.
Halloween Ends Reviews
With a score of 79% on Rotten Tomatoes, Green’s Halloween from 2018 was well-received by critics. Reviewers for both Halloweens Kills and Halloween Ends, however, have turned their backs on the franchise. The typical rating for a genre film is between a B and a C+, thus audiences awarded Halloween Kills a B- on the CinemaScore scale.
The Chinonye Chukwu-directed drama Till released by United Artists Releasing/Eon has a limited release this weekend at 16 theatres across five countries. Following its international premiere at the New York Film Festival the film about Emmett Till’s mother, who swears to expose the prejudice behind her son’s 1955 lynching, now has a perfect score of 43 reviews on Rotten Tomatoes. In the coming weeks, Till will open in more cinemas and at more locations.
Paramount’s horror film Smile, which has been playing in wide release, is expected to have earned $1.5M yesterday, down 8% from Wednesday’s estimated 3,659 admissions, bringing its two-week domestic total to $58.6M following a $26.4M second week. The third screening is predicted to be 55% less successful than the first two.
Halloween Kills Movie Review
My overall impression of David Gordon Green’s 2018 “Halloween” reboot was that despite some impressive set pieces, the skilled director fundamentally misjudged what made the John Carpenter original work, so reducing the film’s potential for suspense. Now that I’ve read his sequel, “Halloween Kills,” I realize I was correct.
Some of the worst work from either Green’s career or the history of this troubled franchise (which is saying something if you’ve watched, say, “Halloween 5: The Revenge of Michael Myers”), this film muddies its entire concept with a weird, crude satire on mob mentality.
It’s a shame because, once again, there are set pieces that work (and the ones here are particularly brutal), but the campy dialogue that calls attention to itself, the excessive fan service in the references department, the fact that Laurie Strode herself is pushed to the background for the majority of the project, and the truly inconsistent characters all add up to a final product that definitely doesn’t kill. It seldom does any damage at all.
The events of “Halloween Kills” take place immediately following the events of the 2018 film (and it’s certainly not a coincidence that most of the film is set in Haddonfield Memorial Hospital, the location of the original sequel). New to the Green movie, yet recognizable to fans of the Carpenter pictures, is introduced in the beginning.
They’re reuniting on Halloween forty years after the night that changed their lives forever to celebrate, but any viewer of a horror film knows that they’re just being set up as potential victims (which is, based on their behavior, absolutely no one in Haddonfield).
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