“ Barbenheimer ” didn’t just work — it spun box office gold. The social media-fueled fusion of Greta Gerwig’s “ Barbie ” and Christopher Nolan’s “ Oppenheimer ” brought moviegoers back to theaters in record numbers over the weekend, vastly outperforming projections and giving a glimmer of hope to the lagging exhibition business, amid the sobering backdrop of strikes.
Warner Bros.’ “Barbie” claimed the top spot with a massive $155 million in ticket sales from North American theaters from 4,243 locations, surpassing “The Super Mario Bros. Movie” (as well as every Marvel movie this year) as the biggest opening of the year and breaking the first weekend record for a film directed by a woman. Universal’s “Oppenheimer” also soared past expectations, taking in $80.5 million from 3,610 theaters in the U.S. and Canada, marking Nolan’s biggest non-Batman debut and one of the best-ever starts for an R-rated biographical drama.
It’s also the first time that one movie opened to more than $100 million and another movie opened to more than $80 million in the same weekend. When all is settled, it will likely turn out to be the fourth biggest box office weekend of all time with over $300 million industrywide. And all this in a marketplace that increasingly curved towards intellectual property-driven winner takes all.
The “Barbenheimer” phenomenon may have started out as good-natured competition between two aesthetic opposites, but, as many hoped, both movies benefitted in the end. Internationally, “Barbie” earned $182 million from 69 territories, fueling a $337 million global weekend. “Oppenheimer” did $93.7 million from 78 territories, ranking above “Barbie” in India, for a $174.2 million global total.
The only real casualty was “Mission: Impossible: Dead Reckoning Part I,” which despite strong reviews and a healthy opening weekend fell 64% in weekend two. Overshadowed by the “Barbenheimer” glow as well as the blow of losing its IMAX screens to “Oppenheimer,” the Tom Cruise vehicle added $19.5 million, bringing its domestic total to $118.8 million.
“Barbenheimer” is not merely counterprogramming either. But while a certain section of enthusiastic moviegoers overlapped, in aggregate the audiences were distinct.
Women drove the historic “Barbie” opening, making up 65% of the audience, according to PostTrak, and 40% of ticket buyers were under the age of 25 for the PG-13 rated movie.
“It’s just a joyous time in the world. This is history in so many ways,” said Jeff Goldstein, Warner Bros.’ president of domestic distribution. “I think this marketing campaign is one for the ages that people will be talking about forever.”
“Oppenheimer” audiences meanwhile were 62% male and 63% over the age of 25, with a somewhat surprising 32% that were between the ages of 18 and 24.
Both “Barbie” and “Oppenheimer” scored well with critics with 90% and 94% on Rotten Tomatoes, respectively, and audiences who gave both films an A CinemaScore. And social media has been awash with reactions and “takes” all weekend — good, bad, problematic and everywhere in between — the kind of organic, event cinema, watercooler debate that no marketing budget can buy.
“The ‘Barbenheimer’ thing was a real boost for both movies,” Goldstein said. “It is a crowning achievement for all of us.”
“Oppenheimer” had the vast majority (80%) of premium large-format screens at its disposal. Some 25 theaters in North America had IMAX 70mm screenings ( Nolan’s preferred format ), most of which were completely sold out all weekend — accounting for 2% of the total gross. Theaters even scrambled to add more to accommodate the demand, including 1 a.m. and 6 a.m. screenings, which also sold out.
“Nolan’s films are truly cinematic events,” said Jim Orr, Universal’s president of domestic distribution.
IMAX showings alone made up 26% of the domestic gross (or $21.1 million) from only 411 screens and 20% of the global gross, and “Oppenheimer” will have at least a three-week run on those high-demand screens.
“This is a phenomenon beyond compare,” said Rich Gelfond, the chief executive of IMAX, in a statement. “Around the world, we’ve seen sellouts at 4:00 a.m. shows and people traveling hours across borders to see ‘Oppenheimer’ in IMAX 70mm.”
This is the comeback weekend Hollywood has been dreaming of since the pandemic. There have been big openings and successes — “Spider-Man: No Way Home,” “Top Gun: Maverick,” “Avatar: The Way of Water” among them, but the fact that two movies are succeeding at the same time is notable.
“It was a truly historic weekend and continues the positive box office momentum of 2023,” said Michael O’Leary, President & CEO of the National Association of Theatre Owners. “People recognized that something special was happening and they wanted to be a part of it.”
And yet in the background looms disaster as Hollywood studios continue to squabble with striking actors and writers over a fair contract.
“Barbie” and “Oppenheimer” were the last films on the 2023 calendar to get a massive, global press tour. Both went right up to the 11th hour, squeezing in every last moment with their movie stars. “Oppenheimer” even pushed up its London premiere by an hour, knowing that Emily Blunt, Matt Damon and Cillian Murphy would have to leave to symbolically join the picket lines by the time the movie began.
Without movie stars to promote their films, studios have started pushing some falls releases, including the high-profile Zendaya tennis drama “Challengers.”
But for now, it’s simply a positive story that could even continue for weeks to come.
“There could be a sequel next weekend,” said Paul Dergarabedian, the senior media analyst for Comscore. “The FOMO factor will rachet up because of this monumental box office event centered around the movie theater experience.”
Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.
1. “Barbie,” $155 million
2. “Oppenheimer,” $80.5 million
3. “Sound of Freedom,” $20.1 million
4. “Mission: Impossible-Dead Reckoning Part I,” $19.5 million
5. “Indiana Jones and the Dial of Destiny,” $6.7 million
6. “Insidious: The Red Door,” $6.5 million
7. “Elemental,” $5.8 million
8. “Spider-Man: Across the Spider-Verse,” $2.8 million
9. “Transformers: Rise of the Beasts,” 1.1 million
10. “No Hard Feelings,” $1.1 million
