Furiosa’s opening weekend numbers have been a point of discourse for many trades after its release. As reported by The Hollywood Reporter, Furiosa slumped to a $26 million gross between Friday, May 24, and Sunday, May 26. However, Furiosa was released over the Memorial Day weekend, taking its estimated domestic total to between $31-33 million. Concerning how Furiosa fared overseas, the reading is not much better. In territories outside of the United States and Canada, Furiosa: A Mad Max Saga earned around $33 million, taking its worldwide total opening weekend haul to a lowly $64-66 million.
Although Furiosa is receiving positive reviews, its box office returns for its opening weekend are underwhelming. Many could point to the film itself and wonder why Furiosa specifically is not resonating with audiences, though the issue is much broader than any one film. Instead, Hollywood as a whole has been suffering with box office success in recent years, with a variety of reasons factoring into this disappointing stretch of failed movies. Furiosa, unfortunately, is simply the latest in a long line of underperforming movies that, if its great reception is anything to go by, should be earning much more.
The first problem facing Furiosa has affected other 2024 releases like The Fall Guy. Since the COVID-19 pandemic, the wait time between a movie ending its theatrical run and being released on digital is increasingly shortening. The Fall Guy’s poor box office was capped off with the announcement it would release on digital only two weeks after releasing in theaters. This shrinking wait time is causing audiences to stop spending money in theaters in favor of cheaper, home-video options, which has evidently impacted Furiosa too.
Aside from wider industry problems, Furiosa’s status as a prequel is likely a factor contributing to its poor box office. In recent years, prequels to giant movies simply do not have the same pull as they once might have. Some instances include Solo: A Star Wars Story and The Hunger Games: The Ballad of Songbirds and Snakes, both of which grossed significantly less than their other franchise installments. Furiosa is now following suit, with a prequel to Mad Max: Fury Road obviously not high on the list of stories general audiences desired.
Hey, I’m a bit late to this discussion, but…
When I was in grad school I looked over the literature on discourse analysis. Basically, you get a bunch of people, you show them a text, then you ask them questions about how they perceive the narrative structure of the story. Usually you have a theory based on something like Rhetorical Structure Theory. You do statistics on their responses and measure agreement. You’re trying to find out if people will reliably agree on the structure of a text when they read it.
When people are reading certain types of highly-structured texts, people will generally agree on where the boundaries of the various components are. But that’s not the case for fiction. It’s hard to get people to objectively agree on the structure of a story.
However, you mention other features like number of shots and scene length, and those are very likely to have a high degree of agreement in human observers. It’s just important to keep in mind the difference between what we as an individual observer identify, and what a population of human observers identify.
(btw I agree that Fury Road is a killer movie, I totally need to see it again.)