Dwayne Johnson’s $200 Million-plus Christmas Pic Opens to $34.1 Million

Moviegoers were not exactly feeling the Christmas spirit this weekend, or at least not based on their attendance at “Red One” showings.
The big budget, star-driven action comedy with Dwayne Johnson and Chris Evans sold $34.1 million in tickets in its first weekend in theaters, according to studio estimates Sunday. It easily topped a box office populated mostly by holdovers.
For traditional studios, a $34.1 million debut against a $200 million-plus production budget would be a clear indication of a flop. Some even peg the budget closer to $250 million. But “Red One” is an Amazon MGM Studios release with the luxury of playing the long game rather than relying solely on global box office where Johnson tentpoles often overperform. The film may have a life on Prime Video for years to come, The Associated Press reported.
“Red One,” in which Johnson plays Santa’s bodyguard, was originally built to go straight-to-streaming. It was greenlit prior to Amazon's acquisition of MGM. One interpretation of its lifecycle is that the theatrical earnings are not only just a bonus, but an additive gesture toward struggling theaters looking for a consistent stream of new films.
“Amazon has 250 million plus worldwide subscribers to the platform. It’s similar to the way Netflix, I think, looks at stuff for their platform,” said Kevin Wilson, head of distribution for Amazon MGM Studios. “There’s a there’s a massive value for a movie like this in terms of how many eyeballs you’re going to get.”
The first major studio holiday release since 2018, “Red One” opened on 4,032 screens, including IMAX and other large formats, on an otherwise quiet weekend for major releases.
“We’re really happy with the results," Wilson said. “I think when you look at the theatrical marketplace that's sometimes unforgiving, especially for original films, this is a good result for us.”
Since 2020, only seven films that weren't sequels or based on another piece of intellectual property have opened over $30 million (including “Oppenheimer” and “Nope.”)
Warner Bros. is handling the overseas release, where it has made an estimated $50 million in two weekends from 75 territories and 14,783 screens.
Still, it’s certainly not a theatrical hit in North America. Even “Joker: Folie à Deux” made slightly more in its first weekend. “Red One,” directed by Jake Kasdan and produced by Johnson’s Seven Bucks, was roundly rejected by critics, with a dismal 33% Rotten Tomatoes score. Jake Coyle, in his review for The Associated Press, wrote that it “feels like an unwanted high-priced Christmas present.”
Audiences were kinder than they were to “Joker 2,” giving it an A- CinemaScore, suggesting, perhaps, that the idea of it becoming a perennial holiday favorite is not so off-base.
“Red One” is also overperforming in the middle of the country, Wilson said, and perhaps will have a nice holdover over Thanksgiving as a different option to the behemoths on the way.
Sony's “Venom: The Last Dance” added $7.4 million this weekend's box office to take second place, bringing its domestic total to $127.6 million. Globally, its total stands at $436.1 million.
Lionsgate's “The Best Christmas Pageant Ever” landed in third with $5.4 million. That much more modestly budgeted Christmas movie has already nearly doubled its $10 million production budget in two weeks. Fourth place went to A24’s Hugh Grant horror “Heretic,” with $5.2 million, bumping its total gross to $20.4 million.
Universal and DreamWorks Animation’s “The Wild Robot” rounded out the top five in its eighth weekend in theaters with an additional $4.3 million. The animated film surpassed $300 million worldwide.
This weekend is a bit of a stopover before the Thanksgiving tentpoles arrive. Next week, “Wicked” and “Gladiator II” face off in theaters with “Moana 2”, which also stars Johnson, sailing in the Wednesday before the holiday.
“Gladiator II” also got a bit of a head start internationally, where it opened in 63 markets this weekend to gross $87 million. That's a record for filmmaker Ridley Scott and for an R-rated international release from Paramount. It opens in the US and Canada on Nov. 22.

Words and phrases like "nostalgia" or "back to her roots" come to mind when listening to Gwen Stefani’s fifth studio album, "Bouquet" — and it is in no way negative.

Across 10-tracks, the powerhouse singer leans into the mellow rock of her youth — think Hall & Oates, Chicago, Fleetwood Mac — with dashes of country vibes here and there. Her voice is ageless, unaltered and distinctive, immediately recalling the early aughts when No Doubt still existed, and Stefani was still a bit of a ska girl.

Thematically, however, the songs are about a woman who’s been through the ringer — but life gave her a reprieve in her second act, and she found stability, lots of flowers and no mo’ drama. In that way, "Bouquet" is a not so furtive ode to husband Blake Shelton — who she met and fell in love with while they were both coaches on the singing reality competition show, "The Voice." At the time, they were both going through divorces to Gavin Rossdale and Miranda Lambert, respectively.

On "Bouquet," the Stefani-Shelton romance arrives through yacht rock sounds and flowery language in songs with titles like "Marigolds,Late to Bloom" and "Empty Vase." When the album reaches its end, it is with a duet with Shelton on "Purple Irises."

If the album tells a story of her relationship, it starts with the opener "Somebody Else's." Stefani starts off the proceedings by listing her previous romantic entanglement and bad choices. "I don’t know what a heart like mine/Was doin’ in a love like that, ah," she sings. "I don’t know what a woman like me/Was doin’ with a man like you, ooh."

It's a direct counter to the title track, where the focus appears to be back on Shelton: "We met when my heart was broken/Thank God that yours was, too," she shares. "So lucky that you were goin'/ Through what I was goin' through."

In "Late to Bloom," she decries the fact that they met so late in life.

A nice bass progression, a clever turn of the phrase and a great voice are what it takes to get this album going. Add a cohesive theme, a pleasant vibe and a charismatic star —- and that's coming up roses.

Dwayne Johnson’s $200 Million-plus Christmas Pic Opens to $34.1 Million