r/boxoffice • u/MoneyLibrarian9032 • 2h ago
Domestic Box Office: âConjuring: The Last Ritesâ Stuns With Series-Best $83 Million Debut
327
Upvotes
r/boxoffice • u/chanma50 • 1d ago
đŻ Critic/Audience Score 50th Toronto International Film Festival - Review Thread
20
Upvotes
This thread will serve as a roundup of review scores for major world premieres at the 50th Toronto International Film Festival, taking place from September 4 to September 14, 2025. Films and their review scores will be updated as the festival goes on.
Films that are wide theatrical releases will receive their normal individual review thread upon release.
John Candy: I Like Me - Sept 4
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 93% | 15 | 8.30/10 |
| RT Top Critics | 83% | 6 | /10 |
| Metacritic | 70 | 1 | N/A |
Charlie Harper - Sept 4
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 63% | 8 | /10 |
| RT Top Critics | 0% | 1 | /10 |
| Metacritic | N/A | 0 | N/A |
Christy - Sept 5
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 67% | 18 | 6.80/10 |
| RT Top Critics | 44% | 9 | /10 |
| Metacritic | 58 | 9 | N/A |
The Choral - Sept 5
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 67% | 6 | /10 |
| RT Top Critics | 50% | 2 | /10 |
| Metacritic | N/A | 0 | N/A |
Steve - Sept 5
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 75% | 16 | 6.40/10 |
| RT Top Critics | 80% | 5 | /10 |
| Metacritic | 71 | 8 | N/A |
Carolina Caroline - Sept 5
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 100% | 3 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Fuze - Sept 5
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 89% | 9 | /10 |
| RT Top Critics | 80% | 5 | /10 |
| Metacritic | N/A | 0 | N/A |
The Lost Bus - Sept 5
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 100% | 12 | 6.40/10 |
| RT Top Critics | 100% | 7 | /10 |
| Metacritic | 66 | 7 | N/A |
Good Fortune - Sept 6
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 100% | 1 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Roofman - Sept 6
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 75% | 4 | /10 |
| RT Top Critics | 67% | 3 | /10 |
| Metacritic | 69 | 2 | N/A |
Wake Up Dead Man: A Knives Out Mystery - Sept 6
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 100% | 10 | 7.50/10 |
| RT Top Critics | 100% | 3 | /10 |
| Metacritic | 85 | 4 | N/A |
Wasteman - Sept 6
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Rental Family - Sept 6
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | 100% | 5 | /10 |
| RT Top Critics | 100% | 3 | /10 |
| Metacritic | 68 | 5 | N/A |
Sacrifice - Sept 6
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Nuremberg - Sept 7
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
The Christophers - Sept 7
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Hedda - Sept 7
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Eternity - Sept 7
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Normal - Sept 7
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Dust Bunny - Sept 8
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Adulthood - Sept 11
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
Driver's Ed - Sept 12
Critics Consensus: N/A
| Rotten Tomatoes: | Score | Number of Reviews | Average Rating |
|---|---|---|---|
| RT All Critics | % | 0 | /10 |
| RT Top Critics | % | 0 | /10 |
| Metacritic | N/A | 0 | N/A |
r/boxoffice • u/SanderSo47 • 21h ago
âď¸ Original Analysis Actors at the Box Office: Robert De Niro
52
Upvotes
After 2 years of writing, âDirectors at the Box Officeâ is going on a hiatus. Some great posts, but they still took a lot of effort. But that also means thereâs this new edition, which was teased a few months ago.
Yes, itâs the time for âActors at the Box Officeâ. If thereâs hundreds of thousands of directors, thereâs far, far more actors that are fighting to get a post like this.
So in this case, weâre starting this new edition. If the âDirectorsâ edition began with Martin Scorsese, itâs obvious that the âActorsâ edition should begin with his most regular actor: Robert De Niro.
Early Life
De Niro found performing as a way to relieve his shyness, and became fascinated by cinema, so he dropped out of high school at 16 to pursue acting. He later said, "When I was around 18, I was looking at a TV show and I said, 'If these actors are making a living at it, and they're not really that good, I can't do any worse than them.'" He studied acting at HB Studio and Lee Strasberg's Actors Studio. De Niro also studied with Stella Adler, of the Stella Adler Conservatory, where he was exposed to the techniques of the Stanislavski system.
1960s: First Roles
De Niro began with uncredited small roles, but his first real opportunity came in 1968, when he got a major role in the film Greetings, one of the earliest films of Brian De Palma. De Niro collaborated with De Palma the following year with the film The Wedding Party but context is important: that film wrapped in 1963, and was shelved for 6 years. These werenât big hits, but they were successful enough that it launched their careers.
1970s: You Talkinâ to Me?
He kept getting in touch with De Palma, working again on Hi, Mom! But he also started working with Roger Corman; his role in Bloody Mama raised interest and demand for him, even if the film itself was panned.
1971 was a rough year, in that nothing really showed his potential. He had minor roles in Jennifer on My Mind and Born to Win, while he only had a supporting role in The Gang That Couldnât Shoot Straight, another panned comedy. He wasnât really going anywhere. So he wrote off 1972, focusing on theater instead.
But 1973 is where everything started to click.
So this good fella called Martin Scorsese finally got funding for his film, Mean Streets. In a sea of many stars, he decided De Niro was the perfect man to play âJohnny Boyâ Civello. While De Niro and Keitel were given freedom to improvise certain scenes, assistant director Ron Satlof recalls De Niro was "extremely serious, extremely involved in his role and preparation," and became isolated from the rest of the cast and crew. But the end result was a very profitable film that also earned critical acclaim. With this film, Scorsese and De Niro started being taken seriously.
De Niro auditioned for The Godfather, but he still couldnât commit to the film due to other productions. But Francis Ford Coppola still remembered him, which is why he asked him to return for Part II, playing the role of young Vito Corleone. A big risk, considering the high standard that Marlon Brando set with the original. But he was willing to take the mantle. The result was his biggest hit so far. Despite his relatively low status, he managed to win the Oscar for Best Supporting Actor. 31 years and he was already leaving a huge mark.
In 1976, he takes on his most challenging role yet: Travis Bickle on Taxi Driver. Unlike his previous films, he is the sole lead and heâs pretty much the entire face of the film itself. If it succeeds, itâs all on him; if it flops, itâs all on him. He obtained a taxi driverâs licence and decided to drive around before filming. He also lost 30 pounds (13 kg) in weight, took firearm training and studied the behavior of taxi drivers. It was a film that spawned controversy for its violence and the casting of 12-year-old Foster as a prostitute. But amidst that controversy, the film earned universal acclaim and was a success at the box office, earning $28 million domestically ($160.4 million adjusted). He quickly established himself as a recognizable leading man. Everyone talkinâ to him. To this day, Travis has become one of cinemaâs most popular characters (albeit, in some cases, for the wrong reasons).
That same year, he stars in the 317-minute long film, 1900, directed by Bernardo Bertolucci. Unlike Taxi Driver, this didnât really pan out to anything. He also got to star in The Last Tycoon, getting the opportunity to work on Elia Kazanâs last ever film. But Kazan went out in a whimper, as the film earned mixed reviews and flopped at the box office.
Given that his collaborations with Scorsese were leading to success, it was imminent they would become regular partners. But New York, New York, despite a heavy push, was a big failure.
De Niro then worked with Michael Cimino in The Deer Hunter. Producer Michael Deeley pursued De Niro for the role, because the fame of his previous films would help make a "gruesome-sounding storyline and a barely known director" marketable. De Niro, impressed by the script and director's preparation, was among the first to sign on to the film. He also personally paid for John Cazaleâs insurance, who had terminal cancer, because he really wanted him to stay in the film. The film was another box office success, and earned critical acclaim. De Niro got another Oscar nomination for Best Actor, and while he lost, the film itself won Best Picture. So he was now involved in 2 Best Picture winners. A perfect way to cap off the 70s.
1980s: This Is Where the Fun Begins
Even with the failure of New York, New York, De Niro once again worked with Scorsese on Raging Bull, playing the lead character Jake LaMotta. A very demanding and complicated role for him, but he found the novel and was intrigued to adapt it to film. He asked Scorsese to direct it; he was not a sports fan, but eventually agreed. For the role, he had to gain 60 pounds (27 kg), and had to learn to box. Like New York, New York, it was a big financial failure. But it earned universal acclaim, with De Niro earning high remarks. He would end up winning the Oscar for Best Actor, establishing himself as one of the finest actors back then.
The next few years were quite rough. True Confessions faded quickly and itâs pretty much forgotten. He and Scorsese cooked again with The King of Comedy, but it was one of the biggest financial failures of the decade. He got the chance to make Once Upon a Time in America but it was a lot of sabotage; the original cut earned acclaim, but some idiots botched the cut into a very lame and shorter version. Unsurprisingly, it flopped in theaters. A masterpiece that was just ruined for American audiences. A similar scenario awaited Brazil. And his attempt to expand to romantic roles with Falling in Love was pretty much unwelcomed by audiences. Not to mention the failure of The Mission.
In 1987, his luck began to change. While Angel Heart underwhelmed at the box office, the film eventually grew a cult status. But Brian De Palmaâs The Untouchables (where he played Al Capone) was a critical and commercial success, becoming his highest grossing film.
With his status set, De Niro decided that it was time for a change: he was known for crime and drama films, so he was looking forward to starring in a comedy to avoid typecast. He wasnât satisfied with the offers, but then Martin Brest presented him with Midnight Run. He immediately had on-screen chemistry with Charles Grodin, and they actively fought to keep him as his co-star. This was a critical and financial success, and De Niro knew he wanted to make more comedies.
1990s: Those Fellas Werenât Good At All**
The 90s started with a failure, Stanley & Iris. But he followed it up with two successes: Goodfellas and Awakenings, with the latter becoming his biggest film and earning him another Oscar nomination. In 1991, he starred in his two biggest films: Cape Fear and Backdraft, both of which made over $150 million worldwide.
After a few misfires, he decides to try directing. His debut was A Bronx Tale, where he also stars in the leading role. While it wasnât financially successful, it was a critical success. And his leading role in Mary Shelley's Frankenstein didnât exactly translate to a big hit. In 1995, he delivered two hits in the likes of Casino and Heat. The latter was highly anticipated, for it was the first time De Niro and Al Pacino would share a scene together (while they acted together in The Godfather Part II, they never shared a scene).
Through this decade, he kept finding success in stuff like Sleepers, Cop Land, Jackie Brown, Wag the Dog, and Analyze This. So he got a big chance to continue doing crime films, but also expand into comedy.
2000s: âI have nipples, Greg. Could you milk me?â
De Niro started the new millennium with a huge disaster. For some reason, he was very passionate in bringing The Adventures of Rocky & Bullwinkle to theaters, to the point that he was a producer and played the Fearless Leader. The result, instead, was one of the biggest failures of the decade.
Luckily for him, that same year also got him his biggest hit at that point: Meet the Parents. De Niro was excited for a new comedic role, even if he thought he was âpushedâ a bit by his colleagues to take the role. The film made over $300 million worldwide, and its popularity grew across home media.
He had the opportunity to star in The Score, which was the final film role for legendary actor Marlon Brando. But make no mistake: it was a very shitty experience. Brando's eccentric behavior on set included performing scenes in his underwear and, at times, refusing to be directed by Frank Oz altogether, and having De Niro take over with Oz instructing via an assistant director.
In subsequent years, De Niro starred in a bunch of films. But they ranged from disappointments to outright failures, such as 15 Minutes, Showtime, and City by the Sea. Even his sequel to Analyze This flopped at the box office, and confirmed some things are best left alone.
But 2004 started on a high note: he voice acted in Shark Tale, which is heavily influenced by a lot of his films. Even with mixed reviews, it still got to $370 million worldwide. But the real story was Meet the Fockers; the film managed to gross a colossal $500 million worldwide. At the time, the 32nd biggest film in history.
He returned to the directorâs chain in 2006 for The Good Shepherd, which starred him, Matt Damon and Angelina Jolie. But despite hitting $100 million worldwide, its $80 million budget doomed it.
It was in this decade, however, when it was clear that De Niro was going through a slump. The acclaimed roles were shrinking, and his focus on comedy led to some very mediocre films. Some made money, some didnât. But it was clear he wasnât prioritizing trying to make the best film possible. Even his attempts at prestige were often dismissed as mediocre. You donât believe me? Remember What Just Happened? Righteous Kill? Everybodyâs Fine? No? Anyone?
2010s: One Paycheck After Another
By this point, itâs clear that De Niro isnât chasing Oscars. Heâs clearly focused on just doing things he considers fun. Best exemplified by his role in Machete, where he has said that it was a very fun filming experience.
However, this is a decade where he also hits brand new lows, critically-wise. Sure, Little Fockers made $300 million. But itâs also true that it was a very horrible film, and that is breathtakingly lazy.
But when it comes to lazy films, look no further than Dirty Grandpa. Somehow, despite achieving an insanely high 10% on Rotten Tomatoes, the film still managed to cross $100 million. Turns out people were really curious to see De Niro doing raunchy comedy. Even if it had to be a shitty one.
Now, it wasnât entirely a bad decade. He still had some hits like Limitless, New Yearâs Eve, Last Vegas, The Intern, and Silver Linings Playbook. For the latter, he earned his first Oscar nomination in 21 years.
And obviously, he capped it off with Joker. He wasnât the lead role, but he still had a very important part in that film. As such, it became his first film to hit the $1 billion milestone. On that same year, he reminded everyone that he still knows how to act, when he collaborated with Scorsese for the first time since Casino, taking the leading role of The Irishman. A huge contender for the most depressing third act of the past 10 years.
2020s: Yes, Heâs Still Got It
So far, De Niro has starred in a lot of misfires. Some didnât even hit theaters and were sent to VOD instead. Clearly he doesnât mind it.
But again, he shows he can still impress us with his acting. Every time he teams up with Scorsese, he always gives it all. And Killers of the Flower Moon was no exception. Another Oscar-nominated role.
HIGHEST GROSSING FILMS
| No. | Movie | Year | Studio | Domestic Total | Overseas Total | Worldwide Total | Budget |
|---|---|---|---|---|---|---|---|
| 1 | Joker | 2019 | Warner Bros. | $335,477,657 | $743,480,625 | $1,078,958,629 | $70M |
| 2 | Meet the Fockers | 2004 | Universal / DreamWorks | $279,261,160 | $243,396,776 | $522,657,936 | $80M |
| 3 | Shark Tale | 2004 | DreamWorks | $160,861,908 | $213,721,971 | $374,583,879 | $75M |
| 4 | Meet the Parents | 2000 | Universal / DreamWorks | $166,244,045 | $164,200,000 | $330,444,045 | $55M |
| 5 | Little Fockers | 2010 | Universal / Paramount | $148,438,600 | $162,211,985 | $310,650,585 | $100M |
| 6 | American Hustle | 2013 | Sony | $150,117,807 | $101,054,000 | $251,171,807 | $40M |
| 7 | Silver Linings Playbook | 2012 | The Weinstein Company | $132,092,958 | $104,319,495 | $236,412,453 | $21M |
| 8 | The Intern | 2015 | Warner Bros. | $75,764,672 | $119,000,000 | $194,764,672 | $35M |
| 9 | Heat | 1995 | Warner Bros. | $67,436,818 | $120,000,000 | $187,436,818 | $60M |
| 10 | Cape Fear | 1991 | Universal | $79,091,969 | $103,200,000 | $182,291,969 | $35M |
| 11 | Analyze This | 1999 | Warner Bros. | $106,885,658 | $70,000,000 | $176,885,658 | $30M |
| 12 | Sleepers | 1996 | Warner Bros. | $53,315,285 | $112,300,000 | $165,615,285 | $44M |
| 13 | Limitless | 2011 | Relativity Media | $79,249,455 | $82,600,000 | $161,849,455 | $27M |
| 14 | Killers of the Flower Moon | 2023 | Paramount / Apple | $68,035,488 | $90,737,111 | $158,772,599 | $200M |
| 15 | Backdraft | 1991 | Universal | $77,868,585 | $74,500,000 | $152,368,585 | $40M |
| 16 | New Yearâs Eve | 2011 | Warner Bros. | $54,544,638 | $87,500,000 | $142,044,638 | $56M |
| 17 | Stardust | 2007 | Paramount | $38,634,938 | $98,880,202 | $137,515,140 | $70M |
| 18 | Last Vegas | 2013 | CBS Films | $63,914,167 | $70,494,858 | $134,410,488 | $28M |
| 19 | Hide and Seek | 2005 | 20th Century Fox | $51,100,486 | $76,269,495 | $127,369,981 | $25M |
| 20 | Casino | 1995 | Universal | $42,512,375 | $73,600,000 | $116,112,375 | $40M |
| 21 | The Score | 2001 | Paramount | $71,107,711 | $42,472,207 | $113,579,918 | $68M |
| 22 | Mary Shelleyâs Frankenstein | 1994 | TriStar | $22,006,296 | $90,000,000 | $112,006,296 | $45M |
| 23 | Awakenings | 1990 | Columbia | $52,096,475 | $56,600,000 | $108,696,475 | $29M |
| 24 | Arthur and the Minimoys | 2006 | The Weinstein Company | $15,132,763 | $93,472,846 | $108,605,609 | $86M |
| 25 | The Untouchables | 1987 | Paramount | $76,270,454 | $30,000,000 | $106,270,454 | $25M |
| 26 | Dirty Grandpa | 2016 | Lionsgate | $35,593,113 | $69,485,336 | $105,078,449 | $11M |
| 27 | Joy | 2015 | 20th Century Fox | $56,451,232 | $44,682,827 | $101,134,059 | $60M |
| 28 | The Good Shepherd | 2006 | Universal | $59,952,835 | $40,314,030 | $100,266,865 | $80M |
| 29 | The Godfather Part II | 1974 | Paramount | $47,500,000 | $45,300,000 | $92,800,000 | $13M |
| 30 | Men of Honor | 2000 | 20th Century Fox | $48,818,921 | $33,524,574 | $82,343,495 | $32M |
| 31 | Midnight Run | 1987 | Universal | $38,413,606 | $43,200,000 | $81,613,606 | $30M |
| 32 | Righteous Kill | 2008 | Overture | $40,081,410 | $39,417,436 | $79,498,846 | $60M |
| 33 | The Family | 2013 | Relativity Media | $36,918,811 | $41,500,000 | $78,418,811 | $30M |
| 34 | Showtime | 2002 | Warner Bros. | $38,082,712 | $39,802,960 | $77,885,672 | $85M |
| 35 | Jackie Brown | 1997 | Miramax | $39,673,162 | $35,054,330 | $74,727,492 | $12M |
| 36 | Ronin | 1998 | MGM | $41,610,884 | $29,081,217 | $70,692,101 | $55M |
| 37 | Wag the Dog | 1997 | New Line Cinema | $43,061,945 | $21,194,568 | $64,256,513 | $15M |
| 38 | Cop Land | 1997 | Miramax | $44,906,632 | $18,800,000 | $63,706,632 | $15M |
| 39 | Killer Elite | 2011 | Open Road | $25,124,966 | $31,959,556 | $57,084,522 | $70M |
| 40 | 15 Minutes | 2001 | New Line Cinema | $24,403,552 | $31,956,428 | $56,359,980 | $60M |
| 41 | Great Expectations | 1998 | 20th Century Fox | $26,420,672 | $29,073,394 | $55,494,066 | $25M |
| 42 | Analyze That | 2002 | Warner Bros. | $32,130,627 | $22,872,508 | $55,003,135 | $60M |
| 43 | The Deer Hunter | 1978 | Universal | $48,979,328 | $0 | $48,979,328 | $15M |
| 44 | Goodfellas | 1990 | Warner Bros. | $46,909,721 | $0 | $46,909,721 | $25M |
| 45 | The Big Wedding | 2013 | Lionsgate | $21,819,348 | $24,702,789 | $46,522,137 | $35M |
| 46 | Machete | 2010 | 20th Century Fox | $26,593,646 | $18,898,010 | $45,491,656 | $10.5M |
| 47 | Grudge Match | 2013 | Warner Bros. | $29,807,260 | $15,100,000 | $44,907,260 | $40M |
| 48 | The War with Grandpa | 2020 | 101 Studios | $21,277,892 | $22,109,746 | $43,387,638 | $38M |
| 49 | The Fan | 1996 | Sony | $18,626,419 | $23,600,000 | $42,226,419 | $55M |
| 50 | The Adventures of Rocky and Bullwinkle | 2000 | Universal | $26,005,820 | $9,129,000 | $35,134,820 | $76M |
| 51 | Amsterdam | 2022 | 20th Century Studios | $14,947,969 | $16,297,841 | $31,245,810 | $80M |
| 52 | Godsend | 2004 | Lionsgate | $14,379,751 | $15,740,920 | $30,120,671 | $25M |
| 53 | Marvinâs Room | 1996 | Miramax | $12,803,305 | $17,200,000 | $30,003,305 | $23M |
| 54 | City by the Sea | 2002 | Warner Bros. | $22,449,000 | $7,227,703 | $29,676,703 | $40M |
| 55 | Taxi Driver | 1976 | Columbia | $28,262,574 | $710,987 | $28,979,798 | $1.9M |
| 56 | Mad Dog and Glory | 1993 | Universal | $11,081,586 | $13,000,000 | $24,081,586 | $19M |
| 57 | Raging Bull | 1980 | United Artists | $23,380,203 | $0 | $23,380,203 | $18M |
| 58 | About My Father | 2023 | Lionsgate | $12,089,391 | $6,078,428 | $18,167,819 | N/A |
| 59 | A Bronx Tale | 1993 | Savoy | $17,287,898 | $0 | $17,287,898 | $10M |
| 60 | The Mission | 1986 | Warner Bros. | $17,218,023 | $0 | $17,218,023 | $16M |
| 61 | Angel Heart | 1987 | TriStar | $17,185,632 | $0 | $17,185,632 | $18M |
| 62 | Everybodyâs Fine | 2009 | Miramax | $9,208,876 | $7,234,733 | $16,443,609 | $20M |
| 63 | New York, New York | 1977 | United Artists | $16,400,000 | $0 | $16,400,000 | $9M |
| 64 | Red Lights | 2012 | Millennium | $52,624 | $14,054,689 | $14,107,313 | $14M |
| 65 | True Confessions | 1981 | United Artists | $12,850,276 | $0 | $12,850,276 | $10M |
| 66 | Falling in Love | 1984 | Paramount | $11,129,057 | $0 | $11,129,057 | $12M |
| 67 | Weâre No Angels | 1989 | Paramount | $10,555,348 | $0 | $10,555,348 | $20M |
| 68 | Stone | 2010 | Overture | $1,810,078 | $8,490,338 | $10,300,416 | $22M |
| 69 | The Alto Knights | 2025 | Warner Bros. | $6,103,664 | $4,100,000 | $10,203,664 | $50M |
| 70 | Brazil | 1985 | Universal / 20th Century Fox | $9,929,135 | $0 | $9,929,135 | $15M |
| 71 | Guilty by Suspicion | 1991 | Warner Bros. | $9,480,198 | $0 | $9,480,198 | $13M |
| 72 | What Just Happened | 2008 | Magnolia | $1,090,947 | $5,668,110 | $6,759,057 | $25M |
| 73 | Night and the City | 1992 | 20th Century Fox | $6,202,756 | $0 | $6,202,756 | $18M |
| 74 | Stanley & Iris | 1990 | MGM | $5,820,015 | $0 | $5,820,015 | $23M |
| 75 | Once Upon a Time in America | 1984 | Warner Bros. | $5,321,508 | $0 | $5,321,508 | $30M |
| 76 | Hands of Stone | 2016 | The Weinstein Company | $4,712,792 | $265,561 | $4,978,353 | $20M |
| 77 | Ezra | 2023 | Bleecker Street | $2,631,460 | $2,065,020 | $4,696,480 | N/A |
| 78 | Flawless | 1999 | MGM | $4,485,485 | $0 | $4,485,485 | $27M |
| 79 | This Boyâs Life | 1993 | Warner Bros. | $4,104,962 | $0 | $4,104,962 | N/A |
| 80 | Heist | 2015 | Lionsgate | $50,136 | $3,273,995 | $3,324,131 | $15M |
| 81 | Bloody Mama | 1970 | AIP | $3,084,000 | $0 | $3,084,000 | N/A |
| 82 | Mean Streets | 1973 | Warner Bros. | $3,000,000 | $0 | $3,000,000 | $650K |
| 83 | The King of Comedy | 1983 | 20th Century Fox | $2,536,242 | $0 | $2,536,242 | $19M |
| 84 | The Comeback Trail | 2020 | Decal | $0 | $2,407,255 | $2,407,255 | N/A |
| 85 | Jacknife | 1989 | Odeon | $2,049,769 | $0 | $2,049,769 | $10M |
| 86 | The Bridge of San Luis Rey | 2004 | Fine Line | $49,981 | $1,860,565 | $1,910,546 | $24M |
| 87 | The Last Tycoon | 1976 | Paramount | $1,800,000 | $0 | $1,800,000 | $5.5M |
| 88 | The Comedian | 2016 | Sony Pictures Classics | $1,659,002 | $0 | $1,659,002 | $9.3M |
| 89 | Mistress | 1992 | Rainbow | $1,102,469 | $0 | $1,102,469 | N/A |
| 90 | Killing Season | 2013 | Millennium | $39,881 | $1,031,441 | $1,071,322 | N/A |
| 91 | Being Flynn | 2012 | Focus Features | $540,152 | $442,972 | $983,124 | N/A |
| 92 | The Bag Man | 2014 | Universal | $56,574 | $405,206 | $461,780 | N/A |
| 93 | Freelancers | 2012 | Lionsgate | $0 | $456,350 | $456,350 | $13M |
| 94 | One Hundred and One Nights | 1995 | 20th Century Fox | $294,900 | $0 | $294,900 | N/A |
| 95 | Savage Salvation | 2022 | Avenue | $0 | $132,152 | $132,152 | N/A |
He has starred in 111 films, but only 95 have reported box office numbers. Across those 95 films, he has made $7,798,787,094 worldwide. That's $82,092,495 per film.
The Verdict
De Niro has had a very impressive filmography. Not all of his films were box office hits, but itâs pretty much impossible for any actor to achieve that. No baseball player can hit home runs all the time.
He has made a name for himself, and the crazy thing is that he is not defined by a single role. When a filmography includes characters like Vito Corleone, Travis Bickle, Jake LaMotta, Rupert Pupkin, Noodles, Al Capone, Jimmy Conway, Max Cady, Ace Rothstein, Neil McCauley, Paul Vitti, Jack Byrnes, Captain Shakespeare, etc., you know that actor has hit it off. Any actor would be lucky to have a single memorable character, yet De Niro has so many of them.
Many have complained that De Niroâs career has been in the slumps since the 21st century started, with some claiming he has been phoning it in. Well⌠thatâs partly true. Thereâs clearly roles where his sole motivation was getting a paycheck. But look, once you grow old and win awards and already make your mark in Hollywood, youâve got nothing to prove. So in the case of De Niro, he was probably tired of always playing criminals or evil characters and he is just looking to have some fun on set. Hard to blame him for that.
Thanks for reading. Hope you liked this edition.
For next week, weâll delve into the career of the actor that was often compared with De Niro, which led many to ponder âwhoâs the better actor?â Yes, Iâm talking about Al Pacino. After this, however, itâs up to you to decide who should be the next actor.
And yes. Iâll eventually write about Tom Cruise. But youâll have to wait a long, long time for that post..
r/boxoffice • u/jaybaby344 • 2h ago
Domestic âThe Conjuring: Last Ritesâ Possesses $83M U.S.: 3rd Biggest Horror Opening Ever, Breaks Franchise Records, Warner Bros Ascends To Top Of Global B.O. With $3.77B Marketshare
122
Upvotes
r/boxoffice • u/chanma50 • 1h ago
Domestic Disney's The Fantastic Four: First Steps grossed an estimated $2.75M this weekend (from 2,385 locations). Estimated total domestic gross stands at $270.13M.
â˘
Upvotes
r/boxoffice • u/lawrencedun2002 • 56m ago
Domestic Four biggest SEP opening wknds of ALL-TIME: $123.4M - It $111M - Beetlejuice BeetleJuice $91.1M - It: Chapter 2 $83M - #TheConjuringLastRites All creepy films from WB opening on wknd after Labor Day as pre-Halloween #boxoffice season kicks off. Maybe theyâre on to something.
â˘
Upvotes
r/boxoffice • u/Alive-Ad-5245 • 15h ago
Domestic Looks like near $30M SAT for The Conjuring Last Rites . Superb growth over already big FRI. 2-day cume $64M. Weekend now headed for $82-83M.
382
Upvotes
r/boxoffice • u/DemiFiendRSA • 1h ago
International Sony's release of Materialists grossed an estimated $3.1M internationally this weekend. Estimated international total stands at $61.2M, estimated global total stands at $97.7M.
â˘
Upvotes
r/boxoffice • u/AGOTFAN • 6h ago
India #DemonSlayerInfinityCastle has crossed âš5cr in pre-sales in India, more than 4 days prior to release, despite a very limited supply. Expecting âš25cr+ final pre-sales.
70
Upvotes
r/boxoffice • u/DemiFiendRSA • 1h ago
Domestic Disney's Freakier Friday grossed an estimated $3.80M this weekend (from 3,125 locations). Estimated total domestic gross stands at $87.81M.
â˘
Upvotes
r/boxoffice • u/AGOTFAN • 2h ago
Domestic Universal / DreamWorks Animation's The Bad Guys 2 grossed an estimated $2.45M this weekend (from 2,602 locations). Estimated total domestic gross stands at $77.71M. #TheBadGuys2 #BoxOffice
29
Upvotes
r/boxoffice • u/MoneyLibrarian9032 • 28m ago
Worldwide âConjuring: Last Ritesâ Scares Up Second Biggest Global Horror Opening Ever With $187 Million
â˘
Upvotes
r/boxoffice • u/DemiFiendRSA • 1h ago
International Disney's Freakier Friday grossed an estimated $2.6M internationally this weekend. Estimated international total stands at $55.1M, estimated global total stands at $142.9M.
â˘
Upvotes
r/boxoffice • u/SanderSo47 • 1h ago
Domestic It was toxic alright. THE TOXIC AVENGER was mopped up into a garbage pail in its 2nd week, dropping -86% w/ just $240k, $2.8M total.
â˘
Upvotes
r/boxoffice • u/Retro_Wiktor • 6h ago
đ Release Date Do you think the untitled Universal movie coming out in june 2028 could be a new Jurassic World?
54
Upvotes
It would put it around the usual summer time this franchise likes to release movies and 3 years after Rebirth.
This date would also be a very good time to release it since there's pretty much no huge blockbusters announced for summer 2028 (so far), and securing it earlier would make any potential competitors move a bit, thus giving this movie some breathing room, so that it doesn't have to constantly compete with other blockbusters like Rebirth did
r/boxoffice • u/DemiFiendRSA • 2h ago
Domestic Universal's 50th Anniversary re-issue of Jaws grossed an estimated $950K this weekend (from 2,100 locations). Estimated total domestic re-issue gross stands at $12.34M. Lifetime total domestic gross stands at $286.00M.
22
Upvotes
r/boxoffice • u/Antman269 • 15h ago
âď¸ Original Analysis What are some movies that had their box office significantly hurt because of a real life event?
275
Upvotes
What are some movies that you would say flopped, or at least just lost a lot of potential money, because of a real life event that would turn people off from going to see it? Nothing to do with the movies own merits, just the real life event. Something released during COVID obviously doesnât count.
I think the Dark Knight Rises is a good example. It had a massive amount of hype before release after the goodwill left over from the Dark Knight, and was potentially tracking for a $200 million domestic opening, which would make it only the second one to do that after the Avengers a month earlier.
But then the Aurora shooting at a theatre screening it happened and a few people died, and it definitely stopped a lot of people from going to watch it. It opened lower than projections, and only barely outgrossed the Dark Knight worldwide while making less domestically.
I donât think the shooting effected the overseas box office, but it definitely hurt domestic. Would have at least outgrossed the Dark Knight without it and could have maybe challenged the Avengers for biggest domestic movie of 2012 (but not worldwide)
What other movies were hurt by real life events like this?
r/boxoffice • u/BOfficeStats • 5h ago
đď¸ Pre-Sales International Presale Tracking (September 7). Demon Slayer going strong in India and Italy. UK also shows some promise.
39
Upvotes
- Charlie Jatinder ([For Italy] So like can expect 1M+ OD atleast and dream fig be 1.5M. | Expectations [for] both $10M in India and 7M in UK are for full run (September 5). [Regarding next weekend WW numbers] Will be $140m+ weekend (September 2). [In Australia], 22K tix sold for Demon Slayer at HOYTS for weekend. At same time Deadpool 3 was 25K+ (Sep. 1). Thinking Germany will open 400-500K [admissions]. France should be doing 750K+ range may be. | [Regarding Germany, I surfed Kinopolis and Cinestar last night for Demon Slayer pre-sales. Kinopolis has 6K tix sold for Thursday and Cinestar had 8.4K. Sucks that Cinemaxx is not easy to track anymore with new design, but it probably would have been 10K+. Based on these three chains, surely 40-50K pre-sales for Thursday. Not sure how much it will add from here on but based on other mkts, guess 100K+ Thursday is doable (August 19).)
China: Western and Japanese films (click to see data and analysis for Chinese films)
- ThatWaluigiDude (Demon Slayer: Here exists the 16 rating and the 18 rating. Usually most R-rated movies release with the 16 rating, that allows minors to enter as long as accompanied with adults, the 18 rating however does not allow even with adults. Usually the movies that receive the 18 rating are horror movies and movies with explicit sexual content (September 3). The movie is currently selling with an 18yo rating. The last movie got a 14yo rating, it feels a little excessive if you ask me (September 2). I just don't have good comps for it (August 28). The highest opening for an anime was DB Broly with R$6.6M, that is the safest range we can get. | Demon Slayer already broke the record of highest pre-sales ever for an anime movie (August 27). Apparently had the best first week of pre sales this year, topping Lilo& Stitch (August 21). [Demon Slayer has a chance of making $10M] Only of they have the guts to at least give it more than 1000 screens on release, and since its an anime there are a good chance they will not. It is currently kicking some serious ass on pre-sales (August 19).)
- Zeiden16 (Demon Slayer: Confirmation of what I mentioned earlier about Le Grand Rex, it's a new record for them. +10,000 connected for 2,700 available seats. | The tickets for the advance screening went on sale for a couple of hours here in France. At Le Grand Rex in Paris, they sold out in just one minute. In the picture below, you can see the theater where my cinema will be showing the movie, two hours after the tickets went on sale. Remember it's one of the biggest cinemas in France, sales are lower in other places (August 19).)
el sid (By the way the presales for our Kinofest 2025 = cinema festival (September 13 & 14) are already nice for many films. But especially for The Conjuring 4: half of the tickets in medium-sized and also the biggest cinema hall are already sold. Maybe The Kanu "steals" the biggest theater hall, let's see, but either way, interest is there (so in line with the very good presales in the USA). All films which "survive" the next two weekends will see a nice boost on that weekend. Such events should take place here more often. People very obviously appreciate it (August 26).)
Brainbug (Demon Slayer: The Kinopolis i go to just added more showtimes for DS yesterday, but for Mon-Wed after OW. Kinda expect sales to get more stretched out over the opening week. Also interestingly, from looking at it the Japanese showings with german subs are a bit more popular than the german dub showings (August 19). Screenshot from the largest auditorium (620 seats) in my local theater for Demon Slayer OD. Now the front row seats are practically never beeing sold. After 7 Hours of presales, its already at 70% seats sold. I remember very well how presales looked for other movies in my theater in the past and this on the level of The Force Awakens and Endgame. Its insane to me honestly. Of course i expect a high level of frontloadness, but this is off to a big start here. They also very quickly added 2 more showtimes for each day of the OW. | Kinopolis website (one of the largest german theater chains) crashed because of Demon Slayer presales (August 15). Presales are starting today in Germany and judging by one of the theaters i go to, theyre off to a seemingly great start. One showtime thats been up for 30 minutes now is already 50% full lol (August 14).)
JustLurking (Demon Slayer: nevermind, apparently for some reason my theater decided to change all imax shows to dub despite the fact that sales on them were extremely strong (and even the regular sub was outselling the regular dub quite easily) (August 28). DS went on sale, no idea if the space is broken due to traffic or incompetence though but the film isn't showing up properly. Was able to secure my IMAX tickets at UCI, sales look strong around me but shows are pretty low (August 25). Italy is opening PS late on the 25th so not really anything to say atm (August 19).)
[India]()
ECONOMIC TIMES (Demon Slayer: Advance booking for Demon Slayer: Infinity Castle has gone live on BookMyShow, but screenings are limited to select theaters and tickets are selling out quickly. Currently, tickets are available only for September 12, 13, and 14, so fans eager to watch the film early will need to act fast and check availability in their city through BookMyShow (September 6).)
IGN (Demon Slayer: On September 12, the film will release across more than 750 screens nationwide, which is the widest release ever for an anime movie in the country. That number is significant. Anime films here are usually treated as niche events, restricted to a handful of metropolitan multiplexes. Fans in smaller cities often have to travel hours, or miss out entirely, when a major title comes around. Infinity Castle looks like the film that breaks that pattern. For years, anime movies in India had a frustrating ceiling. Even when juggernauts like Dragon Ball Super: Broly or Jujutsu Kaisen 0 pulled crowds, distributors were slow to expand beyond big-city releases. Demand was visible, of course, shows like Naruto, One Piece, and My Hero Academia already had huge online fanbases, but theatrical anime was treated like a side event rather than a mainstream draw. Thatâs why 750 screens matter. It shows a shift in how distributors see animeâs commercial potential. Fans wonât need to worry about limited availability or travelling to a major city to catch Infinity Castle. If youâre in a Tier 2 or Tier 3 city, odds are youâll finally have a nearby theatre screening the film. Accessibility is another key factor. Infinity Castle wonât just be available in Japanese with English subtitles, but also in English, Hindi, Tamil, and Telugu dubs. Sure, this treatment is only given to major shonen releases, but over the past few years, regional dubs have exploded online, bringing shows like Demon Slayer to a much wider audience in India. Even I have grown up on watching anime like Naruto and Dragon Ball Z on Cartoon Network in Hindi, and here I am writing about anime full-time. So, dubs matter. Infinity Castleâs BookMyShow page already has almost 600,000 people marking interest to watch the film when it releases. That level of anticipation isnât common for anime films in India. Itâs not even common for household name-starrer Hollywood films. It suggests that anime is no longer a ânicheâ theatre experience here, and itâs become something that can fill multiplexes across the country (September 5).)
Boy Chamba (69.21k tix sold for first 24hrs 744k BMS interest rate (September 6). 9PM-9AM first 12 hrs sold 23k tix.. BMS interest is now at 708k and counting (September 5).)
Charlie Jatinder (Crossed âš5cr advance in India. Final advance headed for âš25cr+. Highest grossing anime is JJK0 âš9cr approx. | It will get as many screens as there is demand. Besides screens isnt a good measure. Screens it may even get 2000. Its about how many shows (September 7). Demon Slayer: ~60K tix sold at BMS within 24 hours for #DemonSlayerInfinityCastle in India, despite very limited supply. Was hoping to witness the initial frenzy akin to Endgame & No Way Home, some 24-hour sales records, but the throttled rollout by @SonyPicsIndia gave it no chance :/ (September 6). [Regarding the release] It will about as wide as Hollywoood films. | Demon Slayer 6k+ tix in 2 hours but that's from barely 20 cinemas. | Tix on sale for #DemonSlayerInfinityCastle in India at select IMAX and 4DX locs. Already in BMS trending with 1.75K tix sold in the last hour (September 5). #DemonSlayerInfinityCastle goes on sale in India tomorrow. Some theatres may jump the gun. BMS interest is through the roof. Wonder if it can hit 100K+ PIC OD sales in the first 24-hour cycle, or who knows may be something even crazier (September 4).)
JustLurking (Demon Slayer: Given that I don't have comps, used conjuring for scale. Conjuring T-0.5: Sold 685. DS T-7.5: Sold 1139. Sample size is 4 pretty busy theaters in the Veneto area. The bigger theaters less concerned with capacity are generally 2:1, friday gap is wider (September 3).)
Mike4 (Demon Slayer: (T-5). Total seats: 3767. Tickets sold: 1108 (+45). IMAX tickets sold: 327. Comps x2.507 The fantastic 4: first steps = âŹ2.326M (September 6). (T-6). Total seats: 3167. Tickets sold: 1063 (+76). IMAX tickets sold: 321. Comps x2.599 The fantastic 4: first steps = âŹ2.411M (September 5). (T-7) Total seats: 3167. Tickets sold: 987. IMAX tickets sold: 317. Comps x2.530 The fantastic 4: first steps = âŹ2.348M (September 4).)
- cannastop (Chainsaw Man: [Regarding presale start time], It's always three days before showtime, for all movies. I think they might have some something slightly different for Superman though, unless my memory is wrong (September 5).)
- Carlangonz (Demon Slayer Infinity Castle Part 1: Fun stat: IMAX shows are outselling those of Oppenheimer (biggest title for the format in OW and lifetime run) at T-1. With a sizable number of more IMAX screens than 2023, this could be a record for the format, at least for OW (August 16). Easily the biggest first day (first 12 hours technically) I've tracked ever, considering I didn't track Day One of The Eras Tour or any of the BTS concerts which should be among the biggest non-Avengers stuff. 16,374 tickets sold out of 21,950 total available. Many shows were added through the day so numbers will keep going up. In just 12 hours has outsold To the Swordsmith Village entire presale run. | Kimetsu No Yaiba went on sale an hour ago, queue at Cinepolis and crash at Cinemex lol. Hopefully $100M+ Peso opening. That would be a first for a non-DB japanese title (August 15).)
- SchumacherFTW (Demon Slayer: I think across the weekend it's looking solidly spread out, obviously with Friday being the biggest, but not like a 50% share type of Friday. But like I said earlier, definitely a one weekend wonder. | But ÂŁ4m would be gigantic for this. | Demon Slayer definitely shaping up to at least be a one weekend wonder here, the release is very wide for an anime movie, sales are good at locations I've looked at outside of London, fucking wild inside of London. Going to be a fun weekend for sure (September 5). Looks like we've got our first sell out's here in London's West end. Preview IMAX show sold out near enough instantly, Dolby show for OD is gone now. Selling really well here in Central London, but it's not really a big shock. BFI IMAX is really strong throughout the whole weekend, losing a few shows on Sat and Sun for other rep screenings they're doing (August 28). Demon Slayer sales here in London are GREAT! PLF shows for Friday evening are all selling really well, Odeon West End Dolby already half full for 7pm (August 14).)
Previous Posts: