An der Kinokasse in den USA sieht es mau aus. Man muss wohl akzeptieren, dass bei Indiana Jones versäumt wurde, den Hauptdarsteller nach dem dritten Teil auszuwechseln und in den Neunziger Jahren mit einen neuen Darsteller weiterzumachen. Bei den Bewertungen der älteren Kinozuschauer scheint Indy 5 am besten abzuschneiden, nur gehen die seit Covid kaum noch ins Kino.
Not only did 2018’s Star Wars spinoff bomb Solo open higher than Dial of Destiny, with $84.4M 3-day/$103M 4-day, but so did Paramount’s seventhquel Transformers: Rise of the Beasts ($61M) in May.
How could Disney and Lucasfilm mess this up?
On Saturday, I learned from a key source that Indiana Jones and the Dial Destiny, before $100M in estimated P&A, cost a mindboggling $300M-plus. Much higher than the $250M-$295M that’s been leaked out there.
Harrison Ford soll $20 Mio. bekommen haben.
The biggest problem with Indiana Jones and the Dial of Destiny is that there were no efforts here to cast-it-up and make it appealing to an under-40, diverse crowd, like Paramount did with Top Gun: Maverick. Dial of Destiny was conceived for the hardcore Indy fans, which are dudes over 50. This is evident in the B- that Dial of Destiny received from 18-24 moviegoers. (...)
While Disney typically uses a “friends and family” testing system so that no spoilers are leaked in advance, I’m now told Indiana Jones and the Dial of Destiny never tested. (...)
[D]espite its blockbuster success in a vibrant, stadium-seating exhibition era, not many people liked Crystal Skull — hello, B CinemaScore. And that sequel, too, also doted and joked around about Indy going gray. Unlike 007, the same actor has always played Indiana Jones. The franchise’s legacy with Ford has prevented it from being rebooted with a new leading actor.
Which leads us to Dial of Destiny‘s blah results. Why so low? Because it’s coming off of a sequel not many loved, and it’s playing the same game of Indiana Jones getting older. Couple that with sour reviews coming out of Cannes, plus the finale’s older skewing audience (42% over 45) who are slow to come to cinemas, and here we are with a less-than-stellar box office result.
