Whether you spin it one way towards demographics, IPs, or a litany of big titles clashing with one another for the top spot, this Memorial Day weekend at the box office is the worst in twenty-six years (1998 had the miserable showcase for Godzilla and 1995 had Casper). Imperator Furiosa’s most significant challenge this weekend wasn’t raider attacks or kidnappers in the wasteland but rather a lazy orange cat with an affinity for lasagna and coffee. Compared to last year, ticket sales are down around twenty(ish) percent and a mighty forty percent compared to 2019 (notes on ComScore).

So, why exactly did the well-received, new prequel chapter in Mad Max come up short in a generally respected weekend for box office triumphs? Well, yours indeed believes the treatment for this latest IP installment was another measly, desperate attempt to consider that “if it was amazing nine years ago, it surely could be by today’s time.” And while its predecessor, Fury Road, is one of the best action films of this generation, it earned a not-so-remarkable $371 million globally on a $155 million budget nine summers ago. Despite being well received, the latest Apes film will be scratching for $400 million globally (despite its predecessor having the China advantage several years ago). Furiosa, which is a great feature, brings in a lesser-known Anya-Taylor Joy, compared to Charlize Theron’s co-starring performance alongside Tom Hardy in 2015, so star power is stretched thinner at the helm, and nobody necessarily asked for another Mad Max outing (despite what online recourse states). And this is more an indictment of Hollywood’s waters, but when was the last time we saw a complex female-led protagonist make a mark in the commercial film business (that wasn’t a superhero)?

Warner Brothers was firing on all cylinders as of late thanks to Wonka, Dune Part Two, Barbie, and Godzilla x Kong in the past year, so this will be a knock on their fire (much like how Aquaman and the Lost Kingdom clumsily wrapped up the very atrocious DCEU). And for much of 2024, we seem to have reached a redux of the 2014 times when many anticipated blockbusters became unceremoniously postponed to 2015, and more B-level franchises took over in the interim. Only this time, it doesn’t help when you’re still reeling four years after a miserable pandemic that killed much of the movie business and inflation skyrocketing that it’s even more difficult to simply watch a film (when you’re busy saving up for gas and groceries for the week). I guess folks “may” get by with celebrating on PVOD, but The Fall Guy would’ve appreciated a more robust performance.

So, Furiosa: A Mad Max Saga opened with a mere $25.55 million domestically and $58.85 million on its opening weekend. On a $170 million budget, this is a big yikes. Much in the same vein as Solo: A Star Wars Story and Lightyear, Furiosa will be another dud due to unfortunate circumstances regarding the regurgitations of IPs.

In other news of the Memorial Day weekend, The Garfield Movie is surprisingly doing “ok” on its terms, as it roped in $24.77 million in its opening (slightly lower than the $28 million domestic of Garfield: A Tale of Two Kitties in 2006). It’s already past $90 million globally thanks to its notable performance overseas, and while many kids of today’s time don’t care much for the fat cat, this is par for the course. I think $150-170 million worldwide should make its measures for expansion worthwhile (on a $60 million budget). IF dipped 52% in its second weekend to take in $16.1 million; it should be crossing $100 million globally by tonight and will crawl past $100 million domestically once all is said and done. This tale is the most frustrating to evaluate as A) there’s not much to compare it to from past outings, and B) it’ll only do so much thanks to its $110 million budget and mixed reviews.

Kingdom of the Planet of the Apes took in $13.35 million in its third weekend; it’ll be passing $300 million by Tuesday morning and is still measuring the pace of its 2017 predecessor regarding legs. Finally, The Fall Guy has landed on PVOD and will be passing $150 million globally later this week. It’s such a shame for a high-concept biggie that would’ve risen to the occasion in non-IP times. Speaking of these times, we’ll be drifting until we get the remainder of the blockbusters to share the spotlight (a la Bad Boys 4, A Quiet Place: Day One, or Inside Out 2). Or, god forbid it takes a Despicable Me 4 or Deadpool & Wolverine to rise out of Marvel’s recent ashes to deliver for the summer of 2024.

Next weekend sees the release of Young Woman and the Sea, Ezra, Summer Camp, and The Young Wife.