My Posts on Gladiator II's Box Office Performance (Collected)

During the run-up to and aftermath of the release of Gladiator II I tracked the discussion of the movie's box office prospects, and then its actual theatrical performance, as well as the fallout therefrom. For convenience's sake I have gathered together the items (some of them fairly short) on this one page, in order of appearance and dated--while also updating the links from posts referencing them so that they all lead here.

June 24, 2023
Gladiator 2? Seriously?
The original Gladiator was a visual marvel, while being absolutely silly stuff from the standpoint of history. (Its plot was more like alternate history, and clumsily wrought alternate history at that, while it made Roman politics look like the spectacles of the WWE so in vogue about the time of the film's making.)

The result is that despite gestures in the direction of Anthony Mann-like historical epic it worked mainly as an action movie, and at that an '80s-style "You killed my favorite second cousin" action movie (betrayed super-soldier seeks revenge, etc.) with the novelty of a period setting--and its story wrapped up tidily at the end.

Especially as other such films having comparable success seems a long shot (thus did the attempts at imitation peter out fairly quickly in the early '00s), there seems no good reason to revisit it--especially a quarter of a century on when enthusiasm for any such idea must have declined, as the American public grew only more reserved toward period pieces.

But revisit it is what they are doing--the movie not only greenlit but actually in production.

My expectation is that extending an already silly narrative will produce something sillier still--all as few of the public show up, and the Hollywood Suits whose courtiers in the press ceaselessly talk them up to the general public as the "smartest guys in the room" will put another gaping hole in their studio's books.

April 18, 2024
Gladiator 2: What Are its Chances of Profitability?
The release of a new trailer for Gladiator 2 has, of course, caused a spike in chatter about the film--overwhelmingly enthusiastic, to go by what I have seen. The critical and commercial failure that was Ridley Scott's prior historical epic, Napoleon (and the fact that Napoleon's failure has been the norm for Scott's epics) seems utterly absent from the dialogue as instead the commentators, befitting their function as les claqueurs, fixate on Scott's one real "win" in the form with 2000's Gladiator--while overlooking any problems with the concept of a follow-up, which seem quite evident in the trailer they are celebrating. The movie, a sequel to a movie where both the hero and the villain died, and which presumably made what followed an "alternate history" given its extreme remoteness from the facts (the Roman Republic restored!), looks less like follow-up than do-over of the first, scaled-up and disguised as a sequel, with (per usual for Scott) the spectacle coming in far, far ahead of anything else for all the melodramatic implications of the bits of dialogue, the blaring music.

In fairness I think more people will show up for this one than did for Scott's "vision" of Napoleon as Arthur Fleck in period costume. But will enough of them show to justify the colossal expenditure on this movie?

As might be expected these days amid pandemic, inflation, elevated interest rates, strikes and much else Gladiator 2 is a movie that was massively budgeted to begin with and then went way overbudget--its cost of production nearly doubling from the original $165 million to the $310 million spent. We are told by journalists claiming access to "insiders" that the "net" cost of production was actually $250 million, but even if true (and the studios have been known to underreport costs here) that is still quite a bit of money--and just part of the total final bill. After all, counting promotion and distribution and other such expenses the ultimate outlay for a movie comes to two to three times the cost of production (certainly when we take into account post-theatrical promotion and distribution for home viewing, etc.). Working with the $250-$310 million range, this works out to somewhere between $500 million and $900 million or so.

Given the limits of post-theatrical earnings at least 60 percent of that will have to be made from ticket sales--which is to say, $300 to $550 million. Given that the studio typically keeps a bit less than half of the proceeds from the ticket sales one would have to picture a gross double that--somewhere between $600 million and $1.1 billion grossed just to get the production past break-even.

As it happened the first Gladiator made $460 million back in 2000--which works out to about $840 million in today's terms, or the mid-point of that range. That in itself is cause for concern, as it means the movie can do as well, or better than, its hugely successful predecessor, and still lose money. Exacerbating the problem is that such money is not so easily made now as it was just a few years ago, with sequels offering splashy spectacle in particular a tougher sell than before--and this specific movie a particularly unnecessary-looking sequel that, because of the plot of the first film, does not have the original's stars, appearing almost a quarter of a century after that first film. I do not think the public's interest can be taken for granted, while interest among the younger cohort, for which period pieces are a particularly tough sell, will be something to watch closely, along with the matter of just how spendthrift the film's backers and makers have been. My gut reaction is that if all it takes to get into the territory of profitability is $600 million (almost a third less than what the original made) this movie may have a tough time achieving that, but that it would be doable. By contrast the billion dollar, let alone the $1.1 billion, mark (far above the original's gross, and perhaps more than any movie may make this year according to at least one analyst) seems like a real longshot.

December 3, 2024
Is Gladiator 2 a Flop?
Admittedly the entertainment press doesn't think so.

Still, consider the situation as it stands.

Seventeen days into Gladiator II's international release the movie has collected $209 million internationally, while ten days into its North American release it has made $111 million in that market. Assuming not unreasonably that the movie has already made 80 percent of its international total by this point, and 60 percent of its North American total, one would expect the movie's final take to come to around $445 million. Alternatively were one to take the $185 million figure for the final domestic take implied by the calculations presented above and expect this to amount to 40 percent of the final worldwide gross the way the domestic take did for the original, one gets a figure of $460 million, some $15 million more, while if one is prepared to allow for a margin of $15 million the other way as well we get $475 million.

A gross in the range of $445-$475 million (which may be more than some see it making) may sound like a lot of money. The bullish will point out that this has the movie matching what the original made ($465 million), ignoring the dollar's losing almost half (46 percent) of its purchasing power since 2000 according to the Consumer Price Index. The result is that merely matching the original's gross in current dollars means the movie's making about half what the original did in real terms.

We get an even worse picture when we think in terms of the cost of the film. The original Gladiator was made for a little over $100 million, which permitted a very healthy profit indeed on a gross of (roughly) a half billion. By contrast the sequel would be making a half billion dollars--after an outlay of $250-$310 million on the production, an expenditure of two to three times as much.

We do not ordinarily think of a sequel that made half as much as the original as a success.

We also do not (given the economics of film production and distribution) think of a movie, or anything else, that costs three times as much as its predecessor for the same return a success, with this certainly carrying over to a movie that costs $250 million+ to make (and $120 million more to distribute and market) grossing a half billion dollars. And indeed, as I argued back in April, the bar for profitability may be higher for this one than the range discussed here--a loss still quite plausible even after the post-theatrical income from streaming, TV rights, physical media, etc. is taken into account.

Still, with rare exceptions the press has been fairly upbeat about how Gladiator 2 is doing.

A plausible explanation for the gap between rhetoric and reality is that the entertainment press is on the whole claquing for this one--at least in part because it fits in with the narrative that Hollywood so badly wants to believe, namely that, contrary to the evidence of 2023, and what must be regarded as the ambiguous evidence of the public response to the thinned-out release slate of a 2024 mere weeks short of its end, franchise-addicted Hollywood's formula for generating blockbusters remains viable. And it is not going to let a little thing like movies actually losing their backers money get in the way of that.

NOTE: The item was subject to some minor corrections on December 8, 2024.

Gladiator 2's Failure: Some Thoughts
Recently appraising Gladiator 2's box office performance I have inclined to the view that the movie is proving a commercial disappointment at the box office--not a total, The Marvels/Flash-style catastrophe, but far from what it would take to really justify a $300 million movie, and that the outcome was far from unforeseeable.

Consider the first Gladiator film that came out when many of those who voted in the recent presidential election were not yet even born. The movie was basically a blend of "You killed my favorite second cousin!" action movie with Attitude Era WWE in period costume. The approach had enough novelty, narratively, visually and in other ways to make for one of the more original and entertaining summertime spectacles of those years--but the film's cachet owed to its being taken for something more, the period setting evoking the epics of the last days of Old Hollywood, enough so to fool the more superficial critics into mistaking its puffed-up kayfabe (the ultimate wrestling feud!) for Historical Drama, and awarding it a slew of Oscars that action movies usually do not get, including Best Picture, Best Director and Best Actor (in a way, epitomizing Ridley Scott's career as a prolific maker of historical "epics" who apparently has no interest in or understanding of history whatsoever).

Alas, I suspect that the movie's just looking like an epic rather than actually being one limited its impression on viewers, with all that meant for any appetite for a return to Scott's Rome (the more in as the movie left even less room for a sequel than most, with hero and villain both dead, and history taking a wildly implausible turn in his story that would not stand up to any serious follow-up). And I dare say that the historical epics of old that Gladiator was able to exploit the existence of some nostalgia for in 2000 are that much more distant from the memory of today's moviegoing audience on the whole--all as, much as people enjoyed it, the original Gladiator doesn't generate much nostalgic pull of its own. (It's no Star Wars that way, no Top Gun, no 2002 Sam Raimi-helmed Spider-Man even.)

The result was that the very belated follow-up was just a transparent cash grab with a blend of sequel and remake as hazy as it is unimaginative, selling much more on spectacle than the predecessor did in an age in which audiences have had so much spectacle that it is ever harder to really make them feel that here is something they have never seen before--while American audiences, certainly, have long been harder to sell on this particular kind of spectacle, even if the movie has the benefit of being less shopworn than, for instance, the superheroic adventures of which they have seen so many. The resulting, tepid, appeal translated to a tepid response from ticket-buyers.

Is "Glicked" Confusing Perceptions of Gladiator 2's Box Office?
I remember how back in the summer of 2023 the media telling us that the "Barbenheimer" meme juxtaposed the two big feature film releases of July 21 of that year (Barbie and Oppenheimer) went "viral" online, Internet users reveling in the ironies of the contrast between a movie about plastic toys and a movie about (however much the media prefer to tell us it is about something, anything, else) THE DANGER OF NUCLEAR WAR THAT HANGS OVER ALL OF US EVER MORE THREATENINGLY AS OPPENHEIMER DIRECTOR CHRISTOPHER NOLAN HIMSELF SPELLED OUT TO THE BULLETIN OF THE ATOMIC SCIENTISTS LEST ANYONE MISS THE POINT.

I don't know that I believe that the Barbenheimer stupidity really did go "viral" the way the media claimed it did--precisely because everything I have seen about how the Internet works has left me only more and more convinced that things really don't go viral that way, that indeed the media just tells us they did, because it helps them push a particular narrative.

Still, whether or not Barbenheimer really did go viral or not the phenomenon did have one important feature in common with the great majority of those things we are told went viral--namely that it is extremely stupid, and each and every unfortunate contact with it like nails on a chalkboard.

Naturally the media, which can never resist repeating its stupidities, seized on the chance to reuse the marketing concept by talking up "Glicked"--the release of a screen adaptation of the revisionist Broadway musical prequel to The Wizard of Oz, Wicked, the same weekend as the bloody Roman pseudo-epic Gladiator II. (They slapped together the "Gl" from Gladiator and "icked" from Wicked. Get it? Ha. Ha. Ha.)

The expectation was that just as Barbie and Oppenheimer both performed way above expectations at the box office, saving the until then really dismal summer season of 2023, so would Wicked and Gladiator. As it happened, neither movie quite lived up to the expectations observers held for it on their mutual opening weekend, each coming in under the range that Boxoffice Pro projected the Wednesday of their week of release.* Still, Wicked did just well enough then and after to be considered a very palpable hit (with $262 million banked after ten days in release, and decent prospects through the season), while Gladiator has . . . done less well. Apparently on track to end up with half what the original did after inflation, it may be that even with post-theatrical income counted in the movie will be reckoned a money-loser, though few seem willing to admit that. This is, I think, primarily because the entertainment press is pushing the narrative that Hollywood's model of blockbuster filmmaking is as salable as ever, in the face of all the evidence to the contrary--but it may be that the "Glicked" foolishness intended to help sell both movies is playing its part, predisposing observers to think of Gladiator II as a success, and even letting it benefit from association with the much more successful Wicked in the minds of the easily befuddled.

* Wicked, supposed to open with $120-$140 million, picked up only $114 million.

January 7, 2025
What Can We Say of Gladiator II Now?
Gladiator II opened in North America below expectations that had not been particularly high for a $250 million movie, let alone a high-profile sequel to a New Classic hitting theaters the Friday before Thanksgiving--grossing $55 million over the Friday-to-Sunday period (against the $60-$80 million Boxoffice Pro had consistently forecast for the preceding month). Of course, rather more than in the summer the holiday season sees films open less than impressively but much more than make up for it with very long legs (as James Cameron's three movies all managed to do on the way to high rankings on the all-time blockbuster lists). Gladiator II, however, did not prove one of these, as of its sixth weekend not much more than tripling its opening weekend gross ($163 million), leaving it with less than the original Gladiator took in current dollars, and maybe half what it made in real terms ($188 million back in the summer of 2000, $345 million when adjusted for November 2024 prices). The movie has done a little better in the international market than the original--as period pieces tend to do--but as the fact that the domestic/foreign split's about the same indicates (it was 42/58 in the case of the original, 38/62 in the case of the sequel), not enough so to make much difference.

The result is that the $450 million mark the much cheaper original reached at a time when that was more impressive than it is now is one toward which the movie is still straining, and may not quite make it--calling into question the movie's profitability. It will take a really robust post-theatrical performance to get the revenue to the break-even point, never mind past it--all as room remains to wonder if come the spring we will not see it on Deadline's list of the year's biggest money-losers.