Abrams) opened in December of 2015 to rave reviews, a record $248 million domestic and $525m worldwide debut and eventually legged it to $937m domestic/$2 billion worldwide. The biggest problem would be that new Star Wars movie. In between Star Trek and Star Trek Into Darkness, Paramount would also “lose” DreamWorks Animation to Fox (it’s now over at Comcast) and would lose the MCU to Walt Disney (even as they made money on The Avengers and Iron Man 3). But the big problem was just around the corner, as Disney had begun work on new Star Wars movie, specifically what would become Star Wars: The Force Awakens. It earned $229 million from an $83m Thurs-Sun debut (which was leggy enough) and $467m worldwide, mostly thanks to a 3-D conversion this time out. Star Trek Into Darkness earned solid reviews but the kind of divisive online fan reaction that skews the narrative. But four years later, audiences were more excited about Marvel’s post- Avengers movies and whatever Warner Bros. But put a pin in that for a moment, because Star Trek Into Darkness, which brought in Benedict Cumberbatch as John Harrison Khan was supposed to be a breakout sequel on par with The Dark Knight.
Disney bought Lucasfilm for $4b in October of 2012, and yes Paramount eventually sold Disney the rights to future Indiana Jones movies in late 2013. But Disney bought Marvel for $4 billion in September of 2009, and Paramount would sell off their distribution rights to their MCU franchises for just $115 million in 2011. The film earned $385m worldwide, not a great number for a $150m-budgeted flick, but A) it was following the Batman Begins template and B) Paramount was doing just fine thanks to the Marvel Cinematic Universe (remember, they released Iron Man, Iron Man 2, Thor and Captain America before Disney took over), the DreamWorks Animation flicks and the Transformers franchise.įrom around 2006 to 2011, they were what Disney is today, except without the total market share domination since audiences still showed up for both The Proposal and X-Men Origins: Wolverine in the summer of 2009.
It legged its way to $256 million domestic, but overseas interest was not as strong. It was an unapologetic crowd-pleaser, offering the kind of zippy and quippy mix of nerdy sci-fi and blockbuster swashbuckling that folks had arguably wanted from the Star Wars prequels (and Indiana Jones and the Kingdom of the Crystal Skull). The action-packed and mega-budget ($150 million) sci-fi adventure received rave prerelease reviews and, thanks to the reviews and some terrific trailers, the film snagged a stunning $79.5m debut weekend (counting Thursday previews).
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In a clever use of time travel and alternate timelines that allowed the movie to rewrite history without invalidating the previous 43 years of TV shows and movies, Star Trek cast a motley crew of younger actors (Chris Pine, Zachary Quinto, Zoe Saldana, Karl Urban, John Cho, Simon Pegg and Anton Yelchin) to offer new variations of the original Enterprise crew. Yes, romantic comedies that cost $55m used to both exist in theaters and be smart investments.Īnyway, the Next Generation cast was put out to pasture and, seven years later, we got J.J. It earned $67 worldwide on a $60m budget, while the Jennifer Lopez/Ralph Fiennes flick earned $155m worldwide on a $55m budget. Facing off against The Lord of the Rings: The Two Towers, the poorly-reviewed Patrick Stewart/Tom Hardy sci-fi actioner opened with just $18.5m (below Maid in Manhattan which opened to $18.7m on that same weekend) and flamed out to just $43m domestic and became my go-to example of unusually awful December legs.
As you recall, Paramount and friends put the kibosh on the Star Trek feature franchise after the disastrous performance of Star Trek: Nemesis in December 2002.
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