Movies

Why ‘M3GAN 2.0’ Failed to Meet Box Office Expectations

BBG News

Jason Blum has admitted trying to make M3GAN “like superman” was a mistake.

The Blumhouse founder and CEO, who is 56 years old, has taken time to consider the errors made with the release of M3GAN 2.0, as its sequel only earned $17 million at the global box office following initial expectations of a whopping $45 million, which were later revised down to $30 million.

Blum told The Town podcast: “I was upset.”

Originally, the film producer candidly discussed his feelings about the studio’s mismanagement of the sequel to the 2022 horror hit, which earned an opening box office of $30.4 million, revealing that he had been deeply depressed prior to seeing the final revenue figure.

They believed M3GAN possessed abilities similar to Superman’s – she was adaptable and versatile. They could switch genres for her, place her in summer films, alter her appearance, or even transform her character from villainous to heroic.

“And we kind of classically overthought how powerful people’s engagement was, really, with her.”

He pointed out that aside from the mistaken genre change to a more action-comedy style, there were additional problems with its timing for a summer release.

Blum noted that director Gerard Johnstone is exceptionally adept at finding solutions for most challenges, however, he requires ample time.

He noted: “He’s simply a director who requires ample time. On the initial M3GAN project, he had plenty of time at his disposal.

“I don’t think we even had a release date until the movie got finished.

Once more, we’ve overstepped our bounds with the summer movie plan. Let’s switch genres and adjust the release date. Our enthusiasm for M3GAN got the best of us, but it seems she wasn’t quite ready yet.

In the sequel, M3GAN needs to be remade by its inventor, Gemma (played by Allison Williams), to confront a self-conscious military robot named AMELIA with plans for an AI revolution.

As a movie enthusiast, I’m eager to share my perspective on the creative intent behind M3GAN. Contrary to any misconceptions, it was never my intention for this robot to perpetrate anything maliciously wicked in the initial film. Instead, her actions were strictly guided by her programming to safeguard Cady, Gemma’s orphaned niece, played by Violent McGraw. Unintentionally, these protective measures resulted in a series of events leading to unfortunate consequences. This ambiguity allowed audiences to reconsider M3GAN and appreciate her complex nature in a potential sequel.

During an interview with The AU Review, he mentioned that when he was involved in creating the first film, he made a point to ensure her actions didn’t come across as purely malicious or wicked.

I truly connected with this character, as if it was her own actions I was witnessing, not something pre-programmed. I remained faithful to this impression throughout.

Regardless of Blum’s remarks, Johnstone maintained that he knew M3GAN is both a horror sensation and a gay icon due to the 2022 film, and pledged that his upcoming movie would showcase all the aspects that won viewers over with M3GAN.

Expressing his core principles, he stated: “I aim to deliver an outstanding film experience and portray characters authentically. I intend to leverage the qualities that initially captivated viewers about this character, yet present them in unexpected manners.

The Best Horror Movies of the Last 10 Years (2015-2024)

The Witch (2015)

The genre of “arthouse horror,” or “elevated horror,” has been in existence prior to Robert Eggers’ debut feature. However, the film The Witch, with its gloomy, tense environment and unexpected narrative, significantly moved the horror genre forward. Featuring Anya Taylor-Joy (also making her feature debut), the movie portrays a family of New England settlers who were too radical even for their own Puritan community. Their forced solitude and stringent religious practices lead their eldest daughter towards the occult. The Witch doesn’t rely on typical scares; instead, it subtly unsettles and makes you feel apprehensive, as if you’ve caught a glimpse of something forbidden and unnerving that you shouldn’t have seen.

Raw (2016)

In a bold move, French filmmaker Julia Ducournau unleashed the shocking and visceral film titled “Raw“, a unique blend of coming-of-age and cannibalism that might make even the hardcore horror enthusiasts queasy. The narrative revolves around a vegetarian student in her initial semester at a veterinary school, who undergoes brutal initiation rites that spark an insatiable hunger for meat – a hunger she eventually satisfies by tasting her fellow students. The movie is a swirling vortex of heavy themes and concepts, exploring the connection between a young woman’s quest to assert her own sexual identity and the body horror fascination with consuming cherished items. Additionally, it boasts one of the most gripping twist endings in any horror film from the last ten years.

Get Out (2017)

Absolutely, “Get Out” merits a place on this list – it deserves to be featured in any compilation that includes the words “best” and “horror.” Jordan Peele’s initial feature is a chilling, labyrinthine tale that draws from a particularly sinister form of contemporary racial violence. The antagonists in “Get Out” aim not to annihilate their Black victims but rather to assume their identities by appropriating their bodies, thus stripping them of their very essence while sending their consciousnesses into the Sunken Place. This premise is skillfully woven into a nerve-wracking, heart-pounding rollercoaster ride that keeps viewers on edge until the very end. Peele’s subsequent works, including “Us” and “Nope,” are equally intricate and defining for their respective eras, but it is “Get Out” that stands out, arguably, as his finest work.

Mandy (2018)

In a different realm, Panos Cosmatos’ action-horror-fantasy film titled “Mandy” unfolds. This movie is set against the backdrop of a chilling Pacific Northwest forest shrouded in neon-tinted fog. Nicolas Cage portrays Red, a war veteran and lumberjack whose lover Mandy (Andrea Riseborough) is kidnapped and brutally killed by the head of a cult. Driven by vengeance, Red embarks on a rampage, armed with a crossbow and a shimmering silver axe reminiscent of a magical weapon from a fairy tale. The film is singularly unique, bizarre, yet captivating – a testament to love and retribution that defies imitation.

Hereditary (2018)

Regarding groundbreaking horror films, who hasn’t recalled the exact location when they first watched Ari Aster’s initial work, “Hereditary”. This film is notable for placing its most terrifying scene in the opening act, a pattern that Aster also employed in his subsequent movie, “Midsommar”. Unlike many supernatural horror films, the terror in “Hereditary” remains firmly rooted in reality. The movie skillfully demonstrates that being possessed by a demon isn’t the most dreadful fate, if one had unwittingly let their sister suffer an anaphylactic shock and subsequently decapitate herself just a short time before.

Host (2020)

In this movie, titled “Host,” we have a unique blend of horror and screenlife genres, all while showcasing exceptional directing skills. Filmed secretly during the 2020 Covid-19 lockdown in London, the entire story unfolds over a weekly Zoom call among friends who were keeping in touch throughout the quarantine. When they participate in a virtual séance, they unwittingly invite a ghostly presence into their homes that starts eliminating them one by one. Remarkably, director Rob Savage directed all actors remotely, guiding them on setting up lighting, cameras, and special effects within their own homes. He also encouraged improvisation in the dialogue, using a simple film treatment instead of a full script.

The Empty Man (2020)

The movie “The Empty Man,” which is both underrated and contentious, showcases horror cinema at its most cryptic. This supernatural enigma becomes even more complex and peculiar the deeper you ponder it. Originally based on a graphic novel of the same name, this film was quietly released in cinemas in October 2020 following disappointing feedback from test audiences and critics. However, upon its home video release a short while later, it rapidly amassed a devoted fanbase that would make the Empty Man himself envious. James Badge Dale stars as a former detective who finds himself entwined in an investigation involving grisly suicides, demon-worshipping cults, and his own heartrending past. This movie is as bold and distinctive as big-studio horror productions get.

Titane (2021)

In her groundbreaking films, Julia Ducournau first captured attention with her debut “Raw,” but truly ignited global interest with “Titane.” This film features an unconventional narrative where a woman forms intimate relationships with a car. However, it delves far beyond this intriguing premise, offering a Cronenbergian perspective on gender and identity, selfhood, and the blurred lines between man and machine in contemporary society. It’s challenging to encapsulate in a single sentence: “Titane” follows Alexia, a woman with a titanium skull plate due to a childhood car accident, who is also a serial killer, dancer, and impregnated by a car. She flees home, pretending to be the lost son of a local firefighter, gives birth to a half-human, half-machine baby, and ultimately redefines horror cinema in the modern era.

Skinamarink (2022)

In my opinion, Kyle Edward Ball’s analog horror film, “Skinamarink,” might justifiably be considered a divisive pick on this list. To some, it’s the most spine-chilling experience ever encountered, while to others, it’s akin to watching the most unnerving ASMR video. The story revolves around two children who find themselves confined within a house where an enigmatic entity vanishes doors and windows, and hangs toys and furniture from the ceiling. On paper, this premise may not seem particularly frightening; however, it’s the film’s unique approach that infuses “Skinamarink” with an unparalleled atmosphere of dread. Each scene is shot as a single take using a grainy camera, with only the TV providing light, leaving ample room for speculation about what might be lurking in the darkness. After watching this film, I can assure you that toy telephones will never appear the same to you again.

I Saw the TV Glow (2024)

In Jane Schoenbrun’s initial film, “We’re All Going to the World’s Fair,” she delved into the solitude of adolescence and the intricate solace found in online communities. Their subsequent work, titled “I Saw the TV Glow,” ventures into the realm of horror. It revolves around two secluded high school students who connect over their shared fascination for a supernatural young adult TV series. However, one of them flees and vanishes. Years later, she reappears, claiming that their true selves are the main characters of their beloved show, and that the world they perceive as real is in fact a pocket dimension governed by the show’s antagonist. This film tackles childhood solitude, pop culture nostalgia, and gender identity in a way that is both comforting and unsettling, making it a distinctly captivating project from one of the most promising new directors currently active.

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2025-07-04 21:55

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