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Ridley Scott's The Dog Stars opens to $8m on a $70m budget

The Jacob Elordi drama took $19.3 million worldwide in its first weekend, and its reviews and CinemaScore suggest the second weekend will be harder still.

Marcus Dey2 min read
(L-R) Jacob Elordi as Hig and Josh Brolin as Bangley in 20th Century Studios' The Dog Stars.
© 20th Century Studiosvia The Hollywood Reporter

Ridley Scott's The Dog Stars opened to $8 million in North America, fifth place for the weekend, against a reported net production budget of $70 million.

Add $11.3 million from 49 international markets and the global opening came to $19.3 million, per Deadline. That figure comes before a marketing spend nobody has published, and for a Disney and 20th Century release built around Jacob Elordi, it will not have been small.

Why a film like this gets made

The Dog Stars is adapted from Peter Heller's novel, with Elordi as Hig, an apocalypse survivor living alone with his dog. On paper it is the kind of film the business keeps saying it wants: a non-franchise adult drama from a director with decades of hits behind him, carried by a young star with an enormous following.

It is also the hardest kind of film to open. There is no franchise to lean on, no existing audience to activate, and the premise asks people to spend a late-August evening on something quiet and bleak.

The reception did not help. Variety reported a 36 per cent Rotten Tomatoes score and a C+ CinemaScore from opening-night audiences, and a grade like that usually signals a steep drop in week two.

The context on Scott

Scott is 88 and still one of the most productive directors working. This is his weakest opening since The Last Duel, which started with $4.8 million in 2021.

A soft opening is a verdict on a weekend, not on a career, and it would be a strange reading of this one to treat it as anything more. For Disney, though, it arrives as an expensive data point at exactly the moment every studio is being asked whether mid-budget adult films can still justify a wide theatrical release.

What happens next

Two things. The size of the second-weekend fall, which will tell Disney how quickly the audience that did turn up is recommending it. And the decision about when the film moves to streaming, which is where a title like this now tends to find most of the people who were ever going to see it.

Reporting this piece draws on

The writer

Marcus Dey Marcus covers deals, development and the people who move between them. He is interested in why a project exists at all.

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