Editorial Credit: Lionsgate
Despite receiving a high CinemaScore and favorable audience ratings, “Arthur the King,” a film featuring notable actor Mark Wahlberg and a captivating dog story, experienced an underwhelming performance at the box office.
The movie’s opening weekend concluded with revenues amounting to a meager $7.5 million, falling short of its anticipated $8-10 million range.
This trend of well-rated, mid-budget films faltering commercially is becoming commonplace.
“Arthur the King” confronted a modern movie industry where streaming platforms hold significant sway, raising questions about whether or not such films are better suited for direct-to-streaming release, despite their perceived theatrical qualities.
Mark Wahlberg’s successful streaming venture, “The Family Plan,” became the most-watched movie on AppleTV+, indicating the power of home viewership.
However, movies featuring dogs have traditionally been strong performers in cinemas, with a lineage tracing back to famous canine stars like Rin Tin Tin and Benji.
Notably, recent successes, such as MGM’s “Dog,” starring Channing Tatum, demonstrated the genre’s ongoing theater appeal by generating substantial earnings post-pandemic.
“Arthur the King,” co-financed by eOne and Tucker Tooley Entertainment, integrates adventure and bike racing in a cinematic fashion. Despite this, it failed to attract the expected audience.
Lionsgate’s marketing efforts targeted male sports enthusiasts rather than tapping into the family or faith-based demographics that Wahlberg could have influentially drawn.
The film’s marketing strategy did not resonate well, particularly with Saturday family crowds, which are pivotal for bolstering weekend box office numbers.
The lack of promotional focus on families might have been influenced by the film’s choice of canine protagonist—a rugged dog as opposed to a stereotypically adorable pet.
Yet, MGM’s “Dog” disproved the notion that only attractive dogs can win over audiences, achieving success with its story of camaraderie and shared challenges.
Another strategic misstep was the film’s Canadian distribution, where exclusivity rights with Prime Video allowed for streaming rather than a theatrical release, negatively impacting potential box office gains in that region.
Even with these challenges, “Arthur the King” observed notable performance in specific demographics, especially in the western and southern United States.
However, weaker performance in the northeast was attributed to the absence of spring break synergies that traditionally drive movie attendance during March.
A point of success was seen in Phoenix, Arizona, where inclement weather proved favorable for increased cinema traffic.
Fans in Phoenix generally show significant interest in movies that feature dogs or Wahlberg, indicating localized market trends that can unpredictably boost viewership.
The conversation surrounding “Arthur the King” extends beyond weekend performance. The industry pondering involves the broader implications for mid-budget films within a heavily streaming-centric media landscape.
As these titles struggle to become theatrical drawcards, they more often serve as mere adverts for their eventual home entertainment release.
Consequently, studios may be increasingly reluctant to invest heavily in their promotion, potentially hindering their chances of standing out as exciting cinematic experiences.
As Lionsgate showcased frugality with other titles, like the successful “John Wick: Chapter 4,” the question of whether studios will return to previous marketing expenditure levels remains.
This cautious approach casts doubt on the future of smaller films, predominantly outside the horror genre, luring back their once-loyal cinema audiences.
The discussions surrounding “Arthur the King” are emblematic of a larger industry-wide dilemma. Can mid-budget movies become major events once again, or will the streaming era have an enduring impact on moviegoer habits?
As studios adapt to new financial realities, finding a balance between theatrical appeal and streaming viability emerges as a key objective in the evolving face of entertainment.
