U.S. Box Office: ‘Tron: Ares’ Misses the Mark with $33.5 Million Debut as ‘Roofman’ and ‘Kiss of the Spider Woman’ Struggle

Disney’s Tron: Ares opened softly at the North American box office, collecting just $33.5 million across 4,000 theaters — a figure well below industry expectations and a concerning start for the studio’s $180 million sci-fi sequel. Despite strong visuals and brand familiarity, the film’s futuristic glow couldn’t illuminate an otherwise dim weekend at the domestic box office.

‘Tron: Ares’ Falls Short of Expectations

Heading into the weekend, Tron: Ares was projected to debut between $45 million and $50 million, a range that would have signaled moderate success for the long-dormant franchise. Instead, the sequel’s performance marks another reminder of how challenging it has become to reignite older properties, even with heavy visual effects and premium-format appeal.

The film, directed by Pirates of the Caribbean alum Joachim Rønning, stars Jared Leto, Greta Lee, and Evan Peters in a story centered on humanity’s first contact with artificial intelligence. Tron: Ares drew solid interest on IMAX, Dolby, and 3D screens, which collectively represented 67% of its ticket sales, but general audience enthusiasm lagged behind.

A CinemaScore grade of “B+” suggests that those who saw it mostly enjoyed the ride, yet the turnout was skewed — with nearly 70% of the audience being male. That limited reach proved costly, especially compared to the 2010 installment, Tron: Legacy, which opened to $44 million (unadjusted for inflation).

Internationally, Tron: Ares earned an additional $27 million, bringing its global total to $60 million through Sunday. The film’s future now hinges on its overseas rollout, where the sci-fi genre has traditionally performed stronger. As box office analyst David A. Gross of Franchise Entertainment Research noted, “Interest stalled during the last 10 days, but effects-driven, good-guys-versus-bad-guys storytelling tends to travel well internationally.”

A Muted Weekend for Domestic Theaters

Overall, it was a quiet and disappointing weekend for the U.S. box office. According to Comscore estimates, domestic revenues remain only 4% ahead of 2024’s totals, signaling an industry still struggling for consistent momentum following a strong September.

Two other newcomers — Roofman and Kiss of the Spider Woman — also faltered in their debuts, leaving exhibitors hoping for a major blockbuster to reignite October business.

‘Roofman’ Opens Modestly, Could Hold on Strong

Channing Tatum’s Roofman landed in second place with $8 million from 3,340 locations, on the lower end of its $8–12 million projections. The dramedy, directed by Derek Cianfrance, is based on the true story of a soldier-turned-thief who hides out in a Toys “R” Us after escaping prison.

Despite its subdued start, Roofman could show endurance in the coming weeks. The film received strong critical praise with an 85% rating on Rotten Tomatoes and a CinemaScore of “B+,” reflecting positive word-of-mouth. At a modest $19 million budget, its financial risk remains limited. Paramount released the film, which was produced by Miramax, and insiders expect a slow-burn run if audiences continue to respond to its emotional storytelling.

Jennifer Lopez’s ‘Kiss of the Spider Woman’ Misses the Web

Far lower on the chart, Jennifer Lopez’s Kiss of the Spider Woman — a remake of the acclaimed 1985 drama — landed with just $840,000 from 1,300 theaters, placing 13th overall. The Roadside Attractions and Lionsgate release had been aiming for $1.5–3 million.

Directed by Bill Condon, the film reimagines the 1985 Oscar-winning story, centering on a queer window dresser who conjures up glamorous fantasies about his favorite screen diva (played by Lopez) while imprisoned in Argentina. Despite critical interest following its Sundance debut, the independently financed $34 million project has found little traction among general audiences.

The original Kiss of the Spider Woman grossed $17 million globally, and the remake looks unlikely to match that total — even without adjusting for inflation. Its tepid start underscores the ongoing challenges of adult dramas in the theatrical marketplace, especially those not supported by major awards buzz or franchise branding.