The horror genre has experienced a notable surge in popularity over the past six weeks, culminating in the anticipated release of Neon’s latest offering, *The Monkey*. Directed by Oz Perkins, this film is projected to achieve the highest opening weekend for a horror film this year, potentially raking in between $12 million and $14 million, which follows a promising $1.9 million from previews. These figures, which include earnings from advance screenings, signal a strong response from audiences that is hard to ignore.
Neon has effectively utilized its marketing strategy to generate buzz for *The Monkey*. Last summer, the distributor found significant success with Perkins’ previous film, *Longlegs*, which opened with $22.4 million following $3 million in previews. Now, as *The Monkey* gears up for its debut, it has already surpassed the preview earnings of *Companion*, another well-received title from New Line that enjoyed a $9.3 million opening. This comparative analysis speaks volumes about the heightened anticipation for *The Monkey*.
A crucial element of this marketing approach lies in the clever utilization of traditional promotional tactics. Unlike *Longlegs*, which concealed hints about its chilling elements through innovative YouTube short clips, *The Monkey* has taken a more conventional route. The film’s promotional materials, including eye-catching one-sheets and prominent eight-foot-sized decorations in theaters, have placed the curious title front and center, driving audience awareness to new heights. However, an analysis by Quorum indicates that while awareness levels have risen, interest among potential viewers is seven points lower than for *Longlegs*. This discrepancy may suggest a tempered excitement that could lead to a mid-teen opening, despite the film’s notable marketing push.
The audience engagement metrics for *The Monkey* are also noteworthy. According to data from Comscore and Screen Engine’s PostTrak, a significant 63% of viewers who attended the previews were aged between 18-34. This demographic is often seen as a crucial target audience for horror films, and their enthusiastic turnout demonstrates a promising trend for the film’s overall performance as it enters its opening weekend.
Financially, the production and advertising (P&A) spend for *The Monkey* matches that of *Longlegs*, indicating a consistent commitment from Neon in their horror division. Currently, *The Monkey* enjoys a respectable Rotten Tomatoes audience score of 73%, paired with a critical score of 80%, marking it as a certified fresh release. This combination of positive reception both from critics and audiences augurs well for its box office performance.
Neon isn’t just banking on the success of *The Monkey*. The studio is also set to celebrate its critically acclaimed film *Anora*, which garnered accolades at the Cannes Film Festival, including a nomination for Best Feature at the Film Independent Spirit Awards, and recognition for Best Ensemble at the SAG Awards. Should *Anora* secure any top prizes, it would provide further impetus for Neon as it heads toward the Oscars, further reinforcing the studio’s prominence in the film industry.
Meanwhile, the broader cinematic arena is filled with competition, as evidenced by Disney/Marvel Studios’ *Captain America: Brave New World*, which is projected to lead the box office again with an anticipated $30 million+ second-week take. Alongside *TheMonkey*, films like Lionsgate’s *The Unbreakable Boy* and Sony’s *Paddington in Peru* are also vying for viewer attention, revealing a diverse selection of options for moviegoers.
While *The Monkey* is poised to make its mark in the horror category, its journey reflects the wider trends within the industry. The success of *The Monkey*, intertwined with Neon’s strategic promotions and audience dynamics, highlights the shifting landscapes of horror filmmaking and the enduring appeal of the genre in contemporary cinema. As fans flock to theaters, the excitement surrounding *The Monkey* could signal a resurgence and a promising future for the horror genre as a whole.