Taylor Swift's 'Showgirl' Triumphs at the Box Office, Outshining 'Smashing Machine'
The October box office kicked off with a fascinating clash between two very different fan bases: Taylor Swift’s devoted followers and Dwayne Johnson’s action-drama enthusiasts. Swift’s latest release, "The Official Release Party of a Show Girl," dominated the weekend, raking in an impressive $15.8 million on Friday alone from 3,702 theaters nationwide. Meanwhile, Johnson’s new film, "The Smashing Machine," struggled to meet expectations, debuting in third place with numbers falling short of its projections.
Nearly two years ago, Taylor Swift set the box office on fire with her concert documentary "Taylor Swift: The Eras Tour," which opened to a staggering $96 million—making it the second-highest October opening ever. While "The Official Release Party of a Show Girl" won’t replicate that blockbuster success, it offers a unique cinematic experience. Distributed by AMC Theatres Distribution, this event was announced just two weeks prior to release and had minimal promotion outside Swift’s dedicated fan community, known as Swifties. The film is scheduled for a very limited run, ending after Sunday, with only three days in theaters.
In a move that reflects her long-standing fascination with numerology, Swift set ticket prices at $12. This price point is slightly above the national average but remains more affordable than prices in major metropolitan areas. However, this pricing does not apply to premium large-format screenings like Dolby Cinema, where tickets come with an additional surcharge.
What makes "The Official Release Party" stand out is how it redefines what a movie can be. Designed to promote Swift’s twelfth studio album, the 89-minute presentation combines a music video, behind-the-scenes footage, and clean lyric videos for her new songs. Swift herself encouraged fans on social media to dance during the screening, saying it’s "optional but very much encouraged." This interactive element has energized her fan base, who are flocking to theaters and pushing the weekend’s total to an estimated $25 to $30 million. Early audience feedback has been overwhelmingly positive, with CinemaScore awarding the film a rare "A+" rating.
On the other hand, A24’s "The Smashing Machine," a UFC biopic starring Dwayne Johnson in a dramatic role, earned about $2.6 million on Friday and preview screenings across 3,345 theaters. Initially positioned as the weekend’s main new release, it was overshadowed by Swift’s surprise event, which also claimed many premium large-format venues. The film now faces the challenge of meeting its pre-release tracking, which predicted an opening north of $8 million. If it falls short, it will mark Johnson’s lowest opening as a lead actor, even below the $8.5 million debut of his 2010 thriller "Faster." This is a disappointing start for a drama with a hefty $50 million production budget, tying it as A24’s most expensive film alongside last year’s dystopian road movie "Civil War."
Despite a strong promotional campaign featuring Johnson and co-star Emily Blunt, and a prestigious premiere at the Venice Film Festival where director Benny Safdie won best director, "The Smashing Machine" has not resonated as strongly with general audiences. While critics have generally given positive reviews, the enthusiasm has cooled somewhat since the festival debut. Audience reactions, measured by CinemaScore, reflect this lukewarm reception with a "B-" grade.
Meanwhile, Warner Bros.’ "One Battle After Another," a contemporary comedy epic by Paul Thomas Anderson starring Leonardo DiCaprio, brought in $3.3 million on Friday, marking a 43% drop from its opening day. The film benefits from strong word-of-mouth, awards season buzz, and a solid presence in premium large-format theaters, including most IMAX locations. However, with a production budget exceeding $130 million, it will require sustained box office success over several weeks to turn a profit. By Sunday, its domestic total is expected to reach around $42 million.
Universal’s "Gabby’s Dollhouse: The Movie" slipped to fourth place, earning $1.2 million on Friday and projecting a $4.7 million second weekend—a steep 66% decline. Family films usually enjoy longer legs at the box office, but this DreamWorks Animation feature, based on the popular Netflix series, hasn’t translated its streaming success into strong theatrical attendance. It’s on track to finish the weekend with about $21 million domestically but is clearly losing momentum quickly.
Horror fans are still supporting "The Conjuring: Last Rites," which remains in the top five nearly a month after release. The Warner Bros. and New Line sequel added $1.2 million on Friday, a 41% drop from the previous week, bringing its domestic total to an impressive $164.9 million.
Also opening this weekend was Disney’s re-release of "Avatar: The Way of Water," timed to build anticipation for the upcoming third installment, "Fire and Ash." The reissue earned $1.1 million on Friday and preview screenings across 2,140 theaters, sharing premium large-format venues with "Smashing Machine," "One Battle After Another," and Swift’s event. Back in 2022, the original "Avatar" received a similar fall re-release ahead of "The Way of Water," which opened to $10 million. However, "The Way of Water" is unlikely to reach even a quarter of that this time, as audiences seem less eager to revisit a three-year-old film compared to a 13-year-old classic.
Further down the chart, IFC Films released the horror indie "Good Boy" in 1,650 theaters. This supernatural thriller, shot entirely from a dog’s perspective and produced by Shudder, premiered to positive reviews at SXSW earlier this year. It earned about $980,000 on its opening day and is expected to debut near the bottom of the top 10. CinemaScore gave it a "B" grade.
Outside the top 10, Focus Features launched "Anemone," a moody drama starring Daniel Day-Lewis in his first role in eight years. Directed by his son Ronan Day-Lewis and co-starring Sean Bean, the film opened in 865 theaters, earning $310,000 on Friday and projecting a $900,000 debut weekend. Reviews from its New York Film Festival premiere were mixed, reflecting a modest reception.
But here’s where it gets controversial: Is Taylor Swift’s unconventional release strategy—limited run, fixed ticket pricing, and a hybrid concert-film format—the future of event cinema, or just a one-off phenomenon fueled by her massive fanbase? And what does the underperformance of "The Smashing Machine" say about the current appetite for star-driven dramas in theaters? Are audiences craving more interactive, fan-centric experiences, or do traditional narratives still hold sway? Share your thoughts below—do you agree with the box office trends, or is there more beneath the surface? Let’s discuss!
