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‘Marty Supreme’ Cements Timothee Chalamet as King of the Christmas Box Office
Timothée Chalamet is officially the king of the Christmas box office.
It’s the third consecutive holiday season where the A-list star has dominated at the box office, a reign that began with 2023’s family-friendly musical “Wonka” and continued with 2024’s Bob Dylan biopic “A Complete Unknown.” This year’s ping pong adventure, “Marty Supreme,” extended the trend, serving up a stellar $27 million over the four-day frame. And Chalamet’s domination around the merriest of holidays should endure with 2026’s “Dune: Part III,” set for Dec. 18.
“Seemingly every year, Timothée has a major hit during the important holiday moviegoing corridor,” notes Comscore’s head of marketplace trends, Paul Dergarabedian. “No matter the genre, whether it’s a musical, biopic, sci-fi or comedy, his choice in the material and collaborators has made him not only a bona fide movie star, but a box-office draw.”
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BRIGHT ORANGE BLIMPS over Los Angeles, branded Nahmias jumpsuits. A belated NYFF premiere via a “secret screening.” Pictures of Zohran Mamdani posing with Fran Drescher. For weeks, only one review out from under embargo, on Charli XCX’s Letterboxd.
The immediate critical impulse is to ignore all of this. Understandably—it would be more enlightened to engage with a movie beyond its marketing, to approach art ignorant of press release promises (to say nothing of, at the time of writing, the biggest per-screen box office average since 2016). This dismissal also presages contrarianism or, better yet, a muted respect, one that belies an understanding of the picture unclouded by fanaticism. Yet it feels naive and self-limiting to overlook that this is, for a certain sect of moviegoing audiences, the cinematic event of 2025. This is a litmus test for whether the recent resurgence of cinephilia among Gen Z and millennial audiences can prove economically viable in the mainstream culture industry. And in an era when the non-blockbuster theatrical experience is increasingly reliant on a young crowd, many of whom associate repertory screenings with their whole aesthetic (if not their sense of self), Josh Safdie’s latest seems to carry a disproportionate amount of hope for American cinema’s future. Accordingly, the press cycle has felt less like marketing than like a rallying call for self-proclaimed “hypebeasts” across the nation. Not only is A24 seeking to replicate the Christmas miracle of Uncut Gems’ breakout success in 2019, but the studio’s also hoping to do so on what would be, for them, an unprecedented scale; with a reported budget of $70 million, Marty Supreme is the most expensive movie the studio has ever produced.
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