Avatar:Fire and Ash falls behind in franchise’s usual $2 billion box office smash

Sam Worthington as Jake Sully in image from Avatar: Fire and Ash movie

It appears that the third installment in director James Cameron’s sci-fi epic Avatar franchise may not follow in its predecessors’ path of breaking $2 billion at the box office, with Box Office Mojo reporting a dip in earnings.

Fire and Ash hit cinemas worldwide on 19th December last year, reaching a total $1,322,710,340 earnings as combined from $367,410,340 in a domestic growth and $955,300,000 in an international one. Its debut saw it released across 3,800 theatres where it spent five weekends in the number one spot.

The second film in the franchise, 2022’s The Way of Water, was released 16th December and reached $571,682,103 by its fifth weekend. It saw a $684,075,767 domestic earning and a $1,636,555,562 international earning combining to tally the box office gross at a whopping $2,320,631,329 in total.

The 2009 original film was a box office marvel, smashing record after record upon initial release and earning Cameron a total $2.1 billion. The film was the fastest release to smash the milestone and in doing so, surpassed the original title holder which was 1997’s Titanic, also directed by Cameron.

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Avatar has since seen re-releases, pushing the total box office gross to $2.92 billion and re-earning top spots in world records.

However, it’s seeming that Fire and Ash is falling behind in box office glory when compared to its predecessors. Box Office Mojo reports a $204,271,763 difference between Fire and Ash and The Way of the Water in box office earnings over five weekends. There is a total $997,920,989 difference between it and the second film, as well as a $777,289,660 difference between the first film.

Reasons could be pinned down to less anticipation between the two films as The Way of Water saw a return to Pandora after a 13 year break since the original film.



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About the Author

Ros Tibbs

Editor

Ros is a film and lit graduate writing news and reviews at The People's Magazine. She also writes long-form film theory, film history, analytical or curated recommendations pieces on other platforms.

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