Disney’s much-anticipated sci-fi sequel, "Tron: Ares," flickered onto more than 4,000 North American screens this past weekend, seizing the top spot at the box office but falling well short of expectations. According to Comscore and multiple industry outlets, the film earned $33.5 million domestically in its debut, a figure that left both fans and studio executives underwhelmed—especially given the movie’s massive reported production budget of $150-180 million, not including a significant marketing push.
The film, starring Jared Leto, Greta Lee, and Jeff Bridges, marks the third entry in the "Tron" franchise. Released 15 years after "Tron: Legacy" (which opened to $44 million and eventually grossed over $400 million worldwide), "Tron: Ares" was positioned as a major event for Disney’s fall slate. Yet, despite a three-out-of-four-star review from The Associated Press and a respectable “B+” grade on CinemaScore exit polls, the film’s opening weekend didn’t come close to matching its predecessor or the studio’s own projections, which had hoped for a $45-50 million launch.
The plot of "Tron: Ares" dives into a battle between two powerful technology firms, Emcom and Dillinger, both vying to overcome a formidable artificial intelligence barrier. Their high-tech weapons of choice? Laser-based 3D printers capable of generating physical creations—though each one lasts only 29 minutes before disintegrating into ash. The film is packed with neon-hued action, nostalgia, and a storyline that brings humanity face-to-face with the consequences of AI entering the physical world. Director Joachim Rønning (of "Pirates of the Caribbean" fame) helmed the project, with Evan Peters joining the core cast.
Despite these ingredients, "Tron: Ares" struggled to expand its audience beyond its core demographic. As Variety reported, nearly 70% of opening weekend crowds were male, and the movie’s popularity was especially pronounced on premium large formats—IMAX, Dolby, and 3D screens accounted for a whopping 67% of ticket sales. Still, the futuristic adventure couldn’t break out as a mainstream blockbuster. Overseas, the film added another $27 million, bringing its global total to $60 million through Sunday, October 12, 2025. That’s a far cry from what’s needed to recoup its investment, prompting industry watchers to closely monitor international performance in the coming weeks.
Paul Dergarabedian, senior media analyst for Comscore, offered some perspective on the franchise’s uphill battle. “It’s been tough for that franchise to gain traction for it to become a big mega franchise,” he told AP. “The original ‘Tron’ movie in 1982 initially struggled at the box office, but it ultimately grew a cult following.” Dergarabedian also noted that, despite the disappointing domestic debut, “it still topped the box office. It picked a solid release date. All eyes are on a big Disney film that is a huge brand, known and has been around for decades.” Yet, as he and other analysts pointed out, profitability may hinge on international numbers, where sci-fi spectacle often fares better.
Other newcomers also faced a challenging weekend. “Roofman,” a blue-collar dramedy starring Channing Tatum and Kirsten Dunst, opened to $8 million—a modest showing that landed it in second place. The film, directed by Derek Cianfrance and produced by Miramax and Paramount, tells the true story of a former soldier and professional thief who escapes prison and hides out in a toy store. While the debut was on the lower end of expectations, its modest $19 million production cost means it’s less of a financial gamble. Reviews and word-of-mouth could help “Roofman” linger at the box office.
Paul Thomas Anderson’s “One Battle After Another” took third place with $6.6 million, continuing to perform steadily in its third weekend. The comedic action epic, starring Leonardo DiCaprio, has now earned $54.5 million domestically and $138 million globally. However, with a production budget north of $130 million, the film needs significant staying power to break even, as studios and theaters typically split ticket sales down the middle.
Family audiences continued to turn out for “Gabby’s Dollhouse: The Movie,” which earned $3.3 million in its third weekend, while faith-based drama “Soul on Fire” debuted with $3 million. The latter, featuring Joel Courtney, William H. Macy, and John Corbett, tells the true story of burn survivor and motivational speaker John O’Leary. Its “A” grade on CinemaScore signals strong audience resonance.
Other notable entries included “The Conjuring: Last Rites” with $2.9 million, “Demon Slayer: Kimetsu no Yaiba – Infinity Castle” with $2.2 million, and Dwayne Johnson’s “The Smashing Machine,” which earned $1.7 million in its second weekend—a steep 70% decline from its debut. Specialty releases like “After the Hunt” and “If I Had Legs I’d Kick You” saw limited but promising returns, with per-screen averages suggesting potential for wider success as they expand.
Overall, it was a dispiriting weekend for theaters. The three-day box office haul was estimated at $70.3 million, with the year-to-date total up just 3.8% from the same point in 2024, according to Comscore. October, often considered a "bridge month" between the summer and holiday movie seasons, is typically a time for indie, art house, and awards-hopeful films to shine. As Dergarabedian put it, “If you’re a movie fan, particularly in the indie, art house, award season types of film, this is a great month. Moviegoers should embrace the eclectic offerings out there on the big screen.”
Yet, the lack of a true blockbuster this October has left overall domestic ticket sales just 4% ahead of last year’s pace, with several high-profile releases underperforming. Industry analyst David A. Gross of Franchise Entertainment Research noted, “The movie was tracking well, but interest stalled during the last 10 days and the opening dropped.” He added, “Momentum changes quickly at the box office, and it has.”
For "Tron: Ares," the road ahead remains uncertain. While the film’s cult legacy and visual spectacle may yet draw crowds overseas, its domestic performance underscores the challenges facing even established franchises in today’s theatrical landscape. As the dust settles, all eyes will be on whether international audiences can help Disney’s latest digital adventure find its footing—and perhaps, in time, its own cult following.
