The horror film “Obsession,” featuring Michael Johnston and Inde Navarrette, has captured attention by performing exceptionally well at the box office. Directed by Curry Barker, the film’s notable achievement stands out in contrast to the challenging launch faced by the latest “Star Wars” installment.
Produced on a minimal budget below $1 million, “Obsession” surpassed its initial weekend expectations by generating over $17 million, far exceeding early projections. Subsequently, the film escalated to approximately $24 million over the Memorial Day weekend, indicating a significant 30% increase from its debut days. This performance outpaced higher-profile releases such as “The Devil Wears Prada 2” and the “Michael” biopic, even surpassing “The Mandalorian and Grogu” mid-week earnings.
Obsession proved that star power isn’t necessary for success.
One intriguing aspect of “Obsession” lies in its avoidance of Hollywood’s commonly relied-upon star power. The production was overseen by 26-year-old Curry Barker, an emerging talent with a successful YouTube and TikTok following, with over a million subscribers under the comedic title “That’s a Bad Idea.” Veteran horror producer Jason Blum, known for films like “Get Out” and “Paranormal Activity,” joined as an executive producer post-premiere at the Toronto International Film Festival.
The cast lacks major icons and consists largely of newcomers, including Megan Lawless and Cooper Tomlinson. Comedian Andy Richter makes a brief appearance. Surprisingly, the film’s current success has spotlighted Inde Navarrette, praised for her performance comparable to that of Kathy Bates in “Misery.” In “Obsession,” Johnston’s character, Bear, uses a novelty item wishing his friend Nikki (Navarrette) would fall for him, leading to unexpected consequences.
Erik Childress, a noted voice from Rotten Tomatoes and host of “Movie Madness” podcast, credits the film’s marketing brilliance for its notable debut. He highlights how audience word-of-mouth significantly contributed to its profitability, a rarity outside holiday seasons.
Meanwhile, “The Mandalorian and Grogu” faced a muted opening, earning $98 million domestically over the Memorial Day weekend. This represents the weakest ever debut for any “Star Wars” film, previously held by “Solo: A Star Wars Story” with $103 million. Notably, “The Mandalorian and Grogu” continues “The Mandalorian” TV narrative with talents like Pedro Pascal but lacks the novelty of previous stand-alone films. Childress reassures that despite its low start, the film could still secure profitability given its $165 million budget, especially with anticipated international sales.