After an unexpected reunion with his long-lost father, the street cat Vic, Garfield is forced to leave his very comfortable life with Harald behind. Together with Vic and Odie, he plans a crazy robbery.
Release date: May 24, 2024 (USA)
Director: Mark Dindal
Distributed by: Sony Pictures Releasing
Adapted from: Garfield
Box office: $153.8 million
Music by: John Debney
Everyone’s favorite orange cat may change his opinion on Mondays after he feasts his eyes on his box office earnings from last weekend as The Garfield Movie continues to chow down on ticket sales. Meanwhile, Furiosa: A Mad Max Saga is chewing on nothing but dust as it falls further and further behind the lasagna-loving feline with other titles like Kingdom of the Planet of the Apes, IF, Haikyu!! The Dumpster Battle, The Fall Guy, and IFC’s latest slasher feature, In A Violent Nature, spinning their wheels to keep up.
The Garfield Movie Box Office (North America): Surpasses Chris Hemsworth’s Furiosa: A Mad Max Saga With Its $55 Million Cume, Might Hit $100 Million Milestone In Lifetime Run
The Garfield Movie leads the US box office chart with steady and decent earnings. Despite staying behind Furiosa: A Mad Max Saga on its debut weekend, it has moved up the chart, pushing Chris Hemsworth and Anya Taylor Joy’s movie behind. The film’s Tuesday numbers are in; keep scrolling to know the deets.
Mark Dindal directed the movie, and the screenplay was by Paul A Kaplan, Mark Torgove, and David Reynolds. The voice actors of the 2024 animated adventure comedy movie include Chris Pratt, Samuel L Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillen, Brett Goldstein, Bowen Yang, and Snoop Dogg. Overall, this is the third Garfield movie, and it might surpass the previous ones in terms of box office collections. It is currently the second highest-grossing Garfield film after the 2004 movie’s $208 million global collection.
“The Garfield Movie” clawed its way to first place, overtaking last weekend’s champion “Furiosa: A Mad Max Saga” at the domestic box office.
This weekend (unlike last) wasn’t a nail-biter as “Garfield” effortlessly pulled ahead with $14 million from 4,108 theaters in its second weekend of release, while “Furiosa” trailed in third place with $10.7 million from 3,864 venues in its sophomore outing. Now, Sony’s “The Garfield Movie” has grossed $51.5 million in North America and $152 million globally to date. It’s a solid showing for the $60 million-budgeted film. “Furiosa,” the fifth entry in Warner Bros. and director George Miller’s post-apocalyptic “Mad Max” series, has generated $49.6 million domestically and $114 million worldwide. With a $168 million price tag, the R-rated tentpole has a much steeper path to profitability.
There’s not that much to Garfield. Understanding the orange tabby of funny-pages repute is pretty simple: he has a set of integral, inalienable traits – his ill temperament, his cynical outlook, his sedentary lifestyle, his motivation primarily in self-interest and his indifference to owner Jon Arbuckle – that define the grouchy yet likable pop-cultural fixture. Any depiction of a Garfield that eschews these qualities, even while adhering to such superficial markers as his love of lasagne or hatred of Mondays, ceases to be Garfield at all and instead becomes a common cat by any other name, no different than Get Fuzzy’s Bucky, or worse, the godless bastard Heathcliff. In fact, insofar as Garfield-ness is inscribed from the feline personality model projected on to cats by humans, a Garfield in spite of himself may as well be a dog, an unnatural oxymoron with nothing to distinguish himself from the rest of the herd.
What this is is something far more mercenary and insidious, belied by the cheery art direction and zippy Looney Tunes slackening of the laws of physics. (A couple of inspired sight gags harken back to Dindal’s past successes The Emperor’s New Groove and Cats Don’t Dance, but the animators have much to answer for; why were so many man-hours dedicated to rendering each individual hair on every critter’s body while the Italian food we’re meant to crave looks like textureless plastic glop?) We’re shown that this isn’t your daddy’s Garfield not just in his stale notion of irreverent ’tude that tops out at calling himself “G-Money”, but in his hipness to the modern world, first signaled by the delight and ease with which he orders drone delivery through a smartphone app. He’ll soon proudly tout his affinities for Olive Garden as well as the services of Walmart and FedEx, along with passing mentions for Tinder, Bumble, Shark Tank, Netflix, Roomba and, most egregiously considering what we know of Garfield’s diet, Popchips. Even within the realm of craven product placement, there should be some logic to sell the synergy. Was Stouffer’s not interested? Did Chef Boyardee give a hard pass?
